Evening Star Newspaper, October 16, 1937, Page 17

ART NOTES. By Leila Machlin. OCKWELL KENT'S two mural paintings representing, re- spectively, mail service in Greenland and in Puerto Rico, Iately installed in the south lobby on | the second floor of the Post Office De- | Partment Building, have aroused a| veritable tempest in a teapot not on| &ccount of artistic inferiority, which | wight have been reasonable, but be- eause of an item introduced into one | of these canvases which has been| thought to have political significance. In the Puerto Rican scene the mail ! earrier. mounted on a horse, occupies | the center of the composition. From & receptacle resembling & bread box, | but marked “U. S. Mail,” he has ap parently just delivered to a native girl | & letter which she holds open but in- differently in her hand. The text of this Jetter is in the Eskimo language, known to but few. but being translated, | is found to propose an exchange of rulers between Greenland and Puerto | Rico. Herein lies the cause of lhe disturbance. Mr. Kent is not a politician nor is he a propagandist. He is an artist first and last, and artists today, of lively mind, as in the past, must occasion: &lly have their little joke. Obviously | these murals were not produced to convey & political message. Primarily they were to decorate a public build- | ing dedicated to the carriage and de- | livery of mail. Mr. Kent's joke was undoubtedly, ill-timed, but it is great- 1y to be regretted that a mere incident of composition may so outweigh in public opinion the artistic significance of the work. Still more unfortunate, however, is | the fact that these paintings fall far short of the artist’s best and but feed- ly represent the high achievement of which he is capable. They are almost in monotone, a monotonous, dull. gray blue. In the Greenland scene and in that in Puerto Rico, the light is iden- tically the same, equally cold, cheer- less and ineffective. And yet, without | question Rockwell Kent is one of the | outstanding artists of today, most gifted, most individual, most worthy | of a place in our artistic hierarchy. | THE sketches that Mr. Kent first made and submitted, when com- | oned to do these murals, were very different in composition and in #pirit from the completed works. The governmental authorities who passed | upon the sketches did not find them | entirely satisfactory and susgested | certain changes, but none who can| see the sketches and paintings side by side will deny that the sketches had vastly more character, color and spirit | than the finished works, which, how- | ever, it is understood. have been ap- | proved by the Commission of Fine | Arts, fully and “gladly.” Of course, there is the possibilit that between the making of the orig- | 1nal sketches and the production of the finished works the artist lost inspira- tion. It is possible also that from the first, inspiration burned low. For | Rockwell Kent is not a man to produce | to order. Almost all that ne has done, | and certainly the best he has done, | has been the outcome or the expres- | sion of stirring adventures. “Art.” he ‘ himself once said, “is the by-product of one's enthusiasm for life.” And it 15 his conviction that no artist ever | looked for material, “whether it was mountains for a picture or a love af- | fair for a book.” As almost every one knows, Rockwell Kent is a great traveler. Born in Tar- rytown, N. Y., in 1882, he made rather # poor showing at the schools to which he was sent as.a boy, but in the Sum- mer of 1898, under instruction of Wil- liam M. Chase, he discovered that what he wanted to do was to be an | artist. At Columbia College he studied | architecture, For several years he worked with Abbott Thayer, the paint- er and naturalist, in Dublin, N. H. His first wife was Thayer's niece, Kath- leen Whiting—by wohm he had five | children. He has always delighted in eadventure and in living dangerously. ‘The year 1914-15 was spent in New- foundland; in 1918 he and his 9-year- old son were in Alaska; the following year he went to Tierra del Fuego, be- cause he had read that it was the worst place in the world. “Everywhere I have been,” he writes, | “I have had enthusiasms and excite- ments. I have stood in spots where I have known that I was the first white man who had ever seen that | eountry . . . And because I have been | alone so much and have been moved | 80 much by what I have seen, I have | had to paint and write about it. And by virtue of that need to paint and write, I am an artist.” mis NO ONE will deny Rockwell Kent his title as artist. A decade ago the Phillips Memorial Gallery owned | no less than 10 of Rockwell Kent's paintings; and in writing of his work | at that time, Duncan Phillips said, with great truth, “Any painter who can eommunicate his moods of agony and ecstacy, of deep depression, of buoy- ant exhiliaration, with no means ex- traneous to color and form is of the good company of the chosen few who fulfill the artist's true function.” To this period belong the “Burial of the Young Man,” the “Road Roller,” both included in the Phillips collection, and “The Valley,” a very great canvas, well known through reproduction and re- peated exhibition. Since then Mr. Kent has given the greater portion of his time to work in black and white—lithographs, wood- cuts, pen-and-ink drawings—and has illustrated several volumes—among them “Moby Dick,” “The Canterbury Tales,” “Beowulf,” and most lately “Lecves of Grass"—magnificently. There i something elemental in these drawings, something superbly big and strong and moving that sets them apart and gives them distinction. More than that they, in themselves, make contribution, they illumine the text, they broaden our understanding. In every way these later dgy drawings are 30 immeasurably bigger and finer than the mural paintings produced for the Post Office that the latter are piti- ful in comparison, and the mere thought that he may henceforth be Judged by them is tragic, indeed. Early last Summer the American College Society of Print Collectors {ssued to its members as an extra *dividend” a print by Rockwell Kent entitled “Workers of the World, Unite.” This shows a figure of a man boldly delineated. In his hand is a shovel—symbol of labor; leaping to- ‘ward him are bayonets and flames. Purposely it epitomizes life today. In it are fused the simplicity of clas- sicism with impressionistic symbolism of detall. “Also it “evidences” as Prof. Frank J. Roos, jr, of the de- partment ‘of -fine ‘arts- of Ohio Uu’ 4 | the approval of the committee. Bulletin of THE EVENING STAR, WASHINGTON, WRONG NOTE IN ARTIST'S MURAL JOKE Rockwell Kent, Object of Recent Tempest Because of Post Office Work, Has Produced Much That Is Bigger and Finer—Prizes in Exhibition Here. Carnegie Awards Challenged. Exhibitions CORCORAN GALLERY OF ART—Permanent collections, American paintings and sculpture; foreign paintings of the nineteenth cen- tury; the W. A. Clark Collection, paintings, rugs, tapestries, lace, ete.; Barye bronzes, etchings and engravings; special exhibition of drypoint portraits by Cadwallader Washburn and wood cuts by J. J. Lankes. NATIONAL MUSEUM, NATIONAL ART COLLECTION—The W. T. Evans Collection of American paintings, the Gelletly Collection of paintings and objets d'art, Harriet Lane Johnston Collection and Ralph Cross Johnson Collection of paintings by the old masters, mimatures, Herbert Ward Collection African sculpture, etc, special Joint exhibition by the Twenty Club of Washington—in the {o; Women Painters and the Landscape ver. SMITHSONIAN INSTITUTION, DIVISION OF GRAPHIC ARTS— Exhibits illustrating graphic art methods. Special exhibition of color wood block prints by Walter J. Phillips of Canada. FREER GALLERY OF ART—Permanent collection shown in changing exhibitions, Oriental paintings, bronzes, sculpture and potteries, etc. Paintings, drawings and prints by Whistler; the Peacock room, paintings by other American artists, LIBRARY OF CONGRESS, DIVISION OF FINE ARTS—Exhibition of prints by contemporary printm; nell, illustrations by American plication. PHILLIPS MEMORIAL GALLERY—Permanent, of paintings by modern artists akers, Lithographs by Joseph Pen- illustrators. Other prints upon ap- changing collection and great masters. Special exhibi- tion of drawings by Pierre Bonnard and drawings and etchings by Aristides Maillol. Also new decorations by Augustus Vincent Tack and canvases by other well-known artists lately acquired. STUDIO HOUSE—Exhibition arranged by Raymond and Raymond, showing process of making color reproductions of works of art, ARTS CLUB OF WASHINGTON—Annual exhibition ‘Washington Land- scape Club—oils, water colors ai nd prints, THE PUBLIC LIBRARY—Exhibition of reproductions—for the most part in color—of masterpieces Gallery Collection. GEORGETOWN BRANCH—Childre; morning class. of painting in the Mellon National n's work by the Turkenton Saturday HOWARD UNIVERSITY GALLERY OF ART—Exhibition of reproduc- tions of living American art. versity says, “Kent's ability to keep abreast of the times without becoming too involved in little things about him.” ERHAPS it is the contemporary element in his post office mural paintings that has proved a stumbling block. Great art is both universal and eternal; to record contemporary incident is the part of the photog- rapher or of the illustrator; when an | artist reflects life it is life with its| full significance. Rockwell Kent is not only an artist bringing to use a better understand- ing of things felt as well as seen, but a successful artist as the world reck- ons success. From his paintings and drawings he has derived a handsome livelihood. His Alaskan work was nanced by purchase of stock in ‘Rockwell Kent, Inc.” and the stock- holders received cash dividends. Kent's books have sold well. His 1llustrations are in great demand. Therefore, to suggest, as some have, that the much discussed letter from Greenland in his Puerto Rican mural was put there purposely to attract attention and secure self-advertising is in the last degree absurd. Such would contro- vert the ideal which Kent has voiced, not only verbally, but in his drawings and paintings. and most moving quality that a work of art can have,” he has said, “is in- tegrity.” his best in artistic standard, sets it apart and commands respect, Prize Awards in Landscape Club | Ezhibition Endorsed By Artists and Laymen. RARELY do prize awards in exhi- bitions of art meet with public favor, but those voted in the Land- scape Club's twenty-fourth annual, which opened in the Arts Club of Washington on October 3, are the exception, for, by artists and laymen alike, they have been favorably re- ceived and regarded. The method of award was unusual. The club resolved itself into a committee of the whole, and the competing works were voted upon individually, by points, as in a scholastic contest. The painting thus winning first place, and so awarded the club’s new | medal, was Charles Bittinger's paint- ing of the “Drawing Room at Arling- ton,” previously shown in the Cor- coran Gallery of Art's most recent biennial, outstanding then, as now, for skill in execution and charm of color and composition. Next in merit among the oils came Minor S. Jameson's delightful land- scape, “Taconic Hills,” hung over the mantel in the reception room, to which was voted honorable mention. Garnet Jex won honorable mention for a water color entitled “Back of Village, Maine,” colorful and broadly rendered, while to C. Allen Sherwin went honorable mention in the black- and-white section for his etching, “Southern Tramp.,” an old yacht re- rigged for river trade, slender of body, narrow of beam, tall masted, but car- Iying incongruous cross-stays for ex- tra canvas, yet graceful still—a plate well etched and significant. The purchase prizes were, it is un- derstood, chosen by the donor with In this group, two works by Rowland Lyon were selected, and he was thus doubly honored. His “Low Tide,” an admirable little painting, received the $100 purchase prize for an oil, and his “Mexico City, 11 AM.,” received the $40 prize for a water color, while to Oke Nordgren went the $10 prize in the same class for a print entitled “Oyster Bay.” These awards were formally presented at the Arts Club last Sunday afternoon. Ezhibit of Medallic Art to Open in the Arts Club. NEXT Tuesday evening, October 19, the second of the season's special craft exhibitions will be held at the Arts Club, under the auspices of the Committee on Industrial Arts, headed by G. A. Scheirer. This will consist of 72 medals and medallions, mostly in bronze, lent by Clyde C. Trees, president of the Medallic Art Co. of New York, which has reproduced much of the medallic work done by American sculptors, and has also made dies and reductions of sculptors’ models for United States coins struck at the Mint. Sculptors who are rep- resented in this exhibition include Paul Manship, Laura Gardin Fraser, R. Tait McKenzie, Gutzon Borglum, Brenda Putnam, Daniel Chester French, Frederick MacMonnies, Gae- tano Cecere and many others. All the medals struck for the Society of Medallists for its members are in- cluded. It is interesting to know that the sculptors commisisoned to create this society’s medals work without restriction other than that they shall express some ideal worthy of perpetuation in imperishable ma- terial. They are issued only to mem- bers and are obtainable solely through annual subscription. Great variety is to be seen in subject, method and treatment, and much may be learned from the collection. This group' exhibtion will nm 4 “The highest merit | It is the integrity of his | work which, even when it falls pelow | through the month of November and on Sunday evening, November 21, & motion picture will be presented at the Arts Club, illustrating the processes employed in the production of these beautiful objects. The film was made under the direction of the Metropolitan Museum of Art, New York City. This is the second in the series of Craftman’s exhibits being sponsored by the Industrial Arts Committee of the Arts Club in an effort to stimulate interest in the work being done in the various arts and crafts. The first, consisting of wood carvings, opened September 1. During the month of December it is planned to present a number of illuminations and illuminated books—contemporary illuminations with early manuscripts and books, showing that this fasci- nating, and yet most difficult, art still survives, and is worthy of better understanding and appreciation. Lecture on the Art Of Stained Glass. JNDER the auspices of this same Committee on Industrial Arts | there will be given at the Arts Club of Washington next Thursday evening, October 21, at 8:30, a lecture on stained glass, its history and t--h- nical processes by Lawrence Saint, fellow of the Pennsylvania Academy of Fine Arts and a member of the Royal Society of Arts, London. Mr. Saint is well known in Washington because of the windows he has de- signed and executed for the Wash- ington Cathedral on Mount St. Albans. He is the author of “Stained Glass of the Middle Ages in England and France,” and his drawings in color of medieval stained glass windows are in the Carnegie Institute, Pitts- burgh, and the Victorian Albert Mu- seum, London. His lecture will be illustrated by colored slides and by a motion picture made under the su- pervision of the Metropolitan Museum |of Art, New York, the latter showing | the artist in his workshop in Hunting- |ton Valley, Pa., and, later, in con- | nection with the erection of a window in the Washington Cathedral. | Wood-Block Prints By Canadian | Artist, W. J. Phillips, on View at Smithsonian. 'rHIRTY-FIVE wood-block prints in color and fifteen black and white, by Walter J. Phillips of Winnipeg, Can- ada, constitute an engaging exhibi- tion set forth for the month of October Industries Have Gained in Strength Since Carol Mounted Throne. By Alma del Mar. ODERN life seems to be grad- ually realizing the dream of Alexander the Great. No longer do young men have to excuse their legitimate ambition by saying, “My youth is a defect which I will correct day by day.” Men under 40, writers, artists, scientists and political leaders, throw their young energies into the arena of life’s strug- gle and gain the palms of immortality by bringing out of the chaos of social disorganization and psychological per- sonal disintegration order, harmony, scientific invention and even a neo- classical, because more universal, con- ception of beauty. The King of Rumania is one of the young rulers who, like Leopold III of Belgium, assumed the responsibilities of the royal scepter at the age of 35. Inheriting all of hus august mother's executive abilities, schooled by theoretical training and practical experience, Carol II of Rumania is endeavoring to bring about a real social and cultural renaissance in his country. Within the seven years from the restoration on June 8, 1930, he has been able to rekindle confidence in the heart of his people and to re- habilitate Rumania in the often mis- informed international public opinion. Thanks to his wise and progressive policy, the country’s agricultural production is given special impetus. The 1933 conversion law, intending to safeguard the economic freedom of the small land holder, has been closely followed by the development of co- operative banks and buyers’ associa- tions for the purchase of agricultural implements. From an educational point of view the national institutes of agriculture, together with the sylvic and veterinary services of the prov- inces, have instituted special technical and advisory councils to promote scientific farming, cattle breeding, tobacco and fruit growing. BUT industry, too, has received equal consideration. Under the spur of self-suficiency—a fashionable policy launched throughout post-war Eu- rope in contradiction to the principle of international free exchange of commodities and fortified by the A s RUMANIA’§ KIN by the Division of Graphic Arts of the National Museum in the Smithsonian Building. Mr. Phillips is & painter as well as A& print maker, and his prints in color have essentially painterlike quality, In them he does not stress line but works with flat tints held in mass, His colors are quiet, gray predominat- ing and combining with other neutral tints. There is a delicacy about his works in this medium rarely seen. To an extent he has been influenced by and followed the Japanese print makers, but he has anglicized his work to such an extent that all Ori- ental flavor is eliminated, and in- stead one finds in it the essence of the Northland more reticent, less effulgent, but very charming. For the most part Mr. Phillips shows us Canadian scenes, simple and at times almost commonplace but significant to him apparently through familiarity. A large block print of a boat landing at “Hnause, Lake Winni- peg,” is one of the best, large spaces empty of incident in it being especially well treated. “Howe Sound,” with its composition of water and mountains, crossed in the foreground by a twist- ed pine tree, is also very pleasin while a third, entitled “Flying Island,” is particularly lovely in color. Among these prints in color are several of flowers, zinnias, tulips, more bold in rendering than the landscapes but also more usual. There are also in the group some figure subjects, but of all they are the least interesting. The prints in black and white are chiefly line engravings rather than cuts and very different in manner and style, more direct, more positive, These are excellent in composition and ad- mirably rendered. They are all Ca dian subjects, scenes in Manitoba and in British Columbia. In some of the latter prominence is given to grotesque totems similar to those found in Alas- ka. The character of these scenes seems to have demanded simple and virile handling. From the standpoint of design one entitled “‘Floating Dock,” again a Winnipeg subject, is especially noteworthy. Mr. Phillips was born at Barton on Humber, England, 1884, attended Bourne College, Birmingham, Eng- land, and the Birmingham Municipal School of Art. For a time he was art master at Bishop's School, Salis- bury, and later he occupied the post of lecturer in art at our University of Wisconsin. The Royal Canadian Acad- emy elected him to full membership in 1934. He is the vice president of the Canadian Society of Water Color Painters and a member of the Print Makers of California, Prairie Print Makers of Kansas, Graver Printers in Colour, London; Canadian Painter- Etchers, etc. He has won many prizes and is represented in leading collec- tions in England, Canada and the United States. His prints have found high favor in Japan. Many of his wood cuts have been made to illus- trate his own publications, such “The Technique of the Color Wood Cut,” “The Canadian Scen “Essays in Wood,” “Colour in the Canadian Rockies,” the last with Frederick Niv- en, joint author. . Special Ezhibition By Local Artists in Foyer of National Museum. A SPECIAL exhibition of paintings by the Twenty Women Artists of this city and the Landscape Club. which is entirely masculine, opened in the foyer of the United States Na- tional Museum, Tenth street and Con- stitution avenue, yesterday, to con- tinue to the end of the month. Carnegie Awards Arouse Heated Debate; But International is a Well-Balanced Show. T IS not surprising that, by a jury | Judson Smith, Raoul Dufy and Fer- negie Institute (Pittsburgh) Interna- tional should go to paintings exhibit- ing extereme tendencies. But it is astounding that four men could be found who could discover merit worthy of acclaim in the eight canvases des- G raising walls of tariffs—Rumania has developed a considerable national in- dustry, without for that losing her rank as one of the most important granaries of Europe. Her textile in- dustry alone has doubled its 1914 production, an increase which is un- paralleled by any other European countyy. Her crude oil discovered in 1860 is fourth in output in the world’s petroleum centers. The process of refining it is modernized, taylorized and compares favorably with Amer- ican scientific methods. New means of communication—new railways, fast engines, interfluvial canals, merchant marine steamers and aviation—are opening new outlets to the country’s ’ composed of Henry Varnum Poor, | ruccio Ferrazzi, the awards in the Car- | D. C, SATURDAY, OCTOBER 16, 1937 “Delivery of Mail (from Greenland) in Puerto Rico,” second floor south lobby of the Post Office Department Building. In the girl's hand, in the center of the co that stirred up a controversy recently. It seems that, translated from the Eskimo, between Greenland and Puerto Rico. Original sketch submitted by Rockwell Kent for the south lobb. work he was asked to revise and did. Below is | ignated for these high honors. The cally changed, or the standard in art is far fallen. “The 1937 Carnegie Jury of Award in selecting these prizes has once again,” says a Carnegie release, “made the art of painting a current topic of discussion and debate.” This | works that their merit would scarcely | seem debatable; to select them for the | highest honors seems to the layman | little short of sheer madness. | The first prize of $1,000 went to an | abstract composition by Braque, well known here through representation in the Phillips Memorial Gallery, a puz- zle picture, inexplicable without ex- planatory note, perhaps even then. The second prize, $600, was awarded to Felice Casorati of Italy for a paint- ing entitled “Women Near a Table,” in which the average observer can find no spark of beauty. The third, $500, was won by Josef Pieper, a German, for a canvas entitled “Family Por- trait,” a group of six, three adults and three children, seated around a table, utterly doleful in expression, sorrow- fully crude in rendition. Of the four honorable mentions, one | work of Robert Philipp and pictured | & funeral, at the grave, in the rain, neither dignified nor dramatic came a picture of “Karlsbruecke, Prague,” by the German, Oskar Ko- koschka, & work which may possibly | be said to have a certain element of | charm. Third honorable mention went to a Spaniard, Emilio Grau-Sala, en- titled “Carnival,” a group picture of a times, as well as viewpoint, have radi- | may be 50, but so extreme are these | | so-called American primitives. Finally, as climax, came the fourth mention to “The Night Watchman,” an ar- mored robot with accordion, seated amid mechanical contrivances and ash cans with a full moon over his head. This is the work of Marcel Gromaire of France. The Allegheny County Gar- den Club’s prize of $300 for a flower painting was voted to & vase of non- descript flowers by a Czechoslovakian, | Vaclav Spala, who has been much in- fluenced by Cezanne, Picasso and Braque. If these prize winners were really a sample of the 407 paintings—107 by Americans, the rest by Europeans— set forth in the Carnegie Institute's current international, the outlook for art would be sad indeed. But if one will take the time to review the cata- logue, let alone view the collection (it takes only a little over an hour to fly to Pittsburgh), they will be found to be the exception, not the rule. Glance at our own American section, which occupies four galleries. Here are paintings by Irving R. Wiles, Red- fleld. Parcell, Marjorie Phillips, Waugh, Kroll, Kent, W. H. Singer, jr.; Garber, Johansen, Seyffert, Hopkinson, Wat- went to an American. This was the | rouc Lie, Frieseke, Dougherty and others who have independence of vis- ion, yet hold to tradition: seekers for Next | heauty who strive to give it adequate expression. To be sure, in this goodly company are some of our own ex- tremists, and between all those who seek a middle path, neither stark realists nor yet given to extravagance. Turn then to the British section woman and three doll-like, sad-faced | Here one finds works by Cameron and | children, painted in the manner of our | John, Dame Laura Knight, Brockhurst, M. S. REGELE CAROL 1II. —From a new portrait by Laszlo. wealth in natural resources. It is no wonder that for the first time since the war the national budget has been balanced, a herculean achievement which gives faith to the people and weight to the Rumanian currency. But the most outstanding contri- bution of the King, of a more lasting and regenerating influence, is his keen interest in youth. Realizing that no change can be brought about without the whole-hearted backing of the growing generation, his majesty is endeavoring, since 1934, with the Youth’s National Bureau for Educa- tion (0. E. T. R), to rally all the young, from 7 years onward, into & OGRESS -~ WORKS FOR PR | | Children Are Enrolled Movement Designed to Foster Patriotism. in nation-wide movement, the Strajeria This is neither the Balilla of Italy nor the Hitler Jugend, but an or- ganization rather akin to the Boy and Girl Scouts, with a wider social utility scope. 'HE Strajeria fosters the develop- ment of all hidden potentialities, with the ultimate view of promoting among the citizens of tomorrow the right spirit of civic responsibilities which would enable them to put the interests of their country far above any party divergencies or any personal ambition. Above all, youth is schooled in the practical problems of life, acquiring the habit of service to the community and the nation and the refreshing and recreating experience of constructive work. From the primary grades on, the young boys and girls are enrolled in the movement, today over 150,000 strong. Tomorrow it .wlll include, it is thought, the whole of the country’s school-age population. University stu= dents play an important role in the social reconstruction program of the “Cultural Foundation Principele Carol,” headed by the King himself. More than 72 units, averaging around 10 specialists—medical students, bud- ding sociologists, would-be veterinary doctors, promising public health nurses, future domestic science in- structors and technical agronomists— spend every year three months in the rural sections, sparing no effort to improve the peasants’ standards of living. The King follows with vivid inter- est and a master's eye the social evolution of his people. Conscious of the nation’s wealth in folkways, art- crafts and folklore, the constitutional monarch of Rumania, with an iron will and a sincere democratic smile, encourages also the artistic and cul- tural renaissance of the country, rural community centers, forums, pageants, people’s universities, choral societies, artists’ colonies, sportive federations and international scienti- fic congresses. The Rumanian people love their active King, who today, only 43 years old, has already won the heart of his people and the title of “the builder of Rumanis’s national culture.” [) ART NOTES 7 y on the second floor of the Post a reproduction of the substitute painting. ' the much discussed mural painting by Roc. Lavery and Munnings, to say nothing of Nevinson, who was at one time an archcubist, but long since came to the realization that cubism had run its course and served its purpose. Among the French exhibitors are Ponnard and Vuillard. both well rep- resented in the Phillips' collecti here—Le Sidaper, once thought ex- treme but now ¥ be numbered among {the conservatives; Bernard Boutet de | Monvel, as well as Matisse, Picasso | and Segonzac, the last three with their bags full of tricks: Dufy, Bra Van | Dongen, Roualt and Soutine, all of whom, with all their eccentricities, have become as familiar on this side of the ocean as in France. Anto-Carte and Pierre Paulus are among the Belgians exhibiting, as well as Gustave de Smet. Among the Dutchmen are Sluyters and Toorop. Despite the horrors of revolution, 27 Spanish painters are represented here, and among them one of the Zubiaurre brothers, who a few years ago were in the forefront of the Spanish school Edvard Munch and Per Krohg are in the Norwegian delegation. The Danish group includes an Icelander, Johannes Kjarval, as well as seven Danes. Italy and Germany each contribute | their quotas, made up, as is Poland's also. chiefly of painters whose names have not yet become familiar in this country. | Of the total repri exhibiting here thi. ar for the first | time. Thus the gates of international art are held open for youth. And on the whole, despite the testimony of the awards, the tone of this interna- tional would seem to be encouraging. The old balances fairly well with the new. Favors may have been for the few, but there is a fair field for all. The public is given opportunity to gain acquaintance with current trends, to look and learn, and exercise unbiased Judgment. It was Andrew Carnegie's idea that these internationals would promote good will and understanding among the nations of the world. And so they should, if they are taken aright. esentation 89 are Jenckes (Continued From First Page) was the sixteenth State to be admitted into the Union,” she explains. RS. JENCKES is proud of another interesting object in that inner office. It is a desk made of a beauti- fully grained piece of walnut timber, presented to her by the sixth district of Indiana, which includes the city of Covington. Mrs. Jenckes was in- strumental in securing for Covington a P. W. A grant for a new court house, and when the old court house was torn down to make way for the new, grateful citizens of Covington bought from the ruins a piece of wal- nut timber that had been used in the old structure. They had a desk made of it and presented it to their Rep- resentative on the occasion of laying the corner stone for the new court house. She is very proud of its fine wormanship and the wood from which it it built and today it occupies a place of honor in her office. She is shown seated before it in the photo- graph. ‘This inner office of the Indiana Representative is, as & matter of fact, filled with interesting things, and they cast light upon the background and personality of the occupant. There is, for example, the framed parchment, dated 1730, that was originally given to one William Green as his sign of office when that gentleman was ap- pointed justice of the peace by Joseph Jenks, Colonial Governor of Rhode Is- land and an ancestor of Mrs. Jenckes' husband. This interesting document states in part, “You, William Green, Esq., be- ing chosen by the General Assembly of this his Majesty's colony of Rhode Island and Providence Plantations, etc, to the place and office of a Justice of the Peace in the town of Warwick, in Providence, in the Colony aforesaid, are hereby in his Majesty's name George II by the Grace of God of Great Britain, France and Ireland, defender of the faith, etc., commissionated, authorized and em- powered to do all things by law Quired * * ¢ * The Colonial seal at- 4 Office Department Buil s ding, the ell Ken the now dern'll"r‘]g etter position, is the the letter proposes an exchange of rulers tached is signed by o ) 1 y beginnings of | her . there likewise | hang | members ty of the Cin- | cinnat is signed by George i\’\'ash.nz on and Henry Knox, gra | ng membership to Henry Vander- | burgh, a forbear of Mrs. Jenckes. Van- | a George W n and had ri the rank of captain. When the Army disbanded he was app ed first cir- | cuit judge of the Nor {and held court in Vincennes, Kas kia and Detroit. He was a great grandfather of the present Congr | woman on her father’s side. The ce | tificate is dated December 10, 1785, in | “the tenth year of the independence | of the United States.” “R. Ward" & {THIS attractive, gray-haired, gen- tle-voiced and energetic Repre- sentative from Indiana has an inter- esting background and has had a | varied career. Born in Terre Haute, Ind. she attended Terre Haute grade | and high schools and has been a resi | dent of Terre Haute ever since. For | four generations her paternal ances- tors have lived in Vincennes. married Ray Greene Jenckes in 1012 and became a widow at his death in 1 . On her desk today is the por- | trait 6f a beautiful young woman. It | is her only child, who died last year |“I have only my work now,” Mrs Jenckes says, thr into it completely whole life since my daughter's death | Mrs. Jenckes was secretary of the | Wabash-Maumee Valley Improvement Association, whose objectives are navie gation, canalization, irrigation, drain- age and flood control of the Wabash- Maumee area. She was elected to the Seventy-third Congress, defeating Courtland C. Gillen, the Democrat in office, in the primary, and Fred S. Purnell, Republican in office, in the general election. She was re-elected to the Seventy-fourth Congress, de= feating Noble Johnson, Republican, and receiving second largest number of votes of any candidate for Congress in Indiana “I'm a farmer,” she said. two farms near Terre Haute. farming.” She was wrapping up a little package as she spoke “What have you there?" I asked her, “A compact,” she said. “I have | more than 400 of them.” Four hundred compacts is a It of compacts. Particularly is it a lot of compacts when each is of soft tortoise | shell, banded in a dull gold-finished metal “What in the world are you g to do with 400 powder compacts? She smiled her pleasant smile: “Give them to the district committess women,” she said. ‘They don't re ceive the attention and appreciation they should—those committeewomen! They do all the hard work, really get out and go from house to house. I made up my mind I wouldn't forget them when I got to Paris for this Parliamentary Union. So I bought them all a French compact.” And there she sat serenely tying up the first of 400 of them, in between an- swering 200 letters personally on a little portable typewriter that stood on her desk. “If you think a Representative has a soft job,” she remarked, “you ought to drop in sometime when I'm really busy.” “I have I like oing Salt Cattle Away. TH! expression “salted away" at- tains a new meaning when applied to the manner in which cattle are moved from one range to another to prevent overgrazing. Cattle must have salt and they must have water. When one section of grazing land has been brought to the point where more grazing would be harmful to the grass, salt licks are moved to other sections. The cattle follow the salt. As a usual thing the animals get their salt at one place and their water at another, grazing along the way as they pass from one point to the other. — 5 De Pauw University is in Green- castle, Ind., 40 miles west of Indian- apolis. 4