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Sentimental Awarded Moment First Prize ’ by Philip Guston - of $1,000 at | " (Oil on Canvas, 1945 Carnegie : 1943) American Show i See Article on Page §&

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New York - 720 Fifth Avenue the Salmagundi Club at which prizes are awarded those who PEYTON BOSWELL make the best record during American Art Week. I have attended several of these dinners, and have always come away Comments: with the feeling there should be prizes for everyone who has contributed time and thought to this worthy cause.

This department expresses the personal opinion of Peyton Boswell, Jr., writing as an individual. Philadelphia’s Record Any reader is invited to take issue with what Oo" OF OUR MOST HUMAN TRAITS, perhaps sired of mental he says. Controversy revitalizes the spirit of art. laziness, is the tendency to judge groups by individuals. For example, because a certain museum finds it more con- Television in Color venient to dwell in the past, some of us fall into the habit i ans New York TiMEs on the morning of October 11 of using the words museum and mausoleum interchange- termed it a radio “miracle.” It did so advisedly, for the ably. How wrong this attitude can be may be seen by the writer of the story had just viewed the successful transmis- following letter from Fiske Kimball, director of the Phila- sion of pictures in full color over the towering roofs of New delphia Museum. Mr. Kimball: York City. The television pictures were received many blocks “It has become the fashion for the newer art museums to away from the Columbia Broadcasting System’s studios “with disparage the older ones, for the smaller museums to belittle superb clarity and beautifully detailed color.” The CBS color the big ones, and even for new directors of museums, old system had been developed shortly before by Dr. Peter C. and new, to disparage all the pre-existing programs of insti- Goldmark, director of engineering research, and centers tutions, big and little, including their own. The older, bigger around use of a mechanically operated disk by means of institutions and their programs, these men and others are which the colors are projected, Experts who attended the test apt to say, suffer from many evils, but particularly two: they predicted that it is only a question of brief time before color devote themselves to old masters and exclude contemporary television in the home will be commercially practical. art; they devote themselves to European artists and exclude This is what the art world has been waiting for—in the the Americans. meantime struggling with the futility of attempting to de- “IT am getting a little tired of this and as the director for scribe verbally visual objects over the air. Now art on the twenty years of an old museum (1875), a big museum (150 radio will be on a par footing with music. And what radio galleries), I am finally driven to put in a word on the other has done in spreading the appreciation of good music will side. The Philadelphia Museum shows old masters (685 of be duplicated with fine art. Imagine the thrill of visiting the our paintings at present), but also shows contemporary Carnegie annual exhibition while comfortably seated in your masters (562 paintings, of which 217 are by artists still own home. Then indeed will Andrew Carnegie’s dream of living). It shows European works, but it also shows Amer- progress through education come true. Or, project yourself ican works (226 paintings, 32 sculptures, 129 drawings and into the future, and visit the Cistine Chapel or the Louvre— prints, of which 299 are by living artists) . without crossing the Atlantic. “Among our major exhibitions announced for the coming The possibilities are limitless, even though we must remain year, one deals with an old French master no longer living patient while science works its wonders to perform. This (Corot), two deal with American masters, Glackens, Luks. new development will bring us strides ahead toward the goal Shinn, Sloan (two living) and Carles and Watkins (both all of us who have been initiated into the now restricted art living). The Philadelphia Museum is a large museum of the fraternity have so long aimed—the more universal apprecia- general history of art, but it is also an important museum of tion (and comprehension) of art. And since each new ad- and of American art.” vance in science has given birth to new professions, we may Fiske Kimball is indeed a convincing advocate. have, perhaps to the dismay of the artists, a new breed of e * * critic—the art critic of the air. Let us hope they will be good, NATIONAL ACADEMY Expanps:—For many years the Na- for they will have audiences far greater than any art writer, tional Academy didn’t own the roof over its head. Now it from Vasari to Hunneker, has ever known. owns several, with more in the offing. The latest announce- ment by President Hobart Nichols states that the Academy American Art Week has just purchased property at 7 East 89th Street from Mr. John Sloane, adjoining its vacant lot. This gives the Acad- | Sapam YEAR AT THIS TIME the American Artists Professional emy a 75-foot frontage for the building it plans to erect as League sponsors one of the most democratic events in soon as possible to house its school and new galleries. the art world, American Art Week, November 1 to 8. While «& * e the League itself is not an exhibiting body, it gives encour- agement and direction through its State Chapters to hun- We Are Sorry:—Robert Laurent, noted sculptor now dreds of exhibitions in big cities and small towns across the with Indiana University, writes: “In the October 1 issue you nation. In many cases, this event gives the community its omitted my name from the list of prize winners at the Audu- chief contact with the art expressions its cultural-minded bon Artists Exhibition. My alabaster Melisande received the citizens need almost as much as they do bread. The success Audubon Sculpture Award.” of American Art Week during the past 15 years has been startling, benefiting both artist and layman; annually the scope is widened and additional converts are made, for con- ART DIGEST—October 15, 1945 tact with art is contagious. Behind this success lies the hard work and devotion of Carnegie Exhibition Art on Stage Darrel Austin Show Non-Objective Museum certain key people in each community, people who love art Forbidden Art Hans Moller Abstracts enough to sacrifice their own interests, roll up their sleeves Emotional Hangover Stuart-Linton Collection ...... 17 Downtown Gallery Opens Sitton’s Railroad Landscapes and go out and work for it on by-ways and main streets. U. of Iowa Experiment Mickey Walker, Artist For these selfless workers I have the deepest respect, because Whistler’s ‘‘Gold Scab’’ BemeORett POGOe vcccisetsncsseasecenousecs 23 it is far harder to stir art interest on fallow ground than Howard Cook Returns Art Book Library Notable Audubon Exhibited ...... 13 Art Auctions along 57th Street. Each year the League holds a dinner at Phila. Press Artists Washington Newsletter ...... 39 October 15, 1945 3 THE READERS COMMENT shirley Woe in Woodstock? Sir: Despite the fact that there was “Woe in Woodstock” this summer, the controversial aspect proved to be a stimu- lating and healthful experience for the HENDRICK artists here. More than 2,000 paid admis- sions to the gallery is evidence of a new interest in the Association which had, admittedly, languished during the war harry years. Further interest is shown in the names of well known painters who have this year become members of the Asso- DARREL ciation: Sigmund Menkes, Eric Isenburger, Sidney Laufman and Lee Hersch. SHOULBERG —ROLLIN CRAMPTON, Woodstock

Stand and Be Counted ® AUSTIN Sm: It seems to me that juries should be required to tell why they reject a pic- ture. This would not be much to add to paintings RECENT OIL PAINTINGS the rejection slips. If the jurors have com- mand of English, they could explain their reasons in a few words. A picture is a * To November 3 part of its creator and to be rather ruth- lessly dismissed does not conform to standards in other walks of life. Anyone who knows art history knows how wrong one-man shows GALLERIES the critic can be. Therefore, to be told 32 E. 58 ST. why you are rejected seems only fair PERLS and just. through October NEW YORK —M. Louise STAHL, Middletown, Ohio

Poor Was Articulate Str: As an ex-member of the Musical Digest, I want to praise you for giving SELECTED space to Henry Varnum Poor. This was head and shoulders above anything that modernage I have ever read in art criticism. Paint- AMERICAN ers, unlike musicians, can be articulate and certainly Mr. Poor has opened new art gallery PAINTINGS doors for future writing from painters. —NELSON ROWLEY, Philadelphia Until October 20 16 EAST 34TH STREET Tale of Two Cities Sir: What Laurence Dame, critic of the Boston Herald, means when he writes PAINTINGS By that Boston is 50 years behind the times in art is perhaps that New York is, by HELEN SAWYER comparison, 50 years ahead and that makes it about even. Relatively there is pe é&r a Tee. Opening October 22 more than a good share of conservatism here in New York. I had my formal aca- 210 East 57th Street, demic training in Boston, and I know that the artist there gets as much encourage- New York City GALLERIES ment as he would get in New York. Most M I LC 108 W. 57 ST. Boston artists painting in the modern cAnnounce idiom exhibit in New York—and eventu- NEW YORK 19, N. Y. ally locate here. It boils down to this: An Exhibition of New York does things in a bigger way, louder way, but not in a better way than the smaller cities. The average is about | the same, Playing safe in Boston elim- Important iii JACOB HIRSCH | inates all guesswork, experiment, worry ANTIQUITIES & NUMISMATICS, Inc. | and politics, and the results are no bet- ter or worse. In the long run the people P. ainlings 30 West.54 Street, New York | get the art they deserve—so what is 50 | Works of Art: years more or less in art. —JOHN SHAYN, New York arranged by EGYPTIAN—GREEK—ROMAN if | ORIENTAL | Some Do, Some Don’t Str: Delicate orchids to Picasso Peale. Wharie ee | MEDIAEVAL—RENAISSANCE PAINTINGS | —HELEN SAWYER, Truro, Mass. | DRAWINGS—PRINTS | Sir: Regularly enjoying the Dirty Pa- Through October lette. —LOouIsE JONAS, Woodstock, N. Y. paintings by Sir: The title Dirty Palette is very stu- pid and has a corny imagination, sad but atto true. —NICHOLAS MOCHARNIUK, NELL BLAINE october 16 to november 3 Woodstock, N. Y. AT THE Sir: No! No! No! Let the Dirty Palette barzansky galleries remain. JANE ST. GALLERY 664 madison avenue, bet. 60 & 61 sts. —MAvubE LA CHARME, New York OCT. 17- NOV. 17

THE ART DIGEST is published by The Art tor, Judith Kaye Reed; Business Manager, Edna $3.40; singie copies, 25 cents. Not responsible Digest, inc.; Peyton Boswell, dJr., President; Marsh; Circulation Manager, Marcia Hopkins. for unsolicited manuscripts or photographs. Pre- Marcia Hopkins, Secretary. Semi-monthly October Entered as second class matter Oct. 15, 1930, vious issues listed in The Art Index. Editorial to May, inclusive; monthly June, July, August and at the post office in New York, N. Y., under and Advertising Office, 116 East 59th St., New September. Editor, Peyton Boswell, Jr.; Associate the act of March 3, 1879. Subscriptions: United York 22, New York. Telephone VOlunteer 5-3570. Editors, Josephine Gibbs, Ben Wolf; Assistant Edi- States, $3.00 per year; Canada, $3.40; Foreign, Vol. XX, No. 2, October 15, 1945. 4 The Art Digest Vol. 20, No. 2 October 15, 1945

Josephine Gibbs, Janet Clendenen, Associate Editor Editorial Assistant Ben Wolf, Rogers Bordley, Associate Editor Foreign Editor Judith Kaye Reed, Marcia Hopkins, Assistant Editor Circulation Margaret Breuning, Edna Marsh, Contributing Critic Advertising

J. Stogdell Stokes: F. C. Watkins. 3rd Prize $500 The Survivor: GEorGE Grosz. Awarded Second Prize of $700 Carnegie Exhibition Provides True Cross-Section of U. S. Painting ANDREW CARNEGIE believed intensely legend since war conditions made them landscapes of old line academicians Gar- in the destiny of the English speaking all-invitation affairs. The thing that ber and Redfield to the bona fide sur- peoples through democratic processes, struck me most forcibly about the realism of Ernst and the pure abstrac- and the social responsibility of great exhibition is the uncanny accuracy with tion of Suzy Frelinghuysen. The great wealth. Long before his retirement from which O’Connor accorded true propor- body of work lies somewhere in be- active participation in business in 1901, tional representation to all the differ- tween, with the axis, as in our national he had selected his personal role in ent kinds of painting that live side by politics, just a little left of center. The making the latter implement, aid and side in our democracy. result is unique—a balance seldom if abet the former—education. Presum- This representation goes from the ever found in juried shows, and an ex- ably, the object of the first Carnegie traordinary testimonial to the selfless- International Exhibition of Contempor- The Quarantined Citadel: PHILip ness as well as the knowledge of the ary Painting, held in 1896, was to edu- Evercoop. Second Mention $300 selector. No one is. going to like every cate the people of Pittsburg in matters exhibit. Everyone is going to like some of the art of their day. But long ago of them. this famed annual became local only The prizes—awarded by museum di- in locale; it became of national and rectors George H. Edgell of Boston, international importance in the world David E. Finley of the National Gal- of art. During World War I the exhibi- lery, and Bartlett H. Hayes, Jr., of An- tions were suspended. Through the in- dover—went to a consistently fine lot finitely greater complications of World of paintings, just a bit to the right of War II, including a near five-year loss the show as a whole and the general to the Army of Director Homer St. trend in prize-giving over the past year. Gaudens, Carnegie has carried on (ex- The meteoric rise in the art world of cept for 1942) with exhibitions of Amer- Iowa’s young Philip Guston has cul- ican painting that have more than held minated, within the last month in three its franchise for providing one of the selections of his work by the critics country’s top annual art events. for the show at the Armory (a posi- “Painting in the United States, 1945,” tion shared-only with veterans Marin 350 paintings by 350 Americans, which and Weber), and Carnegie’s first prize was formally opened at the Founder’s of $1,000. Sentimental Moment (see Day Exercises on October 11, would cover) is a sober, serious work with please founder Carnegie. It is all and some fine passages of painting. To me everything that the title implies and it lacks the completeness of statement then a little more. The success with that characterized his canvases chosen which Acting Director John O’Connor, by the critics. Certainly it won’t create Jr., has picked superior examples of the sensation of other famous Carnegie artists’ work for his shows has become firsts such as Blume’s South of Scran- October 15, 1945 5 The Widow: JULIAN Levi. Fourth Mention, $100 The Bridge: Louis GUGLIELMI. Third Mention, $200 ton or F. C. Watkins’ Suicide in Costume. near-perfection, (As Ben Wolf remarked anced by the dancing rhythms of Stuart The second prize ($700) went to The in his Corcoran review last Spring, Davis’ little G and W (they are sep- Survivor by George Grosz, a world and Strip Tease is not photogenic—it was arated by a typical head of a child by war commentary so definitive, so per- one of our most unpopular covers). Farnsworth—an odd arrangement that fect a marriage of idea and execution Kuniyoshi’s Mother and Daughter turns out happily for all three). Notable, that it should discourage anyone, even (ineligible for award) is not only a su- too, are Kantor’s Off Short; Gonzales’ Grosz, from ever trying to equal it. perior painting, but is packed with emo- Blue Still Life; the haunting poetry of The horror of the subject and its emo- tion unusual for this artist. Burchfield’s Reuben Tam’s Ominous Reef; and a tional impact is matched only by the Mid-June, filled with light, heat and Braque-like still life by Philip Elliot. beauty of paint and design. Franklin the motion of giant butterflies, is the Paintings of signal accomplishment Watkins, the only previous Carnegie consummate development of the artist’s by varied means are: Peter Blume’s winner, received third prize for his earliest manner of painting, to which he small, technically perfect Excavation; creative portrait of Philadelphia Mu- returned a short time ago after many Breinin’s romantic study in yellow, fleet seum President J. Stogell Stokes, noted years of work in a more realistic vein. of figure, Bathers and the Sea; Gwath- more than once in this publication as The field of abstraction, well repre- mey’s boldly patterned Lullaby, one one of his finest portraits. sented and unaccountably passed over of his social sermons which Andrew Pittsburger Samuel Rosenberg, Car- by the prize jury, contains expected Carnegie, large benefactor of Tuskegee negie alumnus and professor of art, and unexpected pleasures. My vote for Institute, would have understood and received first honorable mention for first goes to Tomlin’s handsome green approved in idea if not in execution; Israel, a patriarchal head executed in Arrangements, followed closely by Suzy John Rogers Cox’ stereopticon Tall his latest, semi-abstract manner. The Frelinghuysen’s beautifully balanced Grass; Hopper’s sunlit The Martha Mc- Quarantined Citadel (second honorable Still Life. The static weight of Dove's Keen of Wellfleet; Leon Kelly’s pre- mention) by Philip Evergood is the Arrangement in Form II is counter-bal- cisely surreal Chess Landscape; Reving- best organized and most effective can- ton Arthur’s colorful Baptismal Cere- vas of his that I have seen in this par- Israel: SAMUEL ROSENBERG mony in Alabama; the lonely, grey- ticular style. The third and fourth hon- Awarded First Mention and $400 green composition of T. Stamos, Little orable mentions went to two top notch Bird on Rock; Pittman’s nostalgic paintings that are joys without reserva- Mixed Bouquet; Berman’s classic-sur- tion: Guglielmi’s The River (now real Daphne; a poignant Woman in Eve- owned by the Art Institute of Chicago), ning Dress by Kerkam; Sheeler’s small, rich in color, beautiful in the precision vivid Coal; Osver’s malevolent Red of its design; and Julian Levi's sensi- Ventilator; Liberte’s New England tive, melancholy Widow, the very es- Wharf and Isenburger’s Still Life in a sence of loneliness (reproduced on the Country Home. Dicest cover last March 1). Two salon-size pictures hanging on Obviously, seven prizes couldn’t take the same wall by two of our best fig- care of all the prize-worthy paintings ure-draftsmen, The Trio by Corbino and among these 350 works. The Craigs by The Tattered One by Rico Lebrun, both Mattson is, I think, the finest non-ma- impressive, are primarily drawings in rine he has ever painted; Brook’s dis- paint. In entirely different ways, but tinguished Gina one of his finest por- with equal success, line is a most im- traits. Dan Lutz’ Spring at the Ranch would have few competitors for a color portant ingredient in Zerbe’s St. Etienne award. Probably the fact that they won du Mont and Hanson's Dancers Resting. firsts at the Philadelphia Academy and The exhibition is well levened with Corcoran last season accounts for the genre merging into whimsey and fan- inattention to Rattner’s glowing, semi- tasy. A few of these checked as being abstract Kiosk and Marsh’s Hogarthian from good to the best of their kind are Strip Tease in New Jersey, in which his canvases by. Bosa, Duren, Doris Lee, earliest and latest styles combine with [Please turn to page 19] 6 The Art Digest Some Outstanding Pictures in the Carnegie “American”

Top LErt—Arrangements by Bradley Walker Tomlin. Top RiGHT—Excavation by Pe- ter Blume. At RicHT— Spring on Ninth Avenue by Louis Bosa. BELOw LEFT —Tall Grass by John Rogers Cox. BELow RiGHT—The Tattered One by Rico Lebrun (See Opposite Page).

October 15, 1945 what purports to be a farm in Connec- ticut—the recently acquired home of the artist. None of this masquerade is going to fool anybody, any more than Pan and Zeus did when they assumed human form in order to do a little slum- ming. Several new trends are evident in Austin’s work (he was never static, nor afraid of experimenting). His gamut of color has increased enormously, as have his surface textures and subjects. The Blue Bull, just bought for the William Rockhill Nelson Gallery as an extra- curricula gift of the Westport Fund, is a handsome painting in his best known vein. The Bison and The Elephant, on the other hand, show a simplification that is very effective in giving weight and mood to these ponderous animals. There is a breath of in Summertime, its graceful figures in shimmering white set in a deep land- scape. The Fireflies and Gray Land- scape are ultra-romantic, imbued with a fin de siécle elegance. The shade of passes over Charcoal Run, Connecticut, bold and bright in treatment and color. Yet these, and other sallies into still The Blue Bull: DARREL AUSTIN other directions are pure and unmistak- able Austin. Not all are successful, but even the ones that aren’t indicate that Darrel Austin Opens Most Varied Show the artist, for all his unswerving belief in his own genius, isn’t yet content to ONLY FIVE YEARS AGO an unknown painting than.a Caruso could go on not settle into a comfortable rut, however painter named Darrel Austin intro- singing. Within a year of going back to profitable.—Jo GrsBs. duced what turned out to be a breath- pigment and palette knife, he has pro- lessly waiting public to a world of his duced a group of 24 canvases, his most own creation—a swampy, moonlit world varied so far, which Klaus Perls, his Latest by Reisman inhabited by strangely human beasts “discoverer,” mentor and dealer is and ethereal, wraith-like creatures, the showing at the Perls Galleries from RECENT PAINTINGS by Philip Reisman moist air laden with the sound of wind October 8 to November 3. at the A.C.A. Gallery suggest a com- bells and the eerie notes of flute and The fallow period preceeded fruitful- plaint, only too rare these days—we reed. This magic land appealed so in- ness. Austinland has expanded, become get a little too much for our money. stantly and to so many people that in more recognizably human and domesti- That is, in general, there is so much less than three years the artist became cated. Those wonderful wild beasts are detail that the effect is confusing. The a “modern master.” Collectors and mu- back again, joined by the most appeal- very qualities of the work, liveliness, seums fell over one another to buy his ing of spotted hound “dawgs.” The dark- movement and direct statement obscure canvases before they were dry. Then, eyed mythological maidens have pro- the clarity of the designs. with induction into the Army, he duced children and put on clothes of Fish sheds, canning factories, street stopped painting. trailing Edwardian grace to parade in scenes, bars and grills are the principal But Austin could no more go on not deep and shaded parks. There is even subjects. They have all been observed intently and reported veraciously so The Bison: DARREL AUSTIN that they are immediately convincing. Reisman’s color is no small asset in his paintings, as well as the knowing use of light. His light seldom forms striking contrasts of illumination and shadow, but percolates in a soft diffu- sion throughout the canvases, relieving the dimness of interiors and bringing out shapes and forms with sharp defi- nition. The brushwork is sure, although sometimes the swept-up pigment of the impasto is rather brittle. Cleaning Fish in Cannery, showing the figure of a man set against the soft radiance of a window, is one of the most successful items. The charac- terization of the man is excellent, both in its soundness of substance and in its revelation of personality, while all the implements and minutiae of his work are ably arranged this time in a satisfyingly clear design. Other can- vases that are successful in focusing the varying movements of crowded fig- ures into unity of impression are: Bry- ant Bar and Grill, Torch Singer and Dark Shed With Skylight. Some of the other canvases such as The Mackerel Machine or Service Flag left one ob- server, at least, “hot and bothered.” (Until Oct. 20.)—MARGARET BREUNING. The Art Digest Emotional Hangover CHIEF JUSTICE HOLMES once said that freedom of speech did not give a man the right to cry “Fire” in a crowded theatre. By the same token freedom of expression, in this reviewer’s opinion, does not carry with it permission to disregard the basic laws of structure and form that have motivated valid esthetics from the beginning of crea- tive expression. Laws, it will be argued by the icono- clast, have a way of being arbitrary and wind up like the old man of the sea on Sinbad’s shoulders with a stran- gle hold on the artist. This is an easy way out. To compose music and trans- late it through the medium of the piano it is not enough to know how to hum. There is a great deal of humming going on in the current exhibition, titled Autumn Salon, at Art of this Century. This review is not intended as an in- dictment of this particular gallery or of its progressive director Peggy Gug- genheim. It is simply that there has been entirely too much double talk among the so called Avant Garde and too little grammar. To point things up in this particular case, to reach the current exhibition at the galleries, one must run a gamut through excellent examples by Chirico,: Picasso, et al. Men who combined their highly per- sonal biases with sound technique and knowledge of media. One must sur- round an eclectic statement with more than a gilt frame. In short an emo- tional hangover is not improved by union with a gallery wall. Here Joseph Funck finds inspiration Cassandra: CarRL HOFER in hardware framed by bed-ticking. Robert di Nero is not afraid of color but should be of composition. Adolph They Dared to Speak in the Third Reich Gottlieb flees from the atomic bomb AMONG THE GALLERY directors who hibition on the grounds that, and we and finds solace in an adoption of the realize that dramatic presentation helps quote the Fuehrer . . . “There are no archaic that the aborigines understood even the best assembly of pictures is red or blue horses.” better. Julian Beck shows an explosion Karl Nierendorf who points up his cur- Xaver Fuhr achieves a telling wed- of orange, shocking pink and green that rently splendid show, Forbidden Art of ding of line and pigment, while Josef does little except explode. Ted Bradley the Third Reich, with terse, poignant Schar] is represented by two works that plays a variation on a theme by Leger. biographies of the plastic protestors in this reviewer’s opinion far outstrip Paul Wilton would do well in textiles who opposed Nazidom and all it repre- the canvas by which he was re resented as seen in his design that would make sented. Death, self exile, and in many in the recent Critic’s Choice Exhibition. a better dress pattern than it does a cases relentless persecution was the lot George Grosz and Otto Dix are present painting. of these men who had the courage to with the only really pure social con- Now let’s get on the credit side of speak out when an opposing whisper scious art, as we have come to define the ledger. Pousette-Dart does under- was tantamount to treason in the black it. Oscar Kokoschka, now a resident of stand what this business of the abstract days of Hitler’s power. They could not the England that gave him asylum dur- is all about. Sculptor Foster Jewell be silenced and their work has outlived ing the last years, is shown with two carves a graceful form—understanding those who sought to destroy them and important examples—Adam and Eve, wood and his tools. The result, while it all for which they stood. sensitively balances blues and violets; shows kinship with Brancusi, is by no This exhibition must not be construed and Nude, handsomely striking with its means imitative. W. S. Hayter is re- as so much propaganda. On the con- smashing vermillions. Max Beckman sponsible for one of the really mature trary. These men were not taboo be- and Joseph Albers display their knowl- works in the show. Color and form bal- cause they caricatured their masters edge of space control. Exhibition to con- ance, and result in a satisfying har- (with the exception of men like Grosz tinue through October 31.—BEN WOLF. mony. There is an imaginative fantasy and Otto Dix), but simply because they by Clyfford Still. The exhibition con- did not conform to the antiquated Vic- Worcester Treasures Returned tinues through October 29.—BEN WOLF. torian notions of Art and because, and this is a prime reason, they might make One of the few pleasant aftermaths Pictures of Paris people think. And thought is incompat- of the war is that of becoming re- Floyd and Gladys Rockmore Davis’ able with dictatorship. acquainted with important works of art record of liberated Paris, commissioned Among the many fine creative works that were safely stored away against ‘by Life Magazine and first shown in to be seen among these “degenerate” the possibility of air raids and are now New York this summer (see Aug. 1 paintings are a Pointillistic patterned being returned to their former homes. DIGEST), is now on view at the Boston non-objective Composition by Paul Klee; One of the most recent of these re- Museum through Oct. 28. Currently on three dramatic figure studies by Carl unions has just taken place at the a nationwide tour, the paintings were Hofer, to whom belongs the distinction Worcester Art Museum where 34 paint- completed after Mr. and Mrs. Davis of being the first to be ousted from ings, five pieces of sculpture and forty had spent a month in Paris observing the Academy in Berlin; and Franz examples of the minor arts from the the effects of Nazi occupation. They Marc’s Unhappy Tyrol. Marc died be- Museum’s permanent collection -are were widely praised during the New fore the advent of the Austrian Paper- once more to be seen after an absence York exhibition. hanger but his work was forbidden ex- of three and a half years. October 15, 1945 9 Christina: BERNARD KARFIOL Cabin in the Cotton: Horace Pippin. Lent by Roy R. Neubérger Lent by Carnegie Institute , Art Crusader, Marks Two Decades of Success TWENTY YEARS have passed since contemporary works to be included by vid Fredenthal, Head (University of Edith Gregor Halpert opened the Down- living artists, regularly showing at Minnesota); Julian Levi, Wellfleet Har- town Gallery at 113 West 13th Street in Downtown, many of which are prizewin- bor (Art Institute of Chicago); Jack New York, later moving to 43 East 5lst ners, and which are all on loan, are the Levine, String Quartette (Metropoli- Street where the Gallery functioned un- following: O. Louis Guglielmi’s hand- tan Museum of Art); Edmund Lewan- til this month. The early years repre- somely designed The Bridge (Earle dowski, Boats (Addison Gallery); John sented a period of struggle overcome Ludgin Coll.); Bernard Karfiol’s haunt- Marin, Circus (Robert Tannahill Coll.) ; largely through an unswerving belief in ing figure study, Christina (Carnegie George L. K. Morris, Nautical Com- native American art. Success came slow- Institute) ’s well known position (Whitney Museum); Georgia ly, but it came. Today canvases from sensitive Weathervane and Other Ob- O’Keefe, Canadian Barns (Lt. Wright the Downtown Gallery hang in most of jects (Santa Barbara Museum); Coast- Ludington Coll.); Katherine Schmidt, cur leading museums and private collec- guardsman Jacob Lawrence’s striking Mr. Broe Waits His Turn (University tions. Also today the Gallery owns and gouache Pool Parlor (Metropolitan Mu- of Arizona). occupies an entire building at 32 East seum of Art); Horace Pippin’s poetic Also Ben Shahn, Italian Landscape Sist Street. primitive Cabin in the Cotton (Roy (Walker Art Gallery); Charles Sheeler, Director Halpert has for an inaugural Neuberger Coll.); Niles Spencer’s Giot- City Interior (Worcester Museum of exhibition at the Downtown’s beautiful toesque Waterfront Mill (Metropolitan Art); Mitchell Siporin, Guerrillas (In- new galleries re-assembled many of Museum of Art); Karl Zerbe’s drama- ternational Business Machines Corp.); those paintings which have become tic and pigmented The Storm (Virginia William Steig, Proud Woman (Rhode known among the best examples of both Museum); and William Zorach’s monu- Island Museum); Reuben Tam, Horizon American Folk Art. and contemporary mental bronze Vita Nova (Sheldon Conditions (Edward Root Coll.); Wil- American painting. Mrs. Halpert feels Swope Art Gallery). liam Zorach, Maine (Cleveland Mu- with justice that the Gallery has had its Other contemporary paintings to be seum). influence upon directions in American shown include: Rainey Bennett, Flare Among the American Old Masters art, and sights as an example a whole Arube (Nelson Rockefeller Coll.); Ray- and folk art included are The Old Cup- school of contemporary painting that has mond Breinin, He Walks Alone (Estate board Door by William M. Harnett, the grown out of her rediscovery and cham- of Herman Shulman); Ralston Craw- last work painted by this hyper-realist pioning of the Victorian realist Harnett. ford, Grain Elevators (Phillips Memor- and now in the collection of the Boston The Gallery will officially open on ial Gallery); , New York Museum of Fine Arts; Edward Hicks’ October 15th and among the well known Waterfront (Albright Art Gallery); Da- biblical parable Peaceable Kingdom, anonymously loaned; Raphael Peale’s He Walks Alone: RAYMOND BREININ. (Estate of Herman Shulman) famed After the Bath from the William Rockhill Nelson Gallery; and Joseph Pickett’s early primitive Manchester Valley loaned by the . A visit to the exhibition will bear convincing testimony to the good taste, artistic sensitivity and executive skill of Edith Halpert. She can well be proud of her twenty-year labor in the vineyards of our native art expression. Few have equaled her success along - pioneering paths.—BEN WOLF. Success Story The six-year-old National Serigraph Society announces the establishment of Serigraph Galleries, 38 West 57th Street, which opens October 29 with a com- prehensive showing of members’ works now in permanent collections. The Art Digest A Point Proven THE UNIVERSITY OF Iowa has, for some time, sponsored the most ambitious of the artist-in-residence plans. Two, three, and sometimes four nationally known painters at a time have taught a few classes, done their own work, and mingled with the students to the extent of their individual inclinations. Dr. Les- ter D. Longman, head of Iowa’s art de- partment, decided that the results were sufficiently exciting to share with other parts of the country, gathered up an ex- hibition of students’ work and sent it to the Weyhe Gallery in New York, where it will be on view until November 7. This is serious, disciplined, craftsman- like painting, surprisingly lacking in the immaturity that so often stamps student work. Much of it is derivative, yes, but so sound in composition and the hand- ling of the medium that it does ample credit to its derivation. The influence of Philip Guston, who has worked for three seasons in residence at Iowa, is felt in Commandoes by Celia Jamison and Still Life by Earl Mueller, two of the out- standing canvases, rich in dark color harmonies and well integrated in design. Joe Cox handles figures well and with Vision of Tondalys: HIERONYMOUS BOSCH assurance; Vernon Bobbitt contributes a group of simplified abstractions that show imagination. Other canvases that Artists Who Have Dreamed in Other Worlds would more than hold their own in much the National Gallery. American kins- more ambitious gatherings are Oil Der- IsoLATED from the main stream of man of Blake for his similarly unique ricks by Donald Anderson, Front Street painting, with its shifting emphasis on and lonely genius is the gentle romantic by Dorothy Eisenbach, and still lifes by subject and style, form and color, line Ryder, with two exhibits—Temple of William Bodine and Sari Marcus. and cube, have been the men of vision— the Mind, a beautiful canvas lent by the Dr. Longman has more than proved tortured or lyric—who have set down on Albright Art Gallery, and a Night and his point. canvas and paper their dreams of peace and terror for a wondering, uncertain the Sea. world. Belonging to no school, group Contrasting with both these artists is Alice Mattern Memorial showings of their work must cover cen- the 15th century Flemish surrealist, The Museum of Non-Objective Paint- turies and continents in time and space Hieronymous Bosch in Vision of Ton- ing is holding a memorial exhibition of and it is with this breadth of approach dalys, an interpretation of a 12th cen- 60 paintings by Alice Mattern who died that Maynard Walker and Ala Story tury Celtic poem narrating a knight’s last August at the age of 37. Born in assembled the fine showing of 35 pic- journey through the underworld—the New York, Miss Mattern attended Brad- tures of “Other Worlds” for the Ameri- same which inspired Dante’s great ley College and then continued her art can-British Art Center (to Oct. 26). poem. A literary rather than mystic study in Manhattan. She became inter- Master mystic of them all is Blake, chronicle of hell, the picture anticipates ested in non-objective pursuit in 1939, represented here by one of his famous contemporary surrealism, matching ‘when she studied with Bauer and oth- swirling watercolors, The Red Dragon Dali’s famous props with such horrors ers. The exhibition will be reviewed in and the Woman Clothed with the Sun, and incongruities as a pair of fantastic a later issue of THE DIGEST. loaned by the Rosenwald Collection of animals toasting a huge ear over an Commandoes: CELIA JAMISON. On View at Weyhe Galleries open fire and a figure whose leg is cas- ually turning into a tree (see above). The “other world” of the ancient Greeks is also represented—by Redon in a rich orchestration of deep color, The Chariot of Apollo and by Arthur B. Davies in a dark River Styx. Dreams of childhood, so idealized as to bear lit- tle relation to modern life, are found in a charmed Bubble Blower by R. L. Newman and a large Bird Catcher by George Fuller, Contemporary artists whose ap- proach spans the gulf between earlier mystics and the 20th century are Eliz- abeth Sparhawk-Jones (whose singular feminine prescience may have some sig- nificance) with a fine poetic watercolor, Chaotica, in the lyrical tradition of Blake; George Grosz in Mystic Hour, which seeks to express the hardly earth- like peace he found in Cape Cod sand dunes. Among other artists represented are Eugene Berman, Charles Burchfield, Chagall, Fantin-Latour, Edward Hicks, John and Tom La Farge, Loren Mac- Iver, Morris Graves, Orozco, Puvis des Chavannes, Boardman Robinson, John Tenniel, Rouault.—JupDITH KAYE REED. October 15, 1945 ll ette; even the glowing still life at the side of the figure, enlivening the cool color scheme, precludes any thought of Renoir. A still life by is an amazing encounter, for this care- fully considered design of a bowl of vegetables with pearly onions lying in front of it has none of the Luks bra- vura of smashing brush strokes or care- less design. It is a superb piece of paint- ing with a quality that one wishes Luks had always retained. Other highlights: an early Sargent, Young Girl, finely modelled and plasti- cally sound; The Berber by Duveneck, one of the finest pieces he ever exe- cuted; an early Hassam, Drying the Nets, enchanting in color and appro- priate design; Meadows of Memory, an early canvas by Davies, lyrical in its impression, yet simplified and coherent in its composition. Pagliacci by Lintott is notable for the painting of whites in the standing figure, as well as for the easy grace of the bodily gesture. Azaleas by Twacht- man possesses rich color and the sound- ness of form he later abandoned in his impressionistic painting. In the Studio by Sterner, a two-figure piece is skill- fully arranged, while the painting of the textures of the black costume of one figure evokes deep admiration. Other items that should have more extended comment are by Bellows, Brook, Corbino, Eilshemius, Kantor, Shinn and (through Oc- tober).—MARGARET BREUNING. Life on the Mississippi “The Mississippi ain’t a river, Mister . it’s liquid history.” Anon. American prints and lithographs of Life on the Mississippi from 1840 through the 1870’s are currenfly to be seen in The Gold Scab: JAMES MCNEILL WHISTLER the print gallery of the Mu- seum. The majority of these’ were is- sued by Currier & Ives and form a col- Whistler’s “Gold Scab” in Marie Sterner Show orful and graphic record of expansion westward during the turbulent 19th bird, part reptile, seated at a piano AN EXHIBITION of American paintings, century. The exhibition also contains a arranged by Marie Sterner, at the Gal- (Leyland was an accomplished musi- collection of prints of famous steam- lery of French & Company, includes cian), gold pieces exuding from his boat races so dear to the heart of Sam- widely divergent aspects of American plumage and covering the claw-like uel Clemens. art that have obviously been selected hands on the keyboard. Bags of money Sixty-five prints are included in the are stacked on the piano and the per- for their intrinsic value, rather than show and were loaned for the occasion for the meretricious glitter attached to former is_geated, not on a piano stool, but on #’small white house. This effect by the Preston Player Collection of well-known names. Knox College Library; the New York An astonishing item is a portrait by was chdsen by the artist fo indicate Historical Society; the Old Print Shop; Whistler, never before publicly exhib- that he felt that Leyland, as one of and Kennedy and Company. The exhibi- ited in any country. Entitled The Gold the directors of his bankruptcy pro- tion will. continue through December ceedings; Was responsible for the loss Scab, it is a malevolent caricature of 10th. the artist’s. patron, Leyland, a wealthy of the beautiful “White House” he had ship owner who aspired to be a modern caused to be built for himself and only Medici in his patronage of the arts. enjoyed for a few months. Whereas, 76,000 See Armory Show Whistler created the famous Peacock everyone knew that it was the costs One of the largest local attendances Room for Leyland’s magnificent house, of Whistler’s lawsuit with Ruskin that was achieved by the Arts and Antiques demanding at its completion two thou- had exhausted his finances. Show (more popularly known as the sand guineas for his work. Leyland con- Rancor can scarcely go further than Armory exhibition) where approximate- sidered the price excessive. Moreover, this devastating performance—the Mes- ly 76,000 visitors purchased more than he bitterly resented the fact that dur- tophlean face turned towards the spec- a million and a half dollars worth of ing his absence the artist had been tator, the sinuous, crouching figure, the furniture and paintings during its seven holding a sort of salon in the room, rapacious hands, and the placard on day run at New York’s 17th Regimen- exhibiting it to his friends and pat- the piano, which reads, The Gold Scab, tal Armory, which closed September rons. An Eruption of Frilthy Lucre—a pun 30. He sent a check to Whistler for one on the fact that Leyland was addicted The wedding of contemporary art, thousand pounds. Not only the reduc- to wearing a frilled shirt front. furnished by the controversial critic’s tion in the price set infuriated Whist- . a *” * choice section with art dealers’ exhibits, ler, but the fact that he was paid in Among the high spots in the group, and antique furniture proved so suc- pounds like a tradesman, not in guineas which is practically all high spots, is cessful that sponsors Seymour Halpern due an artistic creation, added to his a Portrait of Mrs. Glackens by Glack- Associates plan to repeat the combina- wrath. The rupture between them was ens, which in its exquisite adjustment tion in later expositions, including the final. of grays, blacks and notes between them National Antiques Show coming to The portrait depicts a figure, part escapes any suggestion of Renoir’s pal- Madison Square Garden in March. 12 The Art Digest Hawk and Otter: JOHN JAMES AUDUBON (1844) Notable Audubon Features Early American Exhibition AUDUBON ENTHUSIASTS will be glad to apart from his less observant would-be with figures are by Asher B. Durand. learn that a little known but important rivals in his particular field. Thomas Hewes Hinckley is present example of the American naturalist- A large figure study by the pre-revo- with Hunters, showing a partially con- painter’s work is included in the Nine- lutionary portraitist Gustavus Hesselius cealed decendant of Nimrod watching teenth Annual Early American Paint- (1682-1755) titled Miss H. is a sensitive his dogs attempting to flush game from ings Exhibition, current at the Ferar- and appealing period piece and incor- between two boulders. Philadelphia’s gil Galleries on 57th Street. porates a corner of an organ in the James Peale, Sr., found inspiration in A large dramatic oil, it depicts an lower right of the canvas, An interest- the Wissahickon country that was much otter feating upon a plump salmon and ing historical sidelight reveals that the later to form the locale for many of snarling defiance at a hawk that seems artist was the manufacturer of the Thomas Eakin’s canvases, There is a quite prepared to join the dinner. Of first organ to be built in this country typically meticulous still life by 19th museum quality, the canvas evidences besides being one of our early limners. Century realist William Harnett titled the versimilitude that sets Audubon Also, two highly romantic landscapes Gun and Ducks.—BEN WOLF. Through Jungle and City With Howard Cook Howarp Cook is holding an exhibi- and sacrifice; Death in the Jungle is tion of oils and watercolors, at the poignant tragedy. All of these scenes, Rehn Gallery. The impeccable drafts- executed vigorously in simplified, well- manship and structural soundness char- organized design, give tribulation and acterizing Cook’s graphic work are to stoical endurance vivid, concrete pic- be found in these paintings. The show- torial forms. ing is divided both in mediums and in Among the watercolors, Rockefeller subject matter, the watercolors con- Center, its thrusting verticals and cut- cerned with vistas of New York City ting horizontal plane silhouetted by and landscapes, the oils with scenes glamorous light and color; the play from the Pacific area, where the artist of form and color in Dark Milk Weeds was in active service. and the weaving of delicate hues and It is an astonishing contrast to turn interlacing lines into a striking ara- from the sparkling watercolors to the besque of decorative design in Wild grim canvases of jungle and foxholes, Rose Bushes are some of the outstand- yet in both series one feels the impact ing accomplishments. Yet none of the of the artist’s personality—he reveals items surpasses Snow Storm, a vista not only a trained observation and of roofs with strange pyramidal forms sensitive perception of essentials, but jutting out and tall towers behind ris- further an individual reaction to the ing to the horizon, while soft plumes we ~EeeFw thing seen and a personal interpreta- of steam float above the snow-covered tion of its significance. buildings. The detail is intricate, yet Arresting canvases are: South Pacific the picture is clarified into a harmon- Deluge, a column of weary, plodding ious unity of expression (see reproduc- men fairly beaten down by a torren- tion at right). The exhibition may be tial downpour; Field Dressing Station oe eS seen until Oct. 20. is an epitome of war’s toll of misery —MARGARET BREUNING. Snow Storm: Howarp Cook October 15, 1945 13 The Distaff Side UNFORTUNATELY, the painting section of the 21st Annual of the New York Society of Women Artists must be. la- bled a dull affair. The 150 oils and watercolors on display at the Riverside Museum vary in style from the blatant abstractions of Dorothy Orloff to the sweet memories of childhood by C, De- rith Mead, but the exhibition, neverthe- less, is characterized by technical in- eptness, unimaginative choice of subject matter and surprising lack of original- ity. The high points in the show are found in comparatively few works by an even smaller number of members and many of these, too, show evident influences by better known artists. Turning in con- sistently superior performances are Lena Gurr, with a capable statement of Nazi brutality in Nightmare; Frances Pratt, who shows three skilled water- colors in the mystic vein of the earlier Morris Graves; Ethel Katz in vigorous Maine watercolors. Individual works by Frances Avery, Blanche Lazzel, Ade- Philadelphia City Hall (1901): laide Lawson, Anne Steele Marsh, Gail Trowbridge and Theresa Bernstein are also notable. Philadelphia Story—Told by Four Artists The 15 pieces of sculpture included in the exhibition stack up much better, THERE ARE NO CANVASES by Robert stands out as one of his major achieve- and contrary to those in most large ex- Henri included in the Artists of the ments with its smashing lights and hibitions maintain a much higher level Philadelphia Press exhibition, currently darks, Ballet Girl on Pedestal evi- than the paintings. Doris Caesar shows on view at the Philadelphia Museum, dences the artist’s love of Fragonard. two works, Hunger and Head of Jeanne, but his influence is clearly present in Alexander Bridge, Paris is a compell- which should not disappoint her ad- the earlier works to be seen by Glack- ing pastel impression while an oil titled mirers. Kermah exhibits a rewarding ens, Luks, Shinn, and Sloan, It was Bastille Day would have appealed to marble, Dual Personality; Clara Shai- Henri who convinced the then young Whistler and thrown Ruskin in a rage. ness, two fine wood sculptures and Bea- artist-reporters that they should at- John Sloan has the greatest number trice Stone, a competent nude. Some- tempt fine art, and it was with him they of entries in the exhibition (counting what disappointing are Mitzi Solomon’s met, talked, and were inspired by, at his graphic output). Among his oils are Aspect of Pain, a bronze mask worked his Philadelphia studio. his amusing and penetrating Hair- inside and out which is clever but A word about the Philadelphia Press. dresser’s Window and his atmospheric tricky, and Ellen Key-Oberg’s offerings A newspaper started in 1857, it contin- In the Wake of the Ferry. The ugliest which fall short of expectation.—J. K. R. ued until 1920 when it was absorbed building in Philadelphia is made a thing by the Philadelphia Ledger. Stuart of beauty in City Hall, East Entrance. Consistent Kurt Roesch Davis’ father was one of its art direc- It would be worth anyone’s time to tors during the period when the “Big make the trip to Philadelphia to see the It would be difficult to attempt clas- Four” covered the calamities and gen- important contribution these men have sification of Kurt Roesch’s work. He eral events of the day for the news- made to American art. Unfortunately defies cubby-holing. Let it suffice that paper before the advent of half-tone that is the only way that this show it is abstract in idiom but never loses displaced the artist’s graphic role in may be seen, as Henry Clifford and touch with life. Aside from his “people,” the press. Carl Zigrosser, who are responsible for fish, birds and insects fly and swim In honor of these men more than 60 the assembling of this exhibition, in- through his canyases currently to be canvases have been hung. William J. formed this reviewer that no plans seen at the Buchholz Gallery in New Glackens is represented by The Drive, have been made to send the exhibition York. Central Park, a work that can take its on tour at the close of its present show- Fishtrap is a triumph of balance, place without blushing with the best of ing on Nov. 18.—BEN WOLF. while Winding Yarn is outstanding for the like output of the Continent of that its swinging movement. Fish Meeting period. Also shown is his late Soda delves deep beneath the ocean and af- Fountain, with the artist’s son depicted Color of Cuba fords a glimpse of a watery world en- in the role of soda-jerker. One of the Guaranteed to dissipate the chill larged through the artist’s approach. finest Glackens present is a large oil warnings of a cold winter is a visit to The picture of Insects is remembered titled The Dream World. The painter the Feigl Gallery where the walls are for its gamut of blues, Bridge Players based the picture on a pastel sketch vibrant with the color and lushness of is not without amusement, while Dance made by his young daughter and lost tropical Cuba, The paintings, which in- of the Moths is alive with restless none of the charm and childish fantasy troduce Mariano Rodriguez in his first wings. A pastel titled Frightened Bird that the original contained. one-man show—he has been seen in shows the artist’s ability to handle this George Luks is well represented. exhibitions at the Museum of Modern medium with the same resultant sure- There is an arrogant and colorful fig- Art and the —express ness evidenced in his oils.—B. W. ure study titled Czecho-Slovak Chief- the exuberance of his native land. tain that hangs near a seldom seen, Rodriguez was born in Havana in Bearden Bought poetic child study of a little girl named 1912. His formal study was accom- At this writing, four days after the Lil. Otis Skinner is depicted rakishly plished in Mexico with Rodriguez Lo- opening of the first one-man show of by Luks in his leading role in The Honor zano but in his works, which cover the paintings and watercolors of Romare of the Family. The Player by Luks past five years, there can also be found Bearden at the Samuel Kootz Gallery is in.excellent condition—its greens and earnest study of Picasso and other in New York, seven of the twelve oils yellows as brilliant as when they were moderns, particularly Matisse and Bon- and ten of the eleven watercolors painted. This unfortunately is not the nard. The total impression, however, shown have been sold. Among the pur- case with Little Madonna which is sadly is that of a striking painter whose ar- chasers were Duke Ellington, Samuel cracking or the fading Spielers. rays of color and rhythm are spontan- Lewisohn, Roy Neuberger, artist Yeffe Everett Shinn’s London Hippodrome eous.—J. K. R. Kimball and DicEst critic, Ben Wolf. 14 The Art Digest Art on Stage For THE BALLET THEATRE’S new pro- duction, On Stage (first new ballet of the company to premiere during the Theatre’s season at the Metropolitan Opera House, current through Nov. 6), Oliver Smith has designed a setting which successfully overcomes subject limitations. Since the action of the ballet takes place during a stage re- hearsal Smith had to devise a set which gave color and interest to a necessarily bare locale. Against a conveniently neu- tral dark curtain he arranged a series of suspended color screens represent- ing lighting and prop equipment. To- gether, the screens form an effective overall abstract pattern for real props, such as piano, ladders and platforms. The large flat areas of the screens are broken up into color spotting of rich purples, reds and yellow greens which provide sufficient decorative glamor for a ballet within a ballet. For some dream sequences these screens are blacked out and the background screen, under special lighting, becomes luminous and spell-casting, silhouetting against it the Two Views of the Solomon R. Guggenheim Museum of Non-Objective Painting heroine dancer and hero stagehand. (see August DicEestT). Model of million-dollar building designed by famous modern Also modern in mood is the same art- architect, Frank Lloyd Wright, to be erected at Fifth Avenue and 89th Street, ist’s handsome decor for Michael Kidd's New York, opposite the National Academy, when the present chaotic post-war ballet, Fancy Free. The action of this conditions permit. Above is the exterior of the unique monolithic concrete struc- dance involves three sailors, a bar, and ture. Below is a cut-out of the spiral exhibition gallery, three-quarters of a mile inevitable trio of girls, set on a New long and sloping gently, reached by a ramp. Cuts, courtesy of The Museum News. York street in summer. For this light- hearted ballet Smith provided a spark- ling blue and white backdrop represent- ing the lighted fairyland of city build- ings at night, against which was con- structed the skeleton interior of a bar, in freely-conceived angles and curves. Painted a warm brown, the bar, to- gether with curtain, provides a good foil for the white uniforms and vivid coloring of the girls’ dresses. The off- center placement of the barroom per- mits both indoor and outdoor scenes to be played without a change of scenery. Seen in this season’s repertoire, too, is Eugene Berman’s scenery and cos- tumes for Romeo and Juliet, which com- bines traditional decor with more mod- ern concepts of functional elasticity of set. There is only one change of decor for the dance, which covers numerous scenes. The prologue and epilogue are both played against a painted curtain while the main actions of the dance occur against a cleverly-planned con- struction of balcony and columns through which the skyline of Verona may be seen. The recession of columns, which step back on both sides to meet in the cen- At the New Age Painstaking Primitive ter, creates a large space which serves The New Age Gallery, which recent- An instinctive feeling for design and alternateiy as the Capulets’ orchard, ly changed its name from Artists Asso- pigment mark the canvases of pains- the church where the lovers are wed, ciates when it was reorganized, is still taking primitive, Joseph Victor Gatto, a street where Mercutio and Tybalt a co-operatively managed gallery and now on view at the Barzansky Galleries meet their death, the lover’s chamber, one which presents a fine opportunity in Manhattan. Aside from his lush, Juliet’s dressing room, the funeral hall for new talent. The current show mysterious and Rousseau-like jungle and the scene in the vault. For some (through October) comprises works by scenes, this reviewer was charmed by of these scenes, curtains—painted or members and sponsors and is both lively Madison Square Garden. The vast sea white—are drawn between the arches and varied. of spectators in this canvas has been by costumed attendants in Chinese Memorable among the works are individually considered, giving it the theatre fashion. Another simple exped- Beatrice Mandelman’s Mexican study, appearance of a mosaic. ient furthers this illusion of change: Back Yards, well-planned in color and Journey Through the Planets is the a series of screens, representing a bright composition and capably presented in product of an ether dream and shows or gloomy sky at different times of rich pigment; Mervin Jules’ flavorsome no paucity of imagination. Nickelodeon day, are dropped behind the arches. New York genre, Street Scene; Yngve is a nostalgic work while the several Throughout deep-toned rich colors are Olsen’s watercolor, The Road; George Cabaret Scenes show keen powers of used to create the feeling of doomed Constant’s Young Girl; Dorothy An- observation which when combined with splendor which pervades the’ Shake- drews’ thoughtful semi-abstract Alley- the artist’s naivete of approach, ring speare pageant.—JuUDITH KAYE REED. way, Sidney Sprung’s Head.—J. K. R. the bell. (Through Nov. 3.)—B. W. October 15, 1945 15 dent, color to accentuate his designs, or again weaving a flat pattern of muted tones successfully. Moller is not only an excellent craftsman, but an art- ist of original ideas, which he is able to express in his own idiom of painting. (Through October.) —MARGARET BREUNING. In Home Setting THE GROUP OF PAINTINGS, which marks the opening of the second season at the Bertha Schaefer Gallery, is one of the best exhibitions yet held there. It is pleasing to find varying his procedure with an unexpected bril- liancy of palette in Flowers and Fence. Nicholas Vasilieff contributes one of the kingpins of the showing in Still Life With Grapes, a bouquet of flowers, a bowl of grapes and some pieces of fruit on a table that subtlety turns before one’s eyes from black to green. The quality of this painting is noteworthy. Milton Avery’s Flower and Sea is a little on the precious side, but has en- chanting color. Carl Sprinchorn’s Holly- Cock Fight: HaNs MOLLER hocks, an upright panel, conveys a sense of lush maturity in its handsome blos- som. Ben Zion’s Thistles is fine in its Hans Moller Abstracts Essentials—and Wit effective arrangement of a compact bouquet of heavy-headed, purple this- HANS MOLLeER’s exhibition of paint- ness and impressiveness of the first tles against an ogive window which ings, at the Kleemann Gallery, pre- one. glows in deep blues. My botanical know]- sents a spirited effect. Sharp linear pat- Pigeon, in its extreme elongation, edge is probably defective, for I did terns that do not appear to have a does not suggest that compact, puffy- not recognize the foliage in its rhyth- definite relation to the colorful all-over breasted bird, but Cows, a closely-woven mic convolutions as characteristic of designs, provide a sort of impetus to tapestry of nicely-adjusted shapes and thistles, but nothing could be more of their movement. In general, the work contours, is true to bovine anatomy as is abstract, but possesses a representa- well as to art. A spirited Cock Fight, in a foil for the flowers. tional motive in witty conceptions. which the forms are indicated, rather ’s Still Life With Red One of the most engaging canvases than depicted, gains intensity from the Cheese and Alfred Maurer’s Still Life is Crystals, the acute gray forms with patterning of brilliant red triangles With Pears bear an astonishing resem- blance in palette, and in their arrange- glittering edges set against a pale back- throughout the canvas. Another paint- ment of solid forms in rich pigment. ground. Don Quixote I, the drooping ing on this theme shows the combatants An imaginative Garden Abstraction by form of the knight, the dejected but more clearly in lively action ,the acuity patient steed, Rosinante, and even the of the linear pattern set off by glowing Benjamin Gershon, an admirable figure windmill are all included in an ably- color. piece by Louis Harris, an Interior by designed canvas, which seems to be im- The artist has a wide range of pal- Joseph Solman and a flower piece by bued with a subtle aura of frustration. ette, skillfully employed, using at times Louise Bourgeois are included in the showing. (Until Oct. 30.) Don Quixote II lacks both the concise- areas of deep, glowing, yet never stri- —TMARGARET BREUNING. John Adams Dix Dies John Adams Dix, the stockbroker who abandoned a business career to turn KNOEDLER professional painter at the age of 40, died October 2 at Northern Westchester Hospital, N. Y. He was 64 years old. Dix was the grandson and namesake of John Adams Dix, United States Sena- tor, Governor of New York and Sec- retary of the Treasury under Presi- bias 1 ED dent Buchanan. Dix’s first break with Wall Street occurred when the United States en- PAINTINGS tered World War I and Dix left for overseas with the 310th Field Artil- lery. He never went back to business for “When I got back from France,” he explained, “it simply came to me, as Modern and it did to so many others, that there was very little reason why I shouldn’t do as I wanted—paint.” His first ex- Old Master hibition was held at the American Art Association—Anderson Galleries in 1930, followed by other one-man shows at the Ferargil Galleries in 1933 and 1934. Critics then noted his landscapes and 14 East 57th Street, New York marines, as well as the etchings to which he turned later. He leaves a wife, Mrs. Sophie Townsend Dix, a daughter, Pa- mela and two sons, Dennis and Michael. 16 The Art Digest Lois Bartlett Tracy A LARGE GRouP of paintings, ranging from straight landscape depiction to semi-abstract, expressionistic works of religious inspiration, introduces Lois Bartlett Tracy to New York at the Nor- lyst Gallery this fortnight. Although this is her first show in the national art center, Mrs. Tracy has exhibited in many parts of the country, chiefly with the Florida Federation of Arts Exhibi- tions, where she won numerous awards, and with the Southern States Art League, and New Hampshire Art As- sociation. Explaining her work, Mrs. Tracy said: “I try to realize the inner spirit of my subject and recreate through construction of overlapping planes the same movement and coherence I find in God’s creation.” To this end she works, in her relig- ious pictures, in an imaginative idiom compounded of expressionistic color, simplified drawing and at times ab- stracted forms. Notable among. this group are All One (where the father, Madonna and Child are set against an ocean and sky),Stilling the Water and Too Little Faith. Best among the land- Danaé: J. B. GREUZE (Dated 1763) scapes and mood abstractions are Rocks ‘ and Trees, a strong, novel composition, Stuart-Linton Collection in Hagerstown fine in color, and Farm Landscape, re- membered for its free use of sweeping LONG, LONG AGO, H. R. H. Adolphus The large, fashionable portrait of thin pigment.—JuUDITH KAYE REED. Frederick, 1st Duke of Cambridge and Elizabeth, Countess of Devon, was paint- brother of George IV, presented some ed by Van Dyck about 1638, at the Peter Miller’s Second forty-odd paintings and sculptures to height of his English period. Rubens’ Charles Alfred George Stuart-Linton. Susannah and the Elders is also char- Peter Miller, who collects paintings Over the years a number of these fam- acteristic, combining the artist’s feel- by Klee and Miro and spends part of ous pieces have been scattered. The ing for contrast between the nude and the year in Santa Fe where she studies Altoviti Aphrodite, attributed to Praxi- fabrics. A dignified portrait of a man American Indian art, is exhibiting paint- teles, now belongs to John D. Rocke- by De Vos further represents the Flem- ings which fuse two of her interests, feller. Two of the Collection’s monu- ish School. at the Julien Levy Gallery. mental religious pieces are on loan to Immaculate Conception by Don Juan This is the artist’s second show in the Cathedral of St. John the Divine. de Valdés-Leal is strongly reminiscent two years and marks a change in her On October 12, the Washington Coun- of Murillo. It is one of the few exam- style from bright, well-placed color sil- ty Museum of Fine Arts in Hagerstown, ples in America of this Spaniard’s work, houetted against a more or less*uniform Maryland, inaugurated its season with who, along with Murillo was one of background to luminous flexible pig- the unveiling of nine paintings from the founders of the Seville Academy. ment and cruder, Coptic-like drawing. the Stuart-Linton Collection, there on Among the other paintings is Richard Most successful of Miss Miller’s adapta- indefinite loan from the grandson of Cosway’s portrait of The Lady Christina tions of Indian subject-matter are Danc- the original recipient of the royal gift. Griffin, runaway bride of Virginian Cy- ing Katchina, in softly-modulated sub- The late George Henry McCall, in his rus Griffin who was the last President tle color; a vigorous Eagle Dancers and original catalogue of the collection, con- of the Continental Congress. The sitter Birds on Nest, which seems more an siders Danae, painted in 1763, one of was the great-great-great aunt of the expression of something felt and less Greuze’s finest works. A recently de- present Mr. Stuart-Linton. of an intellectual exercise than most ciphered inscription on the reverse of Mr. Charles Sterling, who will re- of the exhibits.—J. K. R. the canvas adds new luster to this paint- turn to Paris the first of the year to ing by relating: “This is the well-known assume his post as Curator of Paint- Messick in Los Angeles picture of Joseph Bonaparte, which, ings at the Louvre, was guest speaker The DicEst regrets its error in falsely it is said, he never suffered for one at the opening of the exhibition. Mr. removing artist Ben Messick’s Pent- moment to be out of his sight. The Sterling is intimately acquainted with house Studio exhibition 400 miles north marvelous quality of the work suffi- the Collection, which has figured in to San Francisco in his announcement ciently accounts for his reverence and portions of his research, lately carried in the Oct. 1 issue. Mr. Messick’s paint- attention.” It was presumably captured out at the Metropolitan Museum where ings can still be seen at 2600 West 8th with the baggage train of the Prince he has been its first Research Fellow Street, Los Angeles, in the retreat from Spain. in Painting since the fall of France. .SERGER October 20 - November 10 LILIENFELD GALLERIES 21 €.57thSt., New York

October 15, 1945 17 both imaginative and soundly executed. Self Portrait is characterization and effective decoration. At the Sea is more smoothly brushed than the other can- vases and is in a less vehement palette. It is outstanding. Harry Shoulberg sometimes dissi- pates the clearness of his design by the scattering of heavy brushstrokes which give a scumbly appearance to the can- vas, as in Back Road or the figure piece That They May Be Free. But in such pieces as his portrait of James Lechay, Woman Sewing or Artist and Peach Halves the vigor of the brush work, the richness of the pigment and the plastic soundness of the forms seem exactly congruous to the subject. Shoulberg also contributes a number of handsome still lifes, in which the nice relations of shapes and forms and the sound coherence of the designs are highly commendable. —DMARGARET BREUNING. Chicago Plans The forehanded Art Institute of Chi- cago plans importantly, and well in ad- Errand: JOHN HARTELL vance. Director Daniel Catton Rich has just announced a large loan exhibition Woman Sewing: Harry SHOULBERG of the paintings, drawings and prints Hartell Exhibits of , from January 31 to PAINTINGS BY JOHN HARTELL are on Twin Debut March 10. As the most comprehensive exhibition at the Kraushaar Galleries. showing of Bellows’ work since the me- The line of beauty used to be considered SHIRLEY HENDRICH AND Harry SHOUL- morial exhibition held the year after a curve, but many moderns, this artist BERG are making their debuts in one- his death, it will be an event of na- included, find their line of beauty in man shows, at the Modernage Art Gal- tional importance. angles that answer, contradict, support lery, although both artists have been Looking far into the future, a re- and establish the theme. Sometimes in previously included in group exhibitions. trospective showing of the paintings of Hartell’s paintings these areas are of One trait which they share, and only Marc Chagall is scheduled for next Au- color, again of linear pattern, but in one, is the frequent use of heavy im- tumn—October 24, 1946, to be exact. all cases they evolve distinctive de- pasto, swept on with a liberal brush. It is being arranged in collaboration signs of great interest. Miss Hendrick has a masterful way with the Museum of Modern Art, and Harlequin is built up of angular areas of making her colors come to heel, as will include many pictures, abandoned of pure bright color that do not clash it were. Purples, blues, greens, bright when the artist fled from Europe. against the flexibility of the plastic reds and wine color are frequently on Getting back to the almost imme- form. Errand, a child running, is full one canvas, not militating against each diate present, the Institute’s 56th An- of glamorous color through which other, but skillfully employed to en- nual American Exhibition, one of the the figure moves before your eyes. The liven the design. Occasionally the colors largest and oldest in the country, will very obliquity of the design with its seem too strident so that they disin- open on the 25th of this month and slanting trees, outstretched arms and tegrate the unity of impression, but continue through January 1. A jury legs of the figure enhance the sense of this is the exception, not the rule. composed of Juliana Force, Reginald rapid movement. Gulliver, the huge figure with Lilli- Marsh and Raphael Soyer will award Ominous Day, a casement opened putians fairly crawling over him, is the $3,500 in cash prizes. on a world blackened with sinister threat, is heightened by the unruffied Church Street by Dong Kingman. On Exhibition at the Midtown Galleries. See Story on Page 23 beauty of the still life on the window sill. This quality of imaginative con- ception is also to be found in Romance, where two lovers on a cloud seem ob- livious of beetling cliffs above them and chaotic depths below them—ecstasy in concrete terms. Hartell employs a highly personal palette, a variety and richness of color that escapes brilliance, but surpasses it in its effect of depth and its ability to build up form in provocative and well- related shapes. A particular quality that appears in all the work is the charm of gesture. In such a canvas as Actress, the fluid grace of the figure in its simplicity of setting is remark- able. While Adoration and Seashore ap- pear somewhat too tenuous, they are the exceptions in a large and reward- ing exhibition. (Until Oct. 27.) —MARGARET BREUNING.

Sold Ten from Armory The New Age Gallery reports a suc- cessful showing in the dealer’s exhibi- tion at the recent Armory show. Ten works were sold by artist members. The Art Digest Now They Are Bins Otto Torrington EXHIBITION OF WATERCOLORS ATTILIO PICCIRILLI, sculptor and famed OtTTo MASON ToRRINGTON, partner of CPL. DONG head of the sculptural firm of Piccirilli Hermann Wunderlich in the firm of Brothers, died in a Bronx hospital Oc- Kennedy & Co., and former president tober 8, it was reported in the New of the American Art Dealers Associa- i York Herald-Tribune. He was 79 years tion, died Oct. 8 in New York Hospital old. His death followed by only two KINGMAN after a year’s illness. He was 63 years days that of his brother, Getulio, co- old. His passing is a great loss to the OCT. 16—NOV. 3 artist and business manager of the or- world of fine printmaking, one that will ganization. With the decease of the represented in the collections of be hard to fill. THE METROPOLITAN MUSEUM, MUSEUM OF MOD- brothers the renowned sextet of the Born in Toronto, Mr. Torrington came ERN ART, BROOKLYN MUSEUM, BOSTON MUSEUM, Piccirilli firm, which produced among ART INSTITUTE OF CHICAGO, SAN FRANCISCO to New York when he was 17 and soon MUSEUM, WADSWORTH ATHENEUM, UNIVERSITY others the Maine Monument in New joined Kennedy & Co., then owned by OF NEBRASKA, FINE ARTS GALLERY OF SAN York’s Columbus Circle and the Lin- his uncle, E. G. Kennedy. In the course peed MILLS COLLEGE, coln Memorial in Washington, shrinks of his long association with the art COLORADO SPRINGS FINE ART CENTER, CRAN- to a quartette. BROOK ACADEMY, DE YOUNG MUSEUM, UNIVER- gallery he helped bring recognition to SITY OF WISCONSIN, SPRINGFIELD ILL. ART Sons of the late Joseph Piccirilli, an Martin Lewis, Levon West, John Taylor ASSOC. AND DAVENPORT ART GALLERY. Italian sculptor, Attilio and Getulio Arms and Walter Tittle. He also as- worked for 50 years with brothers Ora- sisted his uncle in the preparation of MIDTOWN zin and Tommasco in their huge Bronx a definitive catalogue of Whistler etch- studio at 467 East 142nd Street. Two ings in 1910. GALLERIES A. D. GRUSKIN, Director other brothers, Ferrucio and Furio, Mr. Torrington was a member of the 605 MADISON AVE. (Bet. 57 & 58 Sts.) NEW YORK were formerly members of the frater- Grolier and National Arts Clubs and nal business firm until they returned the Metropolitan Museum. He also to Rome to manage the family studios. served in Company F of the 7th Regi- Born in Massa, located in marble- ment, New York National Guard, from bearing Tuscany, the brothers were 1909 to 1916. He leaves a widow, the DURAND - RUEL trained by their father who came from former Edith McLellan, a son Edward, 12 East Fifty-seventh Street a sculpturing family. The seven Picci- and a brother, Dr. Henry M. Torrington rillis arrived in the United States in of Ontario, Can. NEW YORK 1888 when the father’s numerous com- missions here promised success. Follow- ing family tradition, Attilio, the eldest Stephenson Scott PASTELS By son, became head of the firm on the STEPHENSON C. Scott, art collector, death of the father. Many of the works critic and president of the 47-year-old executed jointly by the family were firm of Scott & Fowles, died October 6 signed “A. Piccirilli.” In addition to the in Saratoga Springs, at the age of 81. GROSS BETTELHEIM monuments already mentioned in New An authority on 18th century English York, the brothers created the classic painting, with a broad knowledge of front door of the Riverside Church; modern and classical art, Scott was the October 8 - 27 the Fireman’s Memorial; the delicate author of a small sensation when he fillagree of marbles for the Henry Frick purchased Whistler’s famous picture, mansion; and the sculptured glass pan- At the Piano, for $30,000 at Christie’s PARIS els of the International and Italian in London, a record-making price for 37 Avenue de Friedland Buildings of . Whistler art in England. He was also ESTABLISHED 1803 Attilio’s individual works include the instrumental in bringing many notable War Memorial for the City of Albany; canvases to America for both private Frageline, a marble nude in the Met- and public collections, including that of ropolitan Museum; medallions for the the Metropolitan Museum. Morgan Library; the Jefferson Presi- The son of a portrait painter, Mr. dential Medal; the Monument to Youth Scott was born in Edinburgh, but lived FRENCH PAINTINGS at the Virginia Military Institute. for many years in London where he He was a member of the National joined the firm of Henry Graves, art OF THE Academy, and president of the Leonardo dealers, remaining there until he came da Vinci Art School, the latter founded to the United States in 1893. He organ- 19th CENTURY by the family. The two brothers are ized his own art firm five years later. survived by a sister, Mrs. I. Mileti, and He is survived by his wife, Mrs. Marie their four brothers, while Getulio also Power Scott, and a daughter, Marie. October 22 - November 17 leaves a wife, Mrs. Virginia L. Piccirilli. Weldon Bailey Dies BIGNOU GALLERY Carnegie Exhibition Weldon Bailey, Philadelphia painter, [Continued from page 6] illustrator and lithographer died in his 32 East 57th Street Louise Pershing, Virginia Paccassi, Flan- home city October 5. He was 42. nery, Blanchard, Star kand Austin. Bailey, who studied at the Graphic The flood tide toward simplification Sketch Club and the Pennsylvania V Kh hhh) continues, with rewarding displays by Academy, was an illustrator for Forum, Z FIRST JOINT EXHIBITION Russell Cowles (a new convert), H. V. American Magazine, Ladies Home Jour- Poor, Spagna, Heliker, Constant, Joe nal and Country Gentleman. He also Jones and J. W. Schulein. War subjects served as critic for the Philadelphia THE ALBRIGHT and social comment ebb in quantity, Record, from 1930 to 1933. He was critic but not in the quality of entries by of the Philadelphia Art News during Siporin, Hirsch, Sample (remarkable for the 1937-38 season. He is survived by TWINS complicated organization), and Harri- his father, William J, Bailey. ton. Ivan LeLorraine AtBRiGut AND ZsissLy To list or discuss another hundred New Prize for Philadelphia deserving paintings, in many cases as interesting and/or pleasurable as those A new prize of $100, the gift of Mr. NS nna Associat&d’American Artists already mentioned, would turn this into and Mrs. Robert Wheelwright, will be a tome or a reasonable facsimile of offered for the best tempera or gouache 711 FIFTHYAVENUE AT 55th STREET WARARARARAAARAAAW Burpee’s catalogue. “Painting in the at the coming Pennsylvania Academy of VSEILIATOLLELSsal da Ns United States, 1945” is a splendid show, the Fine Arts Watercolor and Print and an excellent testimonial to Mr. Annual, secretary Joseph T. Fraser, Jr., O’Connor’s stewardship.—Jo Grsss. announced. BUY VICTORY BONDS October 15, 1945 19 SPORTING SUBJECTS IN PAINTINGS AND WATERCOLORS FRANK VNING SMITH J.D. KNAP OCTOBER 15 - NOVEMBER 15 FINDLAY GALLERIES Since 1870 MICHIGAN AT VAN BUREN CHICAGO

NIERENDORF he ID Sy Freights and Ferry at Ludington: JOHN SITTON 53 EAST 57TH STREET NEW YORK

FORBIDDEN John Sitton Exhibits Railroad Landscapes JOHN M. SITTON is one civilian citizen thin line on a great plain surrounded ART OF THE who didn’t suffer from wartime re- by greater mountains. A fast freight strictions on travel. He was commis- is partly obscured by Florida’s dripping sioned by the Bendix Radio Division of Spanish moss. Giant cacti are the pro- THIRD REICH the Bendix Aviation Corporation to tagonists in Arizona, and, to the North- paint a series of “Railroad Landscapes,” west, Mount Shasta commands the Permanent Klee Show and he spent one year traveling the scene. The artist has taken full ad- length and breadth of the land, some- vantage of having all of these United times in the cab of a freight engine, States from which to draw his subject sometimes in the caboose, assembling matter. ENGLISH LANDSCAPES and PORTRAITS his material. The twenty-six finished In case you are puzzled about this watercolors, portraying almost every particular art-industry tie-up, the Ben- different kind of landscape through dix Radio Division has been working which our railroads travel, will be on with the railroads on a new form of AMERICAN AND view at the Grand Central Galleries railroad communication—very high fre- between October 17 and 27. quency space radio telephone, Follow- Sitton’s color is fresh, and he gets ing the exhibition in New York Sitton’s EUROPEAN OLD MASTERS some particularly interesting effects of realistic “railroad landscapes’ will be space by aerial perspective on trains, sent on a nation-wide tour, going next tracks or tressels, sometimes only a to Baltimore. CHAPELLIER 48 East 57th NEW YORK Father Pieck Has Intense Convictions PLAZA 3—1538-9 PHILIP PIECK is holding his third ex- of trees; the strangely-furtive Abstrac- hibition of paintings, at Contemporary tion Buyers, grasping their cherished Arts. As it may be recalled, this artist canvases and The Museum are some served for thirty-two years as a mem- of the most successful canvases. Schultheis Galleries ber of St. Joseph’s Missionary Fathers, Three Smokers—again a play of tri- in the Philippines. Since 1941 he has angles, in which there is a clever bal- ESTABLISHED 1888 employed a necessitated furlough in ance between abstraction and portrai- PAINTINGS this country in painting. Father Pieck’s ture in a bold design—is particularly work has gained since his last show- commendable. Like much of the work, 15 MAIDEN LANE, NEW YORK ing in greater variety of color and there is a certain harshness of brush- more assured statement; it ranges from work and monotony of palette in this abstractions and color studies to the painting, relieved by unexpected touches realism of Business Section and Going of color that give animation. ART OF THIS CENTURY to Work—though these scenes are trans- These paintings are the work of an lated in a highly personal idiom. artist who follows no inspiration but Fantastic Motion, with its triangular his own intense convictions and expres- AUTUMN SALON figures in a frenzied pattern of move- ses his conceptions in highly individual OCTOBER 6-27 ment; the idyllic Park Scene, the figures terms. (Until Nov. 2). 30 WEST 57th STREET, NEW YORK dotted about the grass against a screen —MARGARET BREUNING.

“An experience not soon to be forgotten." —Ben Wolf in Art Digest 19th ANNUAL To Oct. 29 EARLY AMERICAN EXHIBITION -BEARDEN- FERARGIL GALLERIES 63 EAST 57th STREET, NEW YORK KOOTZ GALLERY... oc ote cee Oe Be OF

The Art Digest PAUL ROSENBERG & CO. 16 East 57th Street, New York Paris: 21 rue La Boétie

STILL LIFE PAINTINGS BY AVERY » HARTLEY « KNATHS RATTNER ¢ WEBER October | - 27

OEE eee x 30" ANNUAL EXHIBITION OF PRINTS 7 ANNUAL EXHIBITION OF MINIATURE PRINTS The latest and most representative work in the metal plate media. OCTOBER 17—NOVEMBER 7 — 1:00 to 5:00 Daily Portrait of My Parents: IN KENNETH WASHBURN THE SOCIETY OF AMERICAN ETCHERS, INC. Not a Stop-Gap NATIONAL ACADEMY GALLERIES 1083 FIFTH AVENUE NEW YORK CITY THE GROUP EXHIBITION, now on view at the Macbeth Galleries, is not ap- parently one of the stop-gaps that deal- ers often drag out of storerooms as preludes to the season, for it contains almost entirely recent paintings by the Paintings From Irish Collections contributing artists—and topnotch per- formances for each and every. Arthur K. D. Healy’s Flood Waters almost draws one along with its spate PART II — Through October of foaming water that rushes from a height across the canvas, threatening the collapse of a tottering house on the shore and whirling driftwood along in THE O'CONNOR GALLERY its eddying tumult. The force and weight of the unbridled stream is ad- 640 MADISON AVENUE NEW YORK 1's mirably rendered. Portrait of My Parents, by Kenneth Washburn, is really a portrait of a huge base-burner. For only the father’s feet in socks tucked up for comfort on the side of the stove and the mother’s MODERN PICTURES arm, open newspaper and stockinged THROUGH OCTOBER feet, also comfortably on the stove’s ed pediment, are discernible. Solid com- PIERRE MATISSE 41 East 57th Street ne fort and genial warmth exude from this canvas. ri- Carl Gaertner’s Summer Evening is al- not a romantic scene, but one of deso- THE GREAT SEVEN ai- late, muddy flats cut by a tidal creek; MANET — DEGAS — RENOIR — PISSARRO rly old, leaning houses and dejected fig- SISLEY — MONET — BOUDIN rk, ures gazing wanly at each other. sh- Joseph De Martini contributes Light- OCT. 20—NOV. 9 his house Point, deep flashing blues of sea 1eS and sky emphasized by the shadowed NIVEAU GALLERY, 63 East 57th Street, N. Y. C. cliff towering at one side. The excel- lence of the brushwork and the power ut of the organization make this a mem- es- orable canvas. ual —MARGARET BREUNING. BRUMMER GALLERY Grandma Moses Honored 110 EAST FIFTY-EIGHTH ST. NEW YORK Grandma Moses, the grand old lady of contemporary primitives, will be hon- ored by a special one-man show of her works at the 22nd Annual Women’s International Exposition at Madison. Square Garden, Nov. 13-18. The Exposi- E. & A. Silberman Galleries tion, whose theme this year is “Wo- man’s Life in Peacetime,” will devote PAINTINGS—OBJECTS OF ART 33 feet of running wall space to her 32 East 57th Street New York, N. Y. charming pictures of rural life. yest October 15, 1945 21 Bold in Pastel THE GOLDEN AGE of pastel is generally placed prior to the Revolution in France and boasted such eminent practitioners as Watteau and Fragonard. After a de- cline and relative oblivion for well over > half a century, it re-appeared in full COMPLETE force in the late 19th Century, again INFORMATION in France. Forain, Lautrec and Degas ON PORTRAITS found the medium pre-eminently suited FROM to their impressionism. In this country, PHOTOGRAPHS with the exception of a valient few

> headed by Everett Shinn, the art of pastel has long languished. Gross-Bet- telheim currently takes up the standard and revitalizes the medium in a show PORTRAITS, INC. at the Durand-Ruel Galleries. She seems 460 Park Avenue New York 22 at home with pastel and we hope will carry her work in this department fur- (At 57th Street) ther. The work is not altogether even. LOIS SHAW HELEN APPLETON READ Some of the pictures seem to be dom- inated by the tricky technique. But Portraits of Children when she’s good she’s very very good, LOUISE as in a large and ambitious Old Houses. MICKEY WALKER Opposing planes and a fearless handling LEM P combine to make this outstanding in the show. The Bowery comes off too. A Oct. 15-27 Mickey Walker, Artist movementful piece, here again the at- tack is bold. To continue through Oc- ARGENT GALLERIES WHEN A FORMER WORLD BOXING CHAM- tober 27. BEN WOLF. 42 West 57th St., N. Y. | PION (Mickey Walker) holds an art ex- hibition on 57th Street in a gallery Antiques Fair PAINTINGS BY more often devoted to paintings of So- cial Significance (the A.C.A. Gallery), For twenty-odd years the New York PHILIP PIECK it should not be surprising to further Antiques Fair was held in the grand learn that it all began because the ballroom of the Commodore Hotel. This October 15-November 3 fighter read a novel about an artist year, as well as last, new occupancy CONTEMPORARY (Somerset Maugham’s Moon and Sia- laws have relegated it to the less in- AR T § 106€E. 57th St., N. Y. pence, based on the life of Gauguin). gratiating halls of the 71st Regiment It was just four years ago, some Armory, but the same dealers, from time after the “Toy Bulldog” had won all over the country, will display the PAINTINGS BY both the welterweight and middleweight same fine quality of merchandise from championships of the world, that Walk- October 22 to 26. er began to paint. His exhibition, on Since this year’s Fair coincides with MICKEY WALKER view at the A.C.A. Gallery through Nov. Navy Day and the gathering of the Oct. 15- Nov. 3 3, should be a surprise to his ring fans fleet in Eastern waters, the dealers are who may expect something bold and searching their showrooms and galler- A.C.A. GALLERY 61-03. 57, n. v. defiant in the way of art. In place ies for items of naval connotation. In of this there may be seen peaceful rural addition, arrangements have been com- scenes, and quiet fishing shacks, Even pleted for an exhibition of historic im- PAINTINGS MOSAICS the series of African pictures, painted portance to be supplied by the Navy after Walker returned from a U.S.O. itself. MAX SPIVAK trip overseas, are earnest painting, dis- Nightly auctions will be climaxed on OCTOBER 15-27 tinguished by a desire to get things Friday evening (Oct. 26) by a contest BONESTELL GALLERY right and an innate sense of correct in which auctioneers who have handled 18 EAST 57th STREET |= NEW YORK design. Outstanding among those pre- sales of livestock and household furnish- viewed were Main Street, well composed ings in small towns will compete for and carefully depicted, and The Barn, cash prizes and a championship ban- CHARLES notable for striking warm earth tones ner, and depth of mood.—J. K. R. SUNUNTUUNUULA ATAU SILBERMAN Things That Are Homely PAINTINGS October 15-27 Edward Rosenfeld, seen in New York BONESTELL « '8 E. 57, N. Y. at the Babcock Galleries last season, tL GALLERIES is holding his fourth one-man exhibi- tion in the nation’s capital, on view at EXHIBITION and SALE the Whyte Gallery through Oct. 24. A painter of the everyday objects of Old Masters, 18th & 19th Century, life, Rosenfeld once explained: “Be- And Contemporary Paintings cause things which are homely and in- HOTEL GOTHAM (Circle 6-6130) formal appeal to me most, I enjoy SCHNEIDER-GABRIEL GALLERIES 5th Avenue Cor. 55th Street painting subjects associated with daily TTT 69 EAST 57th STREET © NEW YORK life.” Pa STENDAHL GALLERIES GATTORNO 7055 Hillside, *° S. S. MACD\ MACDONALD PAINTINGS—OCTOBER 21 TO NOVEMBER 17 Hollywood 28, FEITELSON LUNDEBERG MARQUIE GALLERY California SKALING 16 WEST 57th STREET NEW YORK

The Art Digest STATEMENT OF THE OWNERSHIP, MAN- Views of Washington European Notes AGEMENT, CIRCULATION, ETC., RBE- QUIRED BY THE ACTS OF CONGRESS OF AUG. 24, 1912, AND MARCH 3, 1933 WATERCOLORS by Cpl. Dong King- PaB.Lo Picasso has been awarded the Of The Art Digest, published semi-monthly Oc- man are on view, at the Midtown Gal- million lira Borromini Fund prize which, tober to June; monthly, June, July, August, September, at New York, N. Y., for October leries. The majority.of the twenty-five according to the provisions of the foun- 1, 1945, State of New York, County of New items are concerned with aspects of dation, is to be given every third year York, ss. Before me, a Notary Public in and for the Washington, D. C., where he is now sta- to the greatest living painter, This State and County aforesaid, personally appeared tioned. Clarity of color and skillful seemingly important figure of one mil- Peyton Boswell Jr., who, having been duly sworn according te law, deposes and says that he is breaking of planes of both light and lion lira, would today amount to only Editor of The Art Digest, and that the following color are apparent in all the work. ten thousand dollars. is, to the best of his knowledge and belief, a true statement of the ownership, management Whether Kingman depicts Industrial a * s (and if a daily paper, the circulation), ete. of Washington, crowding down to the the aforesaid publication for the date shown in Florence and its rich collection of the above caption, required by the Act of water front, or Church Street against art works, is reorganizing. Paintings August 24, 1912, as amended by the Act of a backdrop of church towers (see cut on March 3, 1933, embodied in section 537, Postal and other art objects being brought Laws and Regulations, printed on the reverse page 18), or the group seated at the back to the city from their war-time of this form to wit: foot of The Green Statue, as indiffer- 1. That the names and addresses of the pub- seclusion, will at first be placed in the lisher, editor, managing editor, and business man- ent to the towering sculptural figure Pitti Palace until their own galleries ager, are: as the cloud of pigeons whirling about are ready to receive them again. Publisher, The Art Digest, Inc., 116 E. 59th it, the life and movement of his themes St., New York 22, N. Y.; Editor, Peyton Boswell, a 7. a Jr., 116 E. 59th St.. New York 22, N. Y.; Man- redeem fidelity of observation and trans- aging Editor, Josephine Gibbs, 116 E. 59th S8t.. New York 22, N. Y.; Business Manager, Edna scription from any prosaic quality. There The Allied Expert Committee in Marsh, 116 E. 59th St., New York 22, N. Y. is an interesting juxtaposition of shapes Italy has published a conjoint declara- 2. That the owner is: (If owned by a cor- and contours in Kingman’s well-con- tion which states that nearly all art poration, its name and address must be stated and also immediately thereunder the names and ad- sidered compositions. The White House, works removed from the Italian public dresses of stockholders owning or holding one its ancient bricks painted a gleaming collections, have been accounted for. per cent or more of total amount of stock. If not owned by a corporation, the names and ad- white and its jutting dormers bright Only nineteen items have not been dresses of the individual owners must be given. red, rises like a promontory above the found up to the present: six antique If owned by a firm, company, or other unincor- porated concern, its name and address, as well as street—the house fallen from quon- bronzes from Pompeii, two pictures by those of each individual member, must be given.) dam dignity to the utility of a gas sta- Titian, and eleven others which had The Art Digest, Inc., 116 E. 59th St., New York 22, N. Y.; Peyton Boswell, Jr.. 116 E. 59th tion, still asserts itself proudly. been taken to Monte Cassino. St., New York 22, N. Y.; Joseph Luyber, Roebling, A few landscapes are important fea- * * * N. J.; Lynn Brough, Hagerstown, Md.; Helen B. Howard, Hopewell, N. J.; Marcia B. Hopkins, 116 tures of the showing; natural forms The Louvre in Paris continues to €. 59th St.. New York 22, N. Y.; Mrs. H. 8S. standing out in a clear translucency of Ciolkowski, 26 rue Jacob, Paris, France. open in sections. An additional three 3. That the known stockholders, mortgagees, atmosphere. In Late Afternoon, light galleries were recently opened onto the and other security holders owning or holding 1 falling obliquely from broken clouds per cent or more of total amount of bonds, mort- miles of those which form the Louvre gages, or other securities are: (If there are none, across a hill turned to brilliant green as an entity. so state.) None. creates a mood of unreality in the * a x 4. That the two paragraphs next above, giving strange splendor of illumination. The the names of the owners, stockholders, and secur- About fifty thousand dollars was re- ity holders, if any, contain not only the list of blocked-out peaks of the High Sierras stockholders and security holders as they appear and the drama of light and shadow in cently paid by the National Gallery of upon the books of the company but also, in London, to obtain a Nicolas Poussin eases where the stockholder or security holder After Rain, also make impression. appears upon the books of the company as Adoration of the Golden Calf, from the trustee or in any other fiduciary relation, the —MARGARET BBEUNING. collection of Lord Radnor. The picture name of the person or corporation for whom such trustee is acting, is given, also that the is one of a pair, the other of which, said two paragraphs contain statements, em- Pictorial Contrasts Crossing the Red Sea is still in the bracing affiant’s full knowledge and belief as to the circumstances and conditions under which Two one-man shows that closed Oc- possession of Lord Radnor. The two stockholders and security holders who do not paintings are among the most impor- appear upon the books of the company as tober 13th at the Bonestell Galleries trustees, hold stock and securities in a capacity featured the work of Lucile Evans and tant done by Poussin before his visit other than that of a bona fide owner; and this to France. affiant has no reason to believe that any other Charles L. Goeller. person, association or corporation has any in- cs * * Miss Evans displays a haunting deli- terest direct or indirect in the said stock, bonds, In Venice, an exhibition, “Cinque Se- or other securities than as so stated by him. cacy and longs for escape from the PEYTON BOSWELL, Jr.. Editor. city, dreaming of Arcadia. Her city coli di Pittura Veneta” (Five Centuries of Venetian Painting), comprises Sworn to and subscribed before me this Ist canvases seem the product of frustra- day of October, 1945. works from the 14th to the 18th cen- L. M. CAGNEY. tion. Her people are separated by Notary Public, chains and chasms between buildings. turies, many of which have been taken County of New York, st down from ceilings and withdrawn from N. Y. Co. Clk. No. 6, Reg. No. 343-C-6 If an optical experience may be de- (My commission expires March 30, 1946.) scribed in terms of sound, then these dimly lighted churches, and may never are strangely silent pictures, implying be seen again under such favorable the futility of struggle. Were a pub- circumstances for close re-examination. lisher of books to seek an artist to il- oa * * JULIUS LOWY, inc. lustrate Hudson’s Green Mansions, he A well-known figure in international PERIOD FRAMES would do well to consider this artist. art circles, A. M. Hind, who was asso- The spirit of that prose poem pervades ciated with the British Museum since RESTORING her woodland pieces, that, in opposition 1903, has retired at the age of sixty- 52 East 57th Street, New York to her unhappy depictions of the city, five. Mr. Hind is an authority on en- suggest fulfillment. gravings and watercolor, and a number Charles L. Goeller, on the other hand, of volumes which he wrote upon these leaves little to the imagination. His in- subjects are standard. cisive draughtsmanship makes a pencil * * * in his hand take on the aspect of a sur- After formalities in Washington, a VILLAGE FRAME MAKER geon’s knife, as in How Does it Feel to number of European art periodicals PICTURE FRAME STYLIST be a Piece of Paper? His oils are equal- which have not been forthcoming dur- STOCK SIZE RAW WOOD FRAMES ly painstaking. Particularly noted was ing the war, may be expected to appear ALWAYS ON HAND a Sheeler-like still life titled Dream of in America within the next weeks. 40 E. Sth Street, New York 3 © AL. 4-1095 Fair Women.—B. W. —R. B. THE TOWN HALL CLUB NOW AVAILABLE 123 West 43rd Street presents FIFTH AVENUE GALLERY EXECUTIVE 18 years’ experience BRAXTON FRAMES GRACE JOHN FINE PRINTS AND PAINTINGS sole show — October — portraits old and modern NEW CATALOG ON RAW WOOD FRAMES Ellshemius Edgar Lee Masters salesman UPON REQUEST Thomas Mann Oveta Culp Hobby art writer John W. Hancock Clinton W. Parker publicity 353 EAST 58th ST., NEW YORK Risé Stevens Jessie B. Rittenhouse Write Box No. 19 October 15, 1945 St plates from new and unretouched pho- tographs—that are the real reason for HOWARD YOUNG THE the fine book. Together with the en- GALLERIES lightening text and catalogue, they ART BOOK make the volume the next best thing Old and Modern LIBRAR to a pilgrimage to Windsor Castle. La Fresnaye’s Place Paintings “Roger de la Fresnaye,” by -Germain Seligman. 1945. New York: Curt Valen- 1 EAST 57th ST. * NEW YORK tin. 52 pp. of text and 24 full page plates. $6.00. By JUDITH K. REED Assembled in wartime, this first bio- From Holbein’s Hand graphical and critical study in English “The Drawings of Holbein at Windsor of the French artist, Roger de la Fres- — Castle.” Edited by K. T. Parker. 1945. naye, is necessarily limited to avail- London: Phaidon Press Ltd. Distributed able works. Published in a small edi- ct. 15-27 in New York by Oxford University tion of 750 copies, it is, however, a fine ARGENT GALLERIES Press. 58 pp. of text and illustrated cat- contribution and one which fills an im- alogue together with 96 full page re- portant gap in our knowledge of a sig- 42 West 57th St., N. Y. productions. $5.50. nificant painter. His art was inevitably influenced by the Cubist school and its Why Queen Caroline of England was MARJORIE exponents, from Cézanne to Picasso. rummaging through a bureau in her Through the lessons learned from them Kensington Palace one day in 1727 has he worked out a personal equation of SC ATELE never been made clear, But whether semi-abstract form and sensitive color, PAINTINGS OCTOBER 15.27 she was only courting amusement on a strong and individual, which ranks him rainy day or searching for a lost arti- high in French art despite a brief work- PASSEDOIT « 121 East 57 cle is of little interest, for it was then ing span ended abruptly by death at that she discovered a forgotten treasure the age of 40. cache of immense importance. Part of In his stimulating discussion of La RECENT PAINTINGS BY this wealth, tucked away in the bureau Fresnaye’s work Seligman assigns to by a discerning but unidentified Stuart him a position in the uninterrupted collector, forms the subject of this book stream of French classicism—a stream- J, BARRY GREENE —the collection of Holbein drawings lined or rather cubistic classicism, but OCT. 29 - NOV. 10 then bound in book form—together with in the sequence of Poussin and David, the equally celebrated book of draw- nevertheless. Another provoking point Grand Central Art Galleries, Inc. ings by Leonardo and other art works. in Seligman’s analysis is his comparison Branch: 55 East 57th St., N. Y. Although Caroline was less im- of La Fresnaye with Seurat. In addi- pressed by the emergence of the Leon- tion to the obvious similarity between ardos than anyone has been since, she the amount and quality of major work THE COUNCIL AGAINST INTOLERANCE was highly enthusiastic about the works each accomplished in a _ short time of her countryman, Holbein, and from (Seurat died even younger than La THE JEW IN AMERICAN LIFE that time on the drawings—housed per- Fresnaye at 30), Seligman asserts: “In A photographic exhibit arranged by manently after long peregrinations in JAMES en WISE both we find the same research after t. 14-21 Windsor Castle during Queen Victoria’s order, the same axial emphasis reduced NORLYST GALLERY 7? "1.4. reign until the outbreak of World War to certain perpendicular and horizontal II caused their removal to a safer ref- lines, the same feeling for composition uge in Wales—have been analysed and reaching beyond actual existence and Oct. 17 - Nov. 3 discussed in numerous scholarly vol- the same unlimited space.” umes. Published early in July and al- A valuable feature is the listing of MARIANO ready temporarily out of print until the 50 paintings by La Fresnaye owned further shipment from Great Britain, in America. Oil Paintings © Gouaches © Drawings the Parker volume is the first popularly designed discussion in English. The Role of the Jew Feigl Gallery In his cautiously documented intro- duction editor K. T. Parker, keeper of Five Jews accompanied Columbus on 601 MADISON AVENUE, at 57th Street, N. Y. the department of fine arts of Ashmo- his voyage of discovery to the New lean. Museum in Oxford, traces the World. Ever since, they have partici- een LLLLAA LOIS Odyssey of the drawings: from their pated, along with many other races, BARTLETT original place in Holbein’s studio col- in the many-faceted history of this lection through their transferences country. In order to show this partici- TRACY from collections which included those pation, great and small, James Water- RECENT PAINTINGS of Edward VI, Prince Henry of Wales man Wise, Director of the Council NORLYST 59 W. 56, N. Y. and King Charles, all prior to the fate- Against Intolerance in America, has ful year 1727 when the volume of mas- assembled an exhibition of photographs terpieces was broken up and the indi- titled “The Jew in American Life,” Oils &G Water Colors by vidual drawings glazed, framed and de- which are now on view at the Norlyst livered for her Majesty’s use to Rich- Gallery (until Oct, 21). mond Lodge, Caroline’s favorite resi- Twenty-five panels with mounted Virginia Berresford dence. Ten years later, after the photographs and running captions pre- Oct. 15 - Nov. 3 Queen’s death, they were returned to sent a visual record from the Revolu- Kensington and hung in what had been tion (reproductions of old engravings Stuart Art Gallery her Majesty’s closet as a memorial to and illustrations), through the Civil Boston, Mass. both the artist and the queen. War, down to a photograph of Mrs. In addition to the historical text Jack Feinstein kneeling at her hus- Parker has written an extensive cata- band’s grave in Tunisia—the first war logue for the pictures, containing full widow to visit an American cemetery PETER MILLER biographical data on the subject, to- on foreign soil, and one of GI’s holding gether with notations on the colors, Passover Service in the former home NOW ON EXHIBITION size, inscription, condition, approximate of Nazi Propaganda Minister Goebbels. Julien Levy Gallery date and technique of the portrait. But The second in a series sponsored by it is the beautiful drawings, of course— the Council, it will be circulated after 42 EAST 57th STREET here fully reproduced in 96 full page the New York showing. 24 The Art Digest RECENT PAINTINGS anna @. meltzer

"Summer Evening’ by Carl Gaertner NEW PICTURES in OIL and WATERCOLOR

“™ Storm Apples AMERICAN ARTISTS oct. 16TH TO 30TH newhouse Through October 27 MACBETH GALLERY galleries Established 1892 15 EAST 57th STREET, NEW YORK CITY 11 EAST 57TH STREET e NEW YORK CITY

a5 easShORS PORTRAIT SPECIALISTS

FOR 23 YEARS WE HAVE SPECIALIZED IN PORTRAITS BY AMERICAN ARTISTS INCLUDED IN OUR MEMBERSHIP ARE MOST OF THE LEADING PORTRAIT PAINTERS OF AMERICA We invite inquiries from individuals or families—business in- stitutions—universities—clubs, etc., regarding artists, prices, number of sittings and other information. Portraits May Be Had From Photographs If Desired GRAND CENTRAL ART GALLERIES, Inc. 15 VANDERBILT AVENUE NEW YORK 17, N. Y.

BRANCH AT 55 East 57TH STREET Mr. H. W. Prentis, Jr. ]. C. Jobansen, N.A.

October 15, 1945 25 APPA were shown at the World’s Fair. Ber- enson has placed the Bellini, painted PARKE-BERNET about 1488, in “a phase of his activity to which belong some of his noblest and most fascinating creations, those 1 GALLERIES in fact which until not long ago were - Inc regarded as the most, almost as the only, representative ones.” 30 EAST 57th STREET There are five important works from NEW YORK 22, N. Y. 17th century Holland. A Pilgrim at Prayer by Rembrandt, painted in the same year that the Syndics was started 1 Public Auction Sales (1661), is described by Dr. Wilhelm von Bode as “a magnificent study of character, rich in graduation, in spite of the absence of local tints, luminous November 7-10 in color, broadly treated, and in its way perfectly elaborated.” It is one of the most widely exhibited Rem- ORIENTAL RUGS brandts in America. Quite in contrast are the flashing portrait of Joseph Coy- ENGLISH AND mans and the free and easy Laughing OTHER FURNITURE Child (once in the Edgar Speyer col- lection) by Hals. There is’ also a major MEISSEN AND DRESDEN landscape by Hobbema, View of a Wa- ter Mill, and a warm interior with fig- PORCELAINS ures, The Musical Party by van der Burch, once atributed to de Hoogh. FINE RUSSIAN AND Velasquez’ Portrait of a Girl, in all probability the artist’s daughter, was FRENCH ENAMELS Portrait of a Youth: HANS MEMLING shown at the big Spanish Exhibition at the Metropolitan in 1928 and again DECORATIVE PAINTINGS at the World’s Fair eleven years later. Willys Collection From the 18th century comes work by Property of Guardi, Madame Elizabeth of France To Be Auctioned (sister of Louis XVI) by Vigée-LeBrun; MRS NEIL H. COE A FAMOUS ART COLLECTION that con- eleven British portraits including Lady tributed largely to the exhibition of Ramsay and Mrs. Molony by Romney, New York Masterpieces of Art at the World’s Lady Catherine Ponsonby by Gainsbor- Fair in 1939, will be dispersed at auc- ough, a coronation portrait of King AND OTHER OWNERS tion at the Parke-Bernet Galleries on George IV by Lawrence, paintings by ee the evening of October 25. These paint- Hoppner and Raeburn. Illustrated Catalogue 50c ings, collected by the late John N. The sale of the art property, furni- Willys, automobile manufacturer and ture and appointments removed from one-time Ambassador to Poland, and the Willys house at Center Island, EXHIBITION from NOV. 3 his wife, Isabel Van Wie Willys, con- L. L, and the apartment at 820 Fifth stitute the most important group to Avenue, has been divided into two parts, appear at public sale in this country the first of which will take place on since 1928, according to authorities at the afternoons of October 26 and 27.

the Galleries. The range is wide, from Italian Ren- cece November7-8 at8 p.m. Chronologically, the collection begins aissance furniture to George III silver. with a superb little panel, Portrait of Finest of the lot is a comparatively ETCHINGS AND a Youth by Memling; thence to two small group of 18th century French tondi by Lorenzo di Credi and Raffael- furniture which includes a Louis XV lino del Garbo, and a Madonna and suite of six fauteuils and a canapé in ENGRAVINGS Child by Giovanni Bellini, all of which Aubusson silk tapestry, and numerous choice pieces by the famous French LITHOGRAPHS Madonna and Child: GiovANNI BELLINI" ébénistes. Tapestries include the Gobe- lins Don Quixote after Coypel, signed DRAWINGS by Audran. Among the K’ang Hsi por- celains are the “black hawthorn” vases Selected from the Stock for which the Willys collection was well known. of the Late Both the paintings and the furniture and decorative objects will be exhibited M. A. McDONALD from October 20 to the dates of the respective sales. Well, Known New York Print Dealer Morpurgo Exhibits Vilna Jorgen Morpurgo combines pas- BELLOWS, BROCKHURST sion with pigment in her current show BRUEGHEL, CAMERON at ’s RoKo Galleries. Among the canvases to be seen, The DURER, McBEY, PENNELL a ad ae ee Struggle is remembered for its dra- REMBRANDT, SCHONGAUER matic welding of grieving heads and VAN DYCK, WHISTLER crucifix. There is a poetic Hudson River that must have seemed peaceful indeed ZORN AND OTHER MASTERS after the painter’s gruelling experiences ite a ee aee in Europe under the Nazis as related Illustrated Catalo gue 50c to this reviewer by the gallery’s direc- tor Jane Rogers. Also noted are a sensitive, impasto Fjord and a moody We Will Come Back. Until October 3l1st.—B. W. 26 The Art Digest other bibelots. Antique textiles and other art property. Exhibition from. Oct. 20. Hartley Biography October 29, Monday evening. Parke-Bernet Gal- - Auction Calendar leries: Press publications and books from the THE AMERICAN ART RESEARCH COUNCIL library of the late Robert Hartshorne. Ashen- of the Whitney Museum, which was dene, Kelmscott, Doves, Daniel, Strawberry Hill and other press publications. Rare Americana. founded in the early part of the year October 18, Thursday evening. Parke-Bernet Gal- Important maps. First editions and other books. 1942, has undertaken its first biography leries: Paintings from a Midwestern Educa- Exhibition from Oct. 25. wa wrreySe. tional Institution and other owners. Mainly of eminent American artists. The artist XIX century and Barbizon Schools including October 31 and November 1, 2 and 3. Wednesday is the painter and poet, Marsden Hart- examples by Whistler, Courbet, Bargue, Vibert, through Saturday afternoons. Parke-Bernet Gal- Jacque, Isabey, Diaz, Rice, Schreye-, Chavannes, leries: Art property, Part II, of the estate ley. He will be portrayed in this biog- others. Also copies of old masters by Frank of the late Isabel Van Wie Willys. Chinese raphy by Hudson Walker who was ad- Duveneck. Now on exhibition. porcelains and jades. English furniture. Geor- gian silver. Italian Renaissance furniture. Per- ministrator of the Hartley estate of October 18 and 19, Thursday and Friday after- sian and Mesopotamian pottery. Linens and noons. Parke-Bernet Galleries; Oriental Art from laces. Table porcelains. Oriental rugs and other paintings until Mr. Walker went to a New York owner. Chinese porcelains, pottery, art property. Exhibition from Oct. 27. Europe to serve with the O.W.I. carved ivories, inro and netsuke and other Ori- ental art. Now on exhibition. November 5 and 6, Monday and Tuesday after- A request from the Director of the noons. Parke-Bernet Galleries: Books from the October 20, Saturday afternoon. Parke-Bernet Gal- stock of the late M. A. McDonald, others. Art American Art Research Council, Lloyd leries: Furniture and decorations, from the es reference books and catalogues. First editions. Goodrich, for Hartley’s letters, has re- tate of the late Henry Bellamann, property of American and European art auction catalogues, Helen Winthrope Weyant, and property formerly illustrated, of world famous collections, from sulted in assembling a voluminous On WDhwaeteOF in the collection of Colonel Jacob Ruppert. the Viscount Leverhulme, Mrs. Henry Walters. amount of his correspondence. A cata- English 18th century furniture and decorative Jules Bache, George Blumenthal and other li- objects. Georgian and other silver. Chinese por- braries. Exhibition from October 31. logue raisonné of Hartley’s works as a celains and semi-precious mineral carvings. November 7 and 8, Wednesday and Thursday eve- painter, is being compiled by Miss Rosa- Table china and Oriental rugs. Now on ex- nings. Parke-Bernet Galleries: Prints, from the hibition. stock of the late M. A. ‘McDonald. Etchings. lind Irvine, and it is estimated that the October 22 and 23, Monday and Tuesday after- engravings, lithographs, drawings including number may exceed some five or six noons. Parke-Bernet Galleries: Books, property Dempsey and Firpo by Bellows, Adolescence by hundred. Hartley painted assiduously, of Mrs. William L. Clements, Noyes L. Avery, Brockhurst, Philip Melanchton and The Virgin and the estate of the late Isabel Van Wie with a Pear by Diirer, four landscapes by Rem- not taking into consideration his stu- brandt; Lucas Vosterman, Jan Brueghel and Willys. First editions, sets of standard au- Joannes de Waal by Van Dyck; Old Putney dent period, for more than forty years. thors. Important collections of maps and globes. Bridge by Whistler, Mone by Zorn and other Manuscripts. Bibles. Autograph letters. Publi- It is expected that the biography and cations of the Hispanic Society. Exhibition work. Exhibition from Oct. 31. catalogue will appear simultaneouly. from Oct. 18. Early Hartley letters are wanted.—R. B. October 24, Wednesday afternoon. Parke-Bernet Earl, Colonial American Galleries; Jewelry, property of the estates of Isabel Van Wie Willys, Dorothy R. Day, Anna Bigger Prizes and Fewer Jurors L. Bevan, others. Diamond pendants, rings, First comprehensive exhibition of the bracelets, earrings. Diamond and emerald neck- work of Ralph Earl, outstanding 18th Prizes for the forthcoming National laces. A 45 carat emerald ring. Precious-stone century artist little known to the gal- Academy’s 120th Annual Exhibition, clips and clip-brooch combinations. Exhibition from Oct. 19. lery public, opens Oct. 16 at the Whit- opening at the Academy Galleries De- October 25, Thursday evening. Parke-Bernet Gal- ney Museum. Comprising 47 portraits cember 4, have been increased to $5,275. leries: Paintings, property of the estate of the and two landscapes, the exhibition Swelling the purse are two prizes—a late Isabel Van Wie Willys. Masterpieces by Rembrandt, Hals, Bellini, Memling, Velasquez, covers Earl’s complete career and in- $1,000 award for an outstanding paint- Hobbema, Van Dyck, Rubens, Di Credi, Rom- cludes canvases painted before, after ing, and a $500 prize for sculpture, ney, others. Exhibition from Oct. 20. while the Altman prize has been en- October 26 and 27, Friday and Saturday after- and during his 7-year English visit. The noons. Parke-Bernet Galleries: Art property, informative catalogue is written by larged to $1,200. Contrasting with the Part I, of the estate of the late Isabel Van Wie Willys. French 18th century furniture. William Sawitsky, whose critical biog- increase of awards is the reduction in Royal Aubusson and Gobelins tapestries. An- raphy of Earl will soon be published by the painting jury which will drop from tique French, Russian and Polish silver includ- ing a table garniture by Odiot. Gold boxes and the New York Historical Society. a former 25 members to only seven.

imbels wile of fine art

from the WALKER ART CENTER OF MINNEAPOLIS

includes ell ire “ABRAHAM LINCOLN HOLDING he THE EMANCIPATION PROC- LAMATION” by W. T. Mathew, American, 1821-1905. aS- OW es. "he ra- ind IMBEL BROTHERS yer Fifth Floor ces ted 33rd Street and Broadway

New York 1,N. Y. “ABRAHAM LINCOLN” by W. T. Mathew. Signed sto lower right; in carved gilt frame; surmounted American ck. eagle. 114 x 60". $1498. esl October 15, 1945 27 the National Gallery in London!” “I know,” was the answer... “But you “KENDE GALLERIES see, the pictures that I really love automatically belong to my collection . no matter where they are or who GIMBEL BROTHERS owns them.” For our money, a genuine 33rd Street & Broadway, N. Y. collector, * ~~ * Birth Announcement received by Jo SALES AT PUBLIC AUCTION Gibbs at the Dicest office... . ANNOUNCING THE CREATION OF FOR ESTATES and INDIVIDUALS The Weidenaars Latest Work (Miniature Reproduction) Weekly Exhibition and ; By Ben Wolf SUBMITTED AT: Blodgett Memorial Hospital, Grand Rapids Auction Sales of Ghoul Dept. . . When in Philadelphia ENTRY NOW ON EXHIBIT AT: the other day to cover the current 827 Giddings Ave., S.E. PAINTINGS - PRINTS Philadelphia Press exhibition at the (All Rights Reserved) SILVER - FURNITURE Philadelphia Museum, we were deliv- NAME: Reynold Henry II PORCELAIN + RUGS - GLASS ered there by a lady taxi driver who CARRYING WEIGHT: 6 Ibs., 10 oz. asked whether or not they had any LENGTH: 1914 inches TEXTILES mummies in the collection. Upon our Date: Sept. 25, 1945, at 1:33 P.M. PRICE: Not For Sale. and Other Art Property negative reply she shook her head and * * * murmured sadly: “No mummies .. . The Kende Galleries offer unparal- don’t seem like a real museum some- An interesting note on this business leled facilities for selling estates. how .. . no mummies.” When she final- of monuments is sounded by the New Cash advances on properties for es- ly deposited us at the museum gate she York Times column, Topics of the Times tates in need of administration ex- called back as she drove off: “Tell ’em ... Wequote... pemses or taxes will be made. All “For a fair hand at paradox it should sales are given unusually large cov- get some mummies, if they want my erage in newspapers and magazines. trade.” We forgot to mention it to be no trouble at all to show that an Write or phone PEnnsylvania 6-5185. Curator Clifford in the course of the ugly public monument serves its pur- atxtukntuhddddddddddddddddddbddbhdddddbddbhhddddddbdddddddddd WOO pose better than a beautiful piece of akhtaaahataddddddlalddddddddddddbbdsbidddddddbhddhhddbddldidhsdhddldbdhdddddde WO morning but we don’t recall having Kidddddididdddiddddddddddddddiddaiadiiiaaaiiia spotted a coffin in the entire place... sculpture or architecture. If the pur- No mummies. pose of a memorial is to preserve a + * memory, then the monument that gets ANTIQUE, ART & BOOK Another Philadelphia story was told itself talked about is the best kind of to us some time back by Louis Bouche. monument. Many an unimportant per- Seems he was guest of honor at a din- son who has managed to have a statue AUCTIONS ner in that city following his comple- of himself set up for the public gaze tion of murals for the Pennsylvania really owes his immortality to the fact that it was an esthetic horror.” IN THE MOST CENTRALLY LO. Railroad. A Helen Hokinson dowager approached the artist and gushed .. . * * * CATED SECTION OF NEW YORK “Oh, Mr. Fragonard . . . I just love “Ryder and I” says he with disarm- your paintings.” . . Curtain. ing gravity “are probably the two IF YOU CONTEMPLATE * * o* greatest painters America has pro- One of our spies in the Interior Deco- duced” ... Darrel Austin as quoted AN AUCTION OR IF YOU rating Dept. relates the following yarn. in Life Magazine October 1st issue. DESIRE VALUATION A lady decorator was most particular concerning the exact matching of colors Your ego, dear Austin I fear me you're lostin, write us for terms and details. We intended for the walls of a client’s apartment and mixed a number of fugi- That the muse likes besyder maintain a department exclusively tive shades with the assistance of sev- The painter named Ryder for appraisals and inventories. In- eral dozen tubes of oil color. The painter You’re right in declaring quiries respectfully solicited. on the job tried his best to duplicate In your statement so daring. the sample patches she had daubed on But then to include the various walls of the rooms to be Young Darrel seems rude. PLAZA ART GALLERIES painted. Try as he might he couldn’t —Piscasso Peale. INC. . quite get it. Finally in desperation he covered our lady’s patches with his own 9-11-13 East 59th St., New York, N. Y. mixtures and placed a duplicating patch next to each. The next day she studied AUCTIONEERS: the identical color notes long and hard. Finally she turned to our ingenious Messrs: W. H. O'Reilly, E. P. O'Reilly hero... “Veery close . . . veery close,” she admitted, “but not quite.” * * * SCHONEMAN—— Rosa Pringle of the New Age Gal- lery recently received the following Fine Paintings of All Schools wire from one of her artists concern- ing shipment of a painting. Sounds like SEE US BEFORE YOU BUY a code message from the underground OR SELL PAINTINGS to us, we quote: “Title Alleyway over- alls five twenty four forty two or ver- GALLERY _New York,22 tical price stop two hundred arrive tomorrow stop.” Well it had to stop HURLEY PASTEL some time. [2012 st SSJAMES AVE, f * + *” CRAYONS id ft Fred Price of the Ferargil Galleries cherishes the following charming story. ms: Once when talking to a friend he hap- i CINCINNAT | O Be pened to mention Moroni’s portrait of the Tailor. “Ah yes,” said his friend, WRITE FOR COLOR CARD TODAY “that’s one of the finest picture in my collection.” “What do you mean?” BUY VICTORY BONDS challenged Price. “That picture is in Washington Square by Picasso Peale The Art Digest REGIONAL SHOWS Massillon, Ohio Athens, Ohio 10TH ANNUAL NOVEMBER EXHIBITION. Where to Show Nov. 1-Dec. 1. Massillon Museum. Open to OHIO VALLEY OIL AND WATERCOLOR present and former residents of Ohio. Me- Offering suggestions to artists who wish EXHIBITION. Mar. 1-21. Edwin Watts dia: all. No entry fee. Jury. Purchase to exhibit in regional, state or national Chubb Gallery. Open to residents of Ohio, award and popular prize. Work due Oct. Ind., Ill., W. Va., Pa., Ky. Media: oil and shows. Societies, museums and individ- 26. For further information write The Mas- wvT eewe watercolor. Jury. Prizes. Entry cards due sillon Museum, Massillon, Ohio. uals are asked to co-operate in keeping Feb. 15. Work due Feb. 11-21. For further information write Dean Earl C. Seigfred, Milwaukee, Wisc. this column up to date.—The Editor. College of Fine Arts, Ohio University, Ath- KEARNEY MEMORIAL REGIONAL EX- ens, Ohio. HIBITION. Jan. 4-31. Milwaukee Art In- NATIONAL SHOWS Chapel Hill, N. C. stitute. Open to artists of Wisc., Ill., Mich., 9TH ANNUAL EXHIBITION OF NORTH Minn., Ind., Ohio. Media: oil, 16x20 or Albany, N. Y. CAROLINA ARTISTS. Dec. 2-30. Person larger. Jury. Prizes totaling $1,000. Entry PRINT CLUB OF ALBANY EXHIBITION. Hall Art Gallery, University of N. C. Open ecards due Nov. 21. Work due Nov. 26-Dec. Dec. 5-31. Albany Institute of History and to N. C. Artists. Media: oil, watercolor, 5. For further information write Eunice Art, Open to all print makers. Media: all pastel, drawing, print, sculpture. Work Schaefer, Assistant to Director, Milwaukee graphic. No more than two prints by one must have been one since Jan. 1944. Art Institute, 772 North Jefferson St., Mil- artist. Small invited section. Jury. Pur- Jury. Entry cards and work due Nov. 24. waukee, Wisc. chase prizes. Work due Nov. 17. For fur- For further information write Helene Tir- New York, N. Y. ther information write Albany Institute of anoff, Curator, Person Hall Art Gallery, History and Art, 125 Washington Ave., U. N. C., Chapel Hill, N. C. 54TH ANNUAL EXHIBITION OF THE Albany 6, N. Y. NEW YORK SOCIETY OF CERAMIC Chicago, Ill. ARTS. Nov. 12-Dec. 1. Argent Gallery. Chicago, Ill. YEAR ’ROUND EXHIBITION. John Snow- Open to members. Media: pottery, ceramic 35TH ANNUAL EXHIBITION OF CHI- den Gallery. Open to artists in Chicago sculpture, enamels, ceramic tiles and mu- CAGO SOCIETY OF ETCHERS AND 9TH and hundred mile radius. Media: oils, wa- rals. Entry cards due Oct. 22. For further ANNUAL EXHIBITION: OF - MINIATURE tercolors, prints, ete. For further infor- information write: Rolf Key-Oberg, Ex- PRINTS. Nov. 1-Dec. 1. Open to all art- mation write John Snowden Gallery, 13244 hibition Chairman, 113 Waverly Place, New ists. Media: print sizes 14x19 and 18x22; East 57th St., Chicago 37, Ill. York City. three works may be submitted. Work due Detroit, Mich. Oklahoma City, Okla. Oct. 20. For further information write: MICHIGAN ARTISTS ANNUAL EXHIBI- 27TH ANNUAL EXHIBITION OF THE AS- James Swann, Secretary, Chicago Society SOCIATION OF OKLAHOMA ARTISTS. of Etchers, 219 Wisconsin St., Chicago, Ill. TION. Nov. 13-Dec. 16. Open to residents and former residents of Detroit. Media: Nov. 4-30. Oklahoma City Municipal Audi- Lowell, Mass. all. Jury. Prizes. Work and entry cards torium. Open to members only. Media: oil, YEAR 'ROUND EXHIBITION. Whistler’s due Oct. 27. For further information write watercolor, sculpture, prints and _ pastels. Birthplace. Open to professional artists. ee SP eTneM, 4640 Cass Ave., Detroit Jury. Prizes. Work due Oct. 23. For fur- Media: all with exception of large sculp- 1, ch. ther information write Mrs. Charles Mc- ture. Entry fee $1.50. Entries may be re- Hartford, Conn. Cafferty, Corresponding Secretary, 210 N.E. ceived any time. For further information 12th St., Oklahoma City, Okla. write John G. Wolcott, 236 Fairmount St., 8TH ANNUAL CONNECTICUT WATER- Ridgewood, N. J. Lowell, Mass. COLOR SOCIETY EXHIBITION. Nov. 17- Dec. 16. Wadsworth Atheneum Art Mu- BROCKHURST SCHOLARSHIP COMPETI- New York, N. Y. seum. Open to residents of Conn. Media: TION. Nov. 10-17. Ridgewood Art Asso- 2ND ANNUAL EXHIBITION OF CON- Watercolor, Gouache. Jury. Prizes. Entry ciation. Open to residents of New Jersey TEMPORARY AMERICAN DRAWINGS. ecards and work due Nov. 10. For further under 25 years of age. Media: 3 paintings Jan. 3-23. National Academy of Design. By information write Mrs. Bertha Dion Burke, in oil as follows: Head 20 in. x 24 in., Fig- invitation only. Jury. Entry cards due 816 Farmington Ave., Hartford, Conn. ure 20 in. x 30 in., Composition 20 in. x Nov. 26. Drawings due Dec. 3. For fur- 30 in. Jury. For further information write: ther information write John Taylor Arms, Madison, Wisc. The Brockhurst Scholarshi Committee, Drawing Exhibition, 1083 Fifth Ave., New 12TH ANNUAL WISCONSIN SALON OF Mrs. Charles N. Whitson, Chairman, 414 York 28, N. Y. ART. Nov. 8-Dec. 3. Memorial Union Blidg., Overbrook Road, Ridgewood, N. J. University of Wisconsin. Open to artists Washington, D. C. in following categories: 3 years residence Springfield, Mass. UNITED SEAMEN’S SERVICE 1946 ART in Wisconsin; 10 years residence in Wis- 27TH ANNUAL EXHIBITION OF THE EXHIBITION. Dec. 2-26. Corcoran Gallery consin if now living outside the state; 2 SPRINGFIELD ART LEAGUE. Dec. 2-23. of Art. Open to Merchant Seamen. Media: years of art training in Wisconsin. Media: George Walter Vincent Smith Art Gallery. oil, watercolor, pencil; no sculpture or pho- oil, tempera, watercolor, pastel, graphic Members only. Media: all. Jury. Prizes. tographs. Prizes. Work due Nov. 1, 1945. art, sculpture. Jury. Prizes. Work due Oct. Entry fee $3.00. Entry cards and work For further intormation write Isabel F. 31. For further information write The due Nov. 19 and 20. For further informa- Peterson, Chairman, United Seamens’ Ser- Wisconsin Union, 770 Langdon St., Madi- tion write Miss Fanny Childs, 70 Chest- vice, 39 Broadway, New York City 6. son 6, Wisc. nut St., Springfield, Mass.

MAGAZINE or ART GERMAN PAINTING,

OCTOBER 1945 SCULPTURE, ARCHITECTURE BEFORE AND DURING HITLER

58 Illustrations

“Degenerate Art’’ banished from Ger-

ALFRED H. BARR, JR. PREVIEW—1933 man museums and now in the leading tne" LINCOLN KIRSTEIN SURVEY—1945 museums of America.

THE AMERICAN FEDERATION OF ARTS * WASHINGTON, D. C. “Official Art’? that the Nazis ordered to replace it. 75 cents per copy $5. a year at leading news stands and at THE AMERICAN FEDERATION OF ARTS BARR BUILDING, FARRAGUT SQUARE, WASHINGTON, D. C. est October 15, 1945 careful selection of objects—whether activities. While these paintings belong Washington Nensletter painting, map or actual weapon—so to the Navy, they were not painted by that each would contribute essentially the Navy, and it was hoped that a By Peggy F. Crawford to the story; would avoid the hodge- more creative viewpoint would be ex- WHAT WILL HAPPEN to the vast quantity podge character generally associated pressed from this source. The Navy of official art painted during the war? with a military or historical museum. will retain all output produced under Many ideas circulate here, but the out- Loan exhibitions would be arranged its aegis, probably donating the entire standing suggestion is the creation of for educational institutions throughout collection, should the National War a National War .Museum, to present the country. Such a museum could play Museum come into being. visually the military history of the a dynamic role in our national life, and, Throughout the Coast Guard, quali- United States, and to house collec- as such, be a fitting memorial to the fied enlisted men were assigned to art tions of paintings commissioned by all dead of this war. duty, wholly on their own as to what the services. Selection of Paintings for Museum and how they painted. Their production has been used promotionally, in depart- The functions of such a museum From August 1943 until January 1945 would be threefold: a War History ment store windows and auditoriums there was no overall Army art pro- more frequently than in museums. Museum of permanent’ exhibitions gram. When Congress cancelled the War dramatizing every military exploit of Though the greater part of the collec- Department art project, many of the tion would go to a National War Mu- the country since the days of explora- artists were assigned to historical divi- tion; Special Exhibition Galleries de- seum, the Coast Guard Academy will sions of the various theaters of opera- receive at least a few. voted to changing shows that illustrate tion. Now Major Hermann Williams, important happenings in our military In the Marine Corps, anyone so in- Chief, Historical Properties Section (in clined could send in pictures to the history. Also an Auditorium where gov- civilian life of the Metropolitan Mu- ernment-made or captured films could Division of Public Relations. Lt. Hugh seum), has been ordered to co-ordinate Laidman, a combat artist himself, has be shown. the results of the Army’s art activities. Modern display techniques and a the duty of selecting for retention Some 2000 paintings and drawings those which best tell the story of each have already cascaded into Washing- campaign. ton, where it is the duty of the War The sizeable group of paintings com- Department Art Committee, composed missioned by Life Magazine has already MODERN ART CLASSES of Major Williams and other military been promised as a joint donation by Founded on BASIC PRINCIPLES technical advisers, plus David Finley, Life and the artists, should the gov- Magill James, John Walker, Duncan ernment designate an exhibition place THE SARI DIENES STUDIO Phillips, Charles Sawyer and Forbes for war art. Watson, as civilian art experts, to se- Whatever its evaluation in art his- 58 West 57th Street, New York lect the pictures to be retained by the tory, a fitting culmination is due the Army. Documentary value is consid- gigantic visual documentation of World ered basic, though artistic merit is de- War II. These pictures symbolize our FALL TERM 1945 sirable. Apparently, the Committee belief as a nation in the necessity of feels that entirely subjective work be- hand-made pictures. It is indeed to be FINE ARTS longs in an art museum rather than APPLIED ARTS hoped that the powers in Washington the National War Museum. (This would ART EDUCATION will permit them an integral role in our Degrees Granted. — write for regular catales. seem a debatable point, since the feel- peacetime life by creating a National Spencer Macky, President ings of the soldier in battle surely are War Museum. Sean COLLEGE OF ARTS AND CRAFTS an important phase of military history). 2 Broadway © Oakland 11 © California Navy's Task Classes for Art Directors The Navy’s task is simpler, Official For the first time the Art Students JOHN HERRON combat artists (originally five, now League will conduct a course in art seven) were chosen according to spe- direction which will cover the work of cific standards. They had to qualify art directors in department store ad- as naval officers; their work had to be vertising through compilation of maga- INDIANAPOLIS, INDIANA non-controversial. The Abbott Labora- zines, newspapers and books. The Painting, Sculpture, Commercial “Art, Teachers’ Training. Confers B.F.A. and B.A.E. Degrees. tory sponsored a number of civilian art- classes, which begin October 18, will e DONALD M. MATTISON, Director e¢ ist correspondents to document Navy be conducted by Dr. M. F. Agha. school of fine arts RINGLING 2!" hans hofmann 52w.8 st. —n.y.c. Stady Painting, Illustration, Commercial Art, ae Interior Decoration in sunny Florida. Faculty of outstand- ing artists. Use Ringling Circus and Ringling Museum. opening of winter session: october 2nd Outdoor classes all winter. Dormitories. Unbelievably low cost. Write for catalog & folder ‘‘In Florida Sunshine.”’ cisheouns Vv. ce morning — afternoon — evening Saccenin: FLO |B) ? DA a saturday children's class will. be held throughout the session by mrs. mercedes carles

Art Academy of Cincinnati SCHOOL OF FINE ARTS “The School of Modern Art”

HISTORY OF ART FALL SESSION Write for Catalog 208 E. 20th, New York Winter term: September 10, 1945 to May 31, 1946 Philip R. Adams, Director, Cincinnati, O. OLENEANT Mr. Ozenfant teaching daily

o~ WORCESTER ART MUSEUM A DEPARTMENT OF THE MUSEUM OF FINE ARTS in new quarters in the Meseum building on Huntington Avenue. Uniimited contact with Museam collection through study and lectures. Professional training in Drawing, Graphic Arts, Paint- ing, Seulptere, Jewelry, Silversmithing, Commercial Arts, Ceramics. Evening School. Russell T. Smith, Head of the Scheel, 465 Huntington Ave., Boston 15, Mass. 30 The Art Digest CORCORAN A Modern Viewpoint SCHOOL OF ART WASHINGTON, D. C. By RatpH M. PEARSON One of America’s Finest Art Schools America House and teaching Artist-Craftsmen DRAWING — PAINTING — COMPOSI- TION — SCULPTURE — LANDSCAPE Every force in society which counter- Because of Endowment No Yearly Tuition. acts the widespread commercial domi- Only an Entrance Fee of $20 a Semester. Write for Catalogue 8. nation of the arts under which we suf- First fine arts school in America (Est. 1805) fer (without sufficient protest) is of Professional training in painting, aoe. il- very real importance—to the national lustration, and — eee. co-ordi- ST. LOUIS SCHOOL OF FINE ARTS nated course with U. of Pa., B.F.A., M.F.A. WASHINGTON UNIVERSITY ST. LOUIS, MO. culture and to every individual who degrees. Many scholarships and prizes. Distin- Professional training leading to the wishes to enjoy the art of living. One guished faculty. Catalo, : Louise B. peltoor. B.F.A. degree in Painting, Sculpture, such positive force is the artist-crafts- rator. Broad and C erry S » Philadelphia 2. Illustration, Advertising Art, Dress De- sign, Fashion Illustration, Crafts. Teach- man who designs and makes objects of eemprewennetinn een er Training course. Students may live use by hand or machine and offers SAMUEL fu- in supervised residences and enjoy many them for sale to his fellow citizens. ill \ University activities. For information, address: Craft products of this type are scarce. 5 RECHER Kenneth A. Hudson, Director, Room 20 If genuinely hand made, quantity is in- automatically limited, marketing a dif- PAINTING CLASS ficult problem, as is also buying, es- BEGINNING SEPTEMBER 10th PRATT INSTITUTE pecially to the new would-be customer. FOR INFORMATION WRITE OR CALL jas THE ART SCHOOL If shown in usual trade channels these WAtkins 9-5168 124 W. 23rd ST. NEW YORK CITY DEGREE COURSES—Architecture, Art Education different creations are drowned out by CERTIFICATE COURSES—Advertising Design, Building Construction, tlustration, Industrial Design, Interior Design. the competition of mass-production 38 Studios 75 Instructors 59th Year commercial wares. How to widen their School of Design for Women Catalogue upon request availability, both as to production and 101st Year. Design, illustra- James C. Boudreau, Dean, B’klyn 5, N. Y. tion, advertising, interior dec- sale, is therefore a pressing cultural Oration, fashion arts, fine problem, ‘ater training. B.P.A’ in al INSTITUTE courses. Photography, Puppet- Craftsmen have long had their local my jewelry, ceramics. Resi- YT eure and regional societies mainly to aid in ences, Oldest school of art OF dences, to industry. Catalog. marketing. Now some 26 of these so- is- cieties have federated on a national 1326 WN. Broad St., Phila. 21, Pa. Professional School. YC. Fine Painting, Sculp- scale into the American Craftsmen’s rid ture. Industrial and Advertising Arts. Fashion Cooperative Council, Inc. This Council ur Drawing. Interior Decoration. Dress Construction, Dress Design. Teacher Training. Accredited. De- operates America House at 485 Madi- grees. Diploma. son Avenue in New York City as a YLAND Michigan Ave. at Adams St., Chicago 3, Illinois. Box 701 sales outlet for its member groups. It on publishes the magazine Craft Horizons NSTITUTE ur Courses by mail in —four issues a year, subscription $1.00. i 1825 - BALTIMORE - 1945 1al modern, creative art. Courses in Fine Arts, Teacher Training, Crafts, It has recently sponsored the School for Advertising and Costume Design, Interior Deco- RALPH M. PEARSON American Craftsmen at Dartmouth Col- ration, Stage Craft, etc. Catalogs on request. Author: The New Art Education (Harpers). lege at Hanover, N. H. Every artist, Experiencing American Pictures (Harpers). art teacher, art student, art critic, art Bulletins on request. lover, plus a few million other students W ANTED— DESIGN WORKSHOP .... Nyack, N. Y. and people in general should know PROFESSIONAL MODELS about this enterprise. A subscription to the magazine is the best possible in- PORTRAIT and LIFE COLORADO SPRINGS troduction. It has many valuable ar- Monthly and Semi-Monthly Basis FINE ARTS CENTER ticles by artists and technicians deal- PLEASE wrITE: SCHOOL OF ART Boardman Robinson, Lawrence Barrett, ing with the many issues involved; one 314 GENESEE STREET Utica 4, N. Y. Otis Dozier, Edgar Britton in the August, 1945 number describes Classes in drawing, painting, illustration, cartoon- ing, mural design, lithography, pottery, carving. the Craftsmen’s School. STUDENTS MAY ENTER CLASSES AT ANY TIME A study of the past eight issues of NEW CLASSES IN MODERN Address: General Director, Colorado Springs, Colorado the magazine reveals, among the many CREATIVE PAINTING valuable contributions of the Council program, one or two weak spots. The PERSONAL INSTRUCTION TIS ART most obvious of these (and it is the Mornings and Evenings INSTITUTE weakest spot of the mass of American JOSEPH WOLIN S—AL. 4-1086 SCHOOL OF L. A. COUNTY MUSEUM craft production) is design quality. An- 44 East 21st Street, New York 10, N. Y. DIPLOMA AND ONE YEAR CERTIFICATE COURSES IN FINE AND INDUSTRIAL ARTS other is a too great deference to com- UNDER DISTINGUISHED PROFESSIONAL IN- mercial interests and even standards— STRUCTORS. JUVENILE, OLDER PEOPLE'S, LANDSCAPE AND NIGHT CLASSES. PRODUCTION product of a worthy desire to co-oper- MARIE ADA KREMP ae es MODERATE TUITION RATES. ate with business in marketing craft 58 West 57th Street, New York TIME. SEND FOR CATAI.OGUE. wares—without a sufficient assertion of oon euneee BLVD., LOS ANGELES 5, CALIF. leadership. A third is the obvious need CRITICISM for ADVANCED PUPILS TS PORTRAIT PAINTING of a larger representation of artists INSTRUCTION for BEGINNERS in LEAR AT HOME on its Board of Directors, now made up almost entirely of interested laymen. PAINTING and DRAWING e Previous art training or By and large, however, the Ameri- talent NOT necessary. This can Craftsmen’s Co-operative Council ork new Stuart System teaches you, in 11 simple, easy-to- probably represents the most construc- aily tive force at work among us in the RHODE ISLAND follow lessons, to make exact charcoal and oil field of things of use designed by art- likenesses. Guidance for your every step. ists. It deserves wide support. cgnOOl Sst Send for free book today. terior, advertising, industrial de- sign. Textile eng., design; painting, STUART STUDIOS, Room 5105 Geyer on Etching og DESIG illustration, sculpture, art educa- 121 Monument Circle Indianapolis 9, Ind, Harold C, Geyer, etcher and teacher tion. 16 bidgs., textile plant, stu- Please send me free book and outline of lessons. at Town Hall, will deliver a series of Confers dios, labs, museum, dorms, the- atre. Cultural and social program. Name. lectures on modern etching, beginning B.F.A. amd coed. Established 1877. Catalog. Street October 19 at the Town Hall Annex, 125 B.S. 18 College St., Providence 3, R. 1. OG cn EE. West 43rd Street. gesi October 15, 1945 31 THE AMERICAN ARTISTS PROFESSIONAL LEAGUE. John Ward Dunsmore An Interstate Society for the Advancement of the Visual Arts John Ward Dunsmore died at his home in Dover, New Jersey, on Oc- NATIONAL PRESIDENT : F. BALLARD WILLIAMS NATIONAL VICE-PRESIDENT : ALBERT T. REID tober 7 at the age of 89. His passing 81 Highland Avenue, Glen Ridge, New Jersey c/o National Secretary was a great personal loss to the NATIONAL SECRETARY : WILFORD 8. CONROW NATIONAL TREASURER : EDMUND MAGRATH League and one which each member 154 West 57th Street, New York. N. Y. 420 No. Walnut Street, East Orange, N. J. of its Board feels keenly, for he was not only one of the League’s found- NATIONAL Director, STATE CHAPTERS & AMERICAN ART WEEK ers but served as a member of its Mrs. Florence Lloyd Hohman, 306 Rossiter Avenue, Baltimore, Maryland Board for a number of years—until NATIONAL EXECUTIVE COMMITTEE his strength no longer permitted. In WAYMAN ADAMS, LIONEL BARRYMORE, A. F. BRINCKERHOFF, LOUIS BETTS, DEAN CORNWELL, HARVEY DUNN, GORDON ee aaah teat eaten oe CE LLOYD HOHMAN, GEORG LOBER, HOBART NICHOLS, that service he was one of its most GUSTAVE J. NOBACK, CARLTON PENNY, ORLANDO ROULAND, TABER SEARS, HERBERT M. STOO PS, ERNEST N. valuable members and to his counsel TOWNSEND, FREDERIC WHITAKER, JOHN SCOTT WILLIAMS, JOHN G. WOLCOTT. and faithfulness the artists of the country owe a great debt. His was a On War Memorials port of our times. These are great winning personality that attracted all WHuy SHOULD there be War Memorials times shaping the future destiny of men. He was kindl yand considerate. when most people wish to forget the mankind, These are times for the frui- An authority on and painter of our tragedies of war and turn to the more tion of ideals and all thoughts and con- early history and the American Rev-. hopeful occupation of peace and pros- siderations about such matters should olution, he was the recipient of many perity. be worthy accents, as the American na- honors and awards and was signally But some people have memories, very tion steps out on the world stage to honored by the Grand Lodge of Ma- sad memories of sacrifice they will re- make its bow, to teach the people the sons on the occasion of his 75th birth- member. Some communities will have ways of liberty and assume the mantle day. This is a slight but heartfelt memories of the part they played in of leadership that has now been forced tribute from his old associates who the recent vast program of destruction; upon us. will miss him and mourn him. in the struggle to preserve the eco- We have solved the problem of war nomic system in which they have lived. and must solve the problem of peace They rejoice in their achievements in lest a greater tragedy shall descend the victory over the Persian hordes, helping to win a final victory. They upon our children. All our thoughts a republic recorded its triumph on the will want to commemorate the event must be worthy; all our deeds and our Acropolis at Athens in enduring ac- AL OEONCENENT ssa and build a worthy memorial. But be- memorials must express it. cents. They made worthy monuments ing a practical people the memorial Our way of life has proved itself in benefiting their times. will also be useful to the living, so war. It has brought us a great respon- We should not copy their style but they have a community swimming pool sibility on an‘ international scale. Me- we may follow their example, and if or a gymnasium or perhaps a new road morials in consecration of this event our thoughts be equally worthy may or bridge. It may also be a park or a have the same responsibility. Their ex- our symbols be equally fine. hall. pressions will be the guage of how defi- —JOHN ScoTT WILLIAMS. These ideas are worthy but are they nitely we recognize our inheritance of for the living and not for the dead? leadership. We dare not forget this Rewards—$800 They are not consecrations to the spirit time as we did a generation ago and The New York City Chapter of the sae a and the ideals of man. They are sad think only of our comforts. It would be League announces prizes and medals commentaries on the communities that an insult to the ideals of those who aggregating $800 for its exhibition to be need them and have neglected to pro- conceived and fashioned this republic held in the National Arts Club Galler- vide them and would like to hitch their of ours, as they dreamed of a nobler ies, October 28th to November 9th. needs to the patriotic emotions of our civilization and government for man- times and so take advantage of the kind to live by. Appreciation? citizens’ willingness to spend for use- The city that Washington founded ful things as they emerge from the now echoes in its main architectural Harvey Dunn, one of our best known heartaches and pains of war. features a glory that was Greece. Why? artists, has drawn more than 150 por- Such people fail to realize the im- Because after the battle of Salanis and traits of wounded service men in Hal- loren Hospital. Moreover, he gave these portraits to the boys that they might send them home. It is not to be wondered at that he should graciously give of his time and outstanding talent, but the wonder is that he has not as yet received a single acknowledgement of thanks. One is taxed when he starts to specu- late on this lack of ameneties. Can it be. that fame is so fleeting or perhaps ine Artist quality fickle or that her torch burns so dimly, or is it because they did not know where to address Mr. Dunn? Surely our boys are not lacking in apprecia- tion or gratefulness. COLORS Maybe there is some laxity in the hospital staff in the handling of the many notable artists who go there to make portraits of the boys. Possibly and Related Products the hospital staff is unaware of the standing of these artists. When we re- member that some of these artists re- Made by ceive several hundred for similar sin- gle heads from commercial patrons, it Patronize gives an idea of their joint and thought- Your F. WEBER CO. ful contribution. Nearest Manufacturing Artists’ Colormen Since 1853 —ALBERT T. REID. Weber PHILADELPHIA 23, PA. Dealer Art Education—Slides St. Louis 1, Mo. Baltimore 1, Md. Just a short while ago we gave out information on our slide collection of The Art Digest IMPROVE THE QUALITY OF YOUR WORK Write today for your FREE copies of “Notes from the Laboratory” Two authoritative papers on the physiology and chemistry of paint which gives you a better understand- AMERICAN ART WEEK PRIZE For 1945—Late Fall, by Frederic Whitaker, watercolor painting. Mr. Whitaker, formerly of New England, is now residing in New York ing of your own technical problems. City. He has received numerous prizes for his work. He is president of the Audu- DEVOE COMBINES CRAFTSMANSHIP bon Artists and a member of the National Board of the American Artists Profes- AOC A - sional League. The League is fortunate to be able to offer one of his pictures. WITH CHEMISTRY

contemporary American artists’ work. is assisting in the work. There are nu- Since then we have had so many re- merous prizes and much publicity has quests for the use of this material, we been given the project. are making every effort to increase the number of plates and also start a Kansas Kodachrome Series. John F. Helm, Jr., State Director of Many schools and clubs have asked American Art Week for the State and for this program material and we are also Director of the Kansas State Fed- 1e ance ASTON wn most happy to fill the requests as they eration of Art, has a large committee Is come in. If the slides that you most which, while planning for suitable and from Los Angetes— ye desire are not available for the date adequate observance of the week at you wish to use them, please send in hand, is looking forward to greater and To respect, pack, ship, store, second choice of slides or two different more telling activities next year with receive and distribute paint- dates on which they could be used. much broadening of the program. Kan- ings and other objects of sas has many fine artists and the Pra- Florida beauty and value has been irie Print Makers is an organization our mission in life for more Myrtle Taylor Bradford, Director for some two decades old and with a repu- than forty years. Florida writes ‘Art is the aliveness. of tation extending over the country. 1- our Florida thinking throughout the state.” Their American Art Week pro- BRUGGER Aers FORWARDING SERVICE gram this year is entitled “A Cultural Evelyn Marie Stuart Says: | 2232 W. Washington Blvd. Page of a Hundred Years Ago.” This The few teachers who think, in- | Los Angeles Calif. title was selected because Florida cele- stead of just degenerating into auto- brates her 100th birthday this Novem- matons, sooner or later arrive at the ber with pageantry honoring the Amer- conclusion that the only things one ene ican artist. is ever justified in teaching are dem- onstrated and demonstrable facts. ror ROSENTHAL, INC. New York State Other things may be appropriately The Board of Directors of the Al- presented for consideration, including Artists’ Materials of Every Description bany Artists Group at a recent meet- Pre-War Materials Available the vast range of all the fancies, fal- MAIL ORDERS FILLED ing voted to co-operate with our lacies, theories and conjectures of League in its annual celebration, Nov. man, but they should be conscien- 41 E. St! ST. Stuyvesant 9-2412 1-7. Howard J. Blanchfield, president of tiously labeled for what they are and the Albany Artists Group, has appoint- not insisted upon as inspired gospel. ed John Davis Hatch, Jr., chairman of They are well worth studying, but the American Art Week Committee for no one should set himself to learn- Albany. Mr. Hatch is Director of the ing them as his main intellectual re- CLAYS Albany Institute of History and Art. liance. Civilization is hand-made, and MODELING AND POTTING SUPPLIES the brain of man has been to a great District of Columbia extent built by a hand with a some- Order From The annual American Art Week ex- what longer thumb than that of any B.F. ORAKENFELD &CO., Inc., 45-47 Park Piace,N.Y.7 hibition for the District of Columbia ape and a better grasp of things. In- will open for the second consecutive tuition, if it exists, might perhaps in- year at the , spire spoken word or uttered song, PRINTS November 2nd at 1 p.m., and remain but in spite of all Modernistic ana- on view for the month of November. A Largest collection of fine color repro- themas against handicraft, painting ductions in the country. OLD MASTERS, luncheon for the jury of awards will and sculpture can be achieved in no CONTEMPORARIES, and MODERNS. be given prior to the opening and the other way than by the use of the We solicit inquiries. presentation of awards will take place hand. If there is such a thing as in- Send for illustrated Brochure in the afternoon. Mrs. Miles Trow- 2 5 ut tuition, it obviously cannot be taught, Oestreicher's bridge is chairman, and a large com- while skill of hand can. 1208 Sixth Avenue (Dept. A.) N. Y. 19, N. Y. mittee of representative club women Bet. 47th-48th Sts. BR-9-7443 est October 15, 1945 CALENDAR OF CURRENT EXHIBITIONS

ALBANY, N. Y. NEWARK, N. J. Art; To Oct. 31: Contemporary Gallery To Oct. 28: Oil in Water- Albany Institute of History and Artists of Today Oct. 15-28: Paint- Color Prints; To Nov. 14: Wings color; Scenes of New York and Art To Oct. 28: American Por- ings by Isaac Muse; From Oct. 29: Over Pacific; Soviet Children’s Art. Boston; Paintings of China by Sgt. traits. Paintings by Murray Kusanobu. ST. PAUL, MINN. Kriensky. Mayfair, Inc. To Oct. 27: Paintings Newark Museum 7o Oct. 28: Amer- St. Paul Gallery and School of Art Museum of Fine Arts To Oct. 22: by Victor Tischler. ican Folk Art; Oct.: Art of the Oct. 24-Nov. 25: Paintings and Portraits of Famous Americans. ANDOVER, MASS. Potter; Children’s Art. Drawings by Lionel Feininger. SYRACUSE, N. Y Addison Gallery of American Art NEW HAVEN, CONN. SAN DIEGO, CALIF. Syracuse Museum of Fine Arts Oct.: To Oct. 22: Selections from the Art Gallery Oct.: Fine Arts Gallery Oct.: Paintings Oils and Watercolors by Cleveland Gallery Collection of Drawings and Italian Paintings. by Fran Soldini; Watercolors by Artists. Watercolors; Paintings by Van OAKLAND, CALIF. San Diego Art Guild; Paintings by TERRE HAUTE, IND. Gogh. Oakland Art Gallery To Nov. 4: David Vaughan; American Water- Swope Art Gallery Oct. 21-Nov. 18: AUBURN, N. Y. Annual Exhibition. color Society. Brown County Painters. Cayuga Museum of History and OKLAHOMA CITY, OKLA. TULSA, OKLA. Art Oct.: Finger Lakes Annual Oklahoma Art Center To Oct. 29: SAN FRANCISCO, CALIF. Philbrook Art Museum Oct.: Art in Exhibition. Paintings of Hudson River School; Gregor Duncan Gallery To Oct. 31: Religion. BOSTON, MASS. Currier and Ives Prints. Why I Hate the Nazis, by Cpl. WASHINGTON, D. C. Boston Herald Book Fair To Oct. PHILADELPHIA, PA. Milton J. Wynne. Corcoran Gallery of Art To Oct. 22: “Life’ War Art. Pennsylvania Academy of Fine Arts California Palace of the Legion of 21: Post War Plans for the City; Doll and Richards To Oct. 20: Wa- To Oct. 20: Selections from Per- Honor To Oct. 28: Albert Camp- Oct, 29-Nov. 18: Sculpture by tercolors by P. B. Parsons. manent Collection; Oct. 20-Nov. bell Hooper Memorial Exhibition; Elecira Waggoner. Guild of Boston Artists Oct. 15-27: 25: Annual Watercolor and Print Paintings by Renoir; Paintings National Gallery, Smithsonian In- Paintings by Louis Kronberg. Exhibition. and Sculpture by Robert B. How- stitution Zo Oct. 21: Rosenwald Institute of Modern Art 7o Nov. 4: Art Alliance To Oct. 29: Annual ard; Watercolors by Vera Wise; Collection; To Oct. 28: Aquatints Federation of Modern Painters and Special Invitation Exhibition. Watercolors from Museum’s Col- and Drawings by Lt. J. Jay Mc- Sculptors Exhibition. Artists Gallery Oct. 16-Nov. 6: lection; To Oct. 31: Italian Paint- Vicker; Portraits of “Flying Museum of Fine Arts To Oct. 28: Prints by Peter Sager. ings; Gordon Blanding Loan Col- Tigers’; Oct.: Sculpture by Genaro Paintings by Floyd Davis and Philadelphia Museum of Art Oct.: lection. Amador Lira. Gladys Rockmore Davis; From Artists of the Philadelphia Press. M. H. De Young Memorial Museum Pan American Union To Oct. $1: Oct. 24: 10 Centuries of Land- Plastic Club JTo Oct. 24: Rotary Oct.: Paintings by William Grop- Paintings and Drawings by Hector scape. Exhibition. per; Paintings by Copeland Burg; Poleo. BUFFALO, N. Y. Print Club 7o Nov. 2: Prints by Chinese Still Life by Wilma Prezzi; Whyte Gallery To Oct. 24: Paintings Albright Art Gallery 7o Oct. 28: Will Barnet. Paintings by Francesco di Cocco; by Edward Rosenfeld. Buffalo Society of Artists; To Oct. PITTSBURGH, PA. To Oct. 23: Paintings by Alfred WICHITA, KANS. . $1: Paintings by Esther Goetz. Carnegie Institute Oct.: Painting in Rubin. Wichita Art Museum Oct.: Paint- CAMBRIDGE, MASS. the United States, 1945; Current Pent House Gallery Oct.; Contempo- ings by Dwight Kirsch. Fogg Museum of Art 7o Oct. 31: American Prints. rary California Artists. WOODSTOCK, N. Y. Post-Impressionism to Expression- PORTLAND, ORE. San Francisco Museum of Art 7o Rudolph Galleries 7o Oct. 31: Fall ism in Graphic Art; 18th and Portiand Art Museum 7o Oct. 26: Oct. 29: Paintings by Rene Porto- Exhibition of Paintings; Oct. 15- 19th Century British Art; 19th Thomas Eakins Centennial Exhibi- carrero; Paintings by Mariano; Nov. 15; Annual Evhibition of Century French Drawings; Oct.: tion; To Nov. 1: Oregon Guild of Paintings by Girona; To Oct. 20: Contemporary Woodstock Artists. Marcantonio and His School; Ital- Painters and Sculptors Print Ezx- Cuban Painting Today; Oct. 23- WORCESTER, MASS. ian Engravings. hibition. Nov. 25: Watercolors by Charles Worcester Art Museum Oct.; Rein- CHICAGO, ILL. PROVIDENCE, R. I. Burchfield. stallation of Permanent Collection. Art Institute Opening Oct. 25: Amer- Rhode Island School of Design T7o SEATTLE, WASH. YOUNGSTOWN, OHIO. ican Annual of Painting. Oct. 28: “French Revolution’ and Seattle Art Museum 7o Nov. 4: Butler Art Institute To Oct. 28: CLEVELAND, OHIO “Napoleonic Empire’; Chinese Annual Exhibition of Northwest Walt Disney Originals; Oct.: Palm- Cleveland Museum of Art 7o Oct. Paintings by Living Artists. Artists. er Undersea Paintings; From Oct. 28: Paintings by Milwaukee Art- ST. LOUIS, MO. SPRINGFIELD, MASS. 19; Paintings from Permanent Col- ists’ Group. City Art Museum 70 Oct. 25; Soldier George Walter Vincent Smith Art lection. COLORADO SPRINGS, COLO. Colorado Springs Fine Arts Center Oct.: Drawings by Felicks Topol- EXHIBITIONS IN NEW YORK CITY sky; Watercolors by Agnes Sims; Lithographs from Permanent Col- A. C. A. Gallery (63E57) To Oct. French and Co., Inc. (210E57) Oct.: Museum of Non-Objective Painting lection. 20: Paintings by Philip Reisman; American Paintings. eens) Oct.: New Loan Exhibi- COLUMBUS, OHIO Oct. 15-30: Paintings by Mickey Frick Collection (1E70) Oct.: Per- ion. Columbus Gallery of Fine Arts Oct.: Walker. manent Collection. New Age Gallery (138W15) To 12 Contemporary Americans. . M. Acquavella (38E57) Oct.: Galerie Neuf (342E79) To Oct. Oct. 31; Group Exhibition. DALLAS, TEX. Old Masters. $0: Sculpture by Nora Herz; Wa- Newhouse Galleries (15E57) Oct. Museum of Fine Arts Jo Nov. 4: H. V. Allison and Co. (32E57) Oct.: tercolors by David Sortor. 16-30: Paintings by Anna E. Meit- Portrait of America. Graphic Arts. Grand Central Art Galleries (15 ger. DAYTON, OHIO American-British Art Center 70 Oct. Vanderbilt Ave.) Oct. 17-27: Land- Harry Shaw Newman Gallery (Old Dayton Art Institute Oct.: Dayton 27: Other Worlds. scapes by John Sitton. Print Shop) (150 Lexington at Society of Painters. Argent Galleries (42W57) Oct. 15- Grand Central Art Galleries (Branch) 30) Oct.: 19th Century American DENVER, COLO. 27: Portraits of Children by Louise (55E57) Oct. 17-27: Recent Mem- Paintings. Denver Art Museum 7o Oct. 28: Lemp; Watercolors and Drawings bers Exhibition; Oct. 29-Nov. 10: eee Seierten (53E57) To Mural Paintings of India by Sarkis by Sascha Maurer; Oct. 29-Nov. Paintings by J. Barry Greene. et. $1: orbidden Art of th Katchadourian. 10: Sculpture by Margaret Abeli; Jane Street Gallery (35 Jane) Oct. Third Reich. , ¥ DETROIT, MICH. Portraits by Mabel K. Hatt. 17-Nov. 17: Paintings by Nell Niveau Gallery (63E57) To Oct. 19: Detroit Institute of Arts Oct.: Built Art of This Century (30W57) To Blaine. Paintings of Paris by Cobelle: in U. 8. A.; Oct. 20-Nov. 20: Amer- Oct. 23: 30 Young Artists; To Jewish Community Center (6 Fifth Portraits by Segy; Oct. 20-Nov. 9: ican Bird Painters. Oct. 27: Autumn Salon. Ave.) Oct. 15-Nov. 15: Paintings The Great Seven. FITCHBURG, MASS. Associated American Artists (711 by Saul Raskin. Norlyst Gallery (59W56) Oct. 22 Fitchburg Art Center 7o Nov. 3: Fifth at 56) To Oct. 20:. Romantic Kleemann Galleries 65E57) To Nov. 3: Silk Screen Prints by Ed- Paintings by Fay Bigelow Crocker New York; Oct. 22-Nov. 10: Paint- Oct. 27: Paintings by Hans Moller. ward Landon. and Constance Bigelow. ings by Ivan Le Lorraine Albright Knoedler and Co. (14E57) Oct.: Se- Passedoit Gallery (121E57) To lected Paintings, Modern and Old KANSAS CITY, MO. and Zsissly. Oct. 27: Paintings by Marjorie William Rockhill Nelson Gallery Babcock Gallery (38E57) 7o Oct. Master. Schiele. Oct.: Modern French Painting. $31: 19th and 20th Century Amer- Samuel M. Kootz Gallery (15E57) Pen and Brush Club (16E10) To LOS ANGELES, CALIF. ican Artists. To Oct. 27: Paintings by Romare Nov. 1: Memorial Exhibition of Los Angeles County Museum To Barzansky Galleries (664 Madison Bearden. Mrs. Charles Hawthorne and Ruth Oct. 28: Victory in Pacific, Abbot: at 61) Oct. 16-30: Paintings by Kraushaar Galleries (32E57) To Hallock. Collection; To Nov. 1: Sculpture Joseph V. Gatto. Oct. 27: Paintings by John Hartell; Perls Galleries (32E58) To Nor by Henry Lion; Oct.: Annual Ex- Bignou Gallery (32E57) To Oct. Oct. 29-Nov. 17: Sculpture by 3: Paintings by Darrel Austin. hibition of California Watercolor 20: Modern French Paintings. Koren der Harootian. Portraits, Inc. (460 Park at 57) Society. Bonestell Gallery (18E57) To Oct. Mortimer Levitt Gallery (16W57) Oct.: Contemporary American Por- Foundation of Western Art 7o Oc:. 27: Paintings by Max Spivak and Oct.: Group Exhibition. traits. 20: Annual Exhibition of Cali Charles Silberman. John Levy Gallery (11E57) Oct.: Rehn Gallery (683 Fifth at 54) fornia Watercolor Society. Old Masters. To Oct. 20: Paintings by Howard Mortimer Brandt Gallery (15E57) Julien Levy Gallery (42E57) T7o Cook. Foundation of Western Art 7o Oct. To Oct. 20: Paintings by Paul 20: Annual Exhibition of Cali- Oct. 29: Paintings by Peter Miller. Riverside Museum (310 Riverside Mommer. Lilienfeld Galleries (21E57) Oct. Drive) To Oct. 28: New York So fornia Graphic Art. Brooklyn Museum (Eastern Park- James Vigeveno Galleries Oct.: Wo- 20-Nov. 10: Paintings by Fred- ciety of Women Artists. men ag Seen by French and Amer- way) Oct.: Life on the Mississippi. erick Serger. RoKo Gallery (51 Greenwich Ave.) Brummer Gallery (110E58) Oct.: ican Painters. Macbeth Gallery (11E57) To Oct. To Oct. 31: Paintings by Vilna MANCHESTER, N. H. Old Masters. 27: Group Exhibition. Jorgen Morpurgo. Currier Gallery of Art Oct.: Paint- Buchholz Gallery (32E57) To Oct. Jacques Marchais, Inc. (40E51) Paul Rosenberg (16E57) Oct.: Mod 20: Paintings and Watercolors by ings by Eugene Savage; Paintings Oct.: Tibetan Art. ern Still Lifes. Kurt Roesch. Pierre Matisse (41E57) Oct.: Mod- Bertha Schaefer (32E57) Oct.: 12 by Gertrude Sweitzer. Carroll Carstairs Gallery (11E57) MEMPHIS, TENN. ern Paintings. American Painters. Brooks Memorial Art Gallery To Oct.: French Paintings. Metropolitan Museum of Art (Fifth Schaeffer Galleries (52E58) Oct.- Contemporary Arts, Inc. (106E57) Oct. 29: American Paintings 1750- Ave. at 82) Oct.: Prints and Draw- Old Masters. To Oct. 29: Paintings by Theodore ings by Goya; Greek Art; Mexican Schneider-Gabriel Galleries (69E57) 1850; Prints. Fried; Oct. 15-Nov. 2: Paintings MILLS COLLEGE, CALIF. Pottery; Islamic Metalwork. Oct.: Old Masters. Mills College Art Gallery Oct.: Evo- by Philip Pieck. Midtown Galleries (605 Madison at Schultheis Art Galleries (15 Maiden Downtown Gallery (32E51) To Nov. lution of Modern Art. 7) Oct.: Group Exhibition; from Lane) Oct.: Old Masters. ST SE MILWAUKEE, WISC. 3: Loan Exhibition. Oct. 15: Paintings by Dong King- Jacques Seligmann and Co. (5E57) Milwaukee Art Institute Oct.; Paint- Durand-Ruel Galleries (12E57) To man. Oct.: Old Masters. ings by LaVera Pohi; Watercolors Oct. 27: Pastels by Gross-Bettel- Modernage Gallery (16E34) To E. & A. Silberman Galleries (32E by Paul Fontaine; Sculpture by heim. Nov. 10: Paintings by Shirley Hen- 57) Oct.: Old Masters. Wolfgang Behl. Durlacher Brothers (11E57) To drick and Harry Shoulberg. Studio Gallery (96 Fifth Ave.) To Walker Art Center To Oct. 21: Oct. 27: Paintings by Walter Quirt. Milch Galleries (108W57) To Oct. Oct. 20: Flower Paintings. Paintings by Eleanor Harris. Duveen Brothers, Inc. (720 Fifth) 20: Group Exhibition; From Oct. Weyhe Gallery (794 Lexington at MONTCLAIR, N. J. Oct.: Old Masters. 22: Paintings by Helen Sawyer. 61) Oct. 15-Nov. 7: Group Ex- Sth St. Gallery (33W8) Oct. 15-28: Modern Art Studio (637 Madison) hibition from State University of esp ae ae Se Museum of Art 7o Oct. 28: May D. Murray Print Collection; Eng- Paintings by Pvt. Fred Rowland. To Oct. 20: Paintings by Ann lowa. lish Color. Prints; Flower Paint- Feigl Gallery (601 Madison at 57) Wolverton. Wildenstein and Co. (19E64) Oct. ings. Oct. 17-Nov. 3: Oils and Gouaches Museum of Modern Art (11W53) 24-Nov. 24: Exhibition of Camille NASHVILLE, TENN. by Mariano. Oct.: Art for War Veterans; Ele- Pissarro. Nashville Museum of Art Jo Oct. Ferargil Galleries (63E57) To Oct. ments of Design; Oct. 17-Feb. 3: Howard Young Gallery (1E57) Oct. 25: Merchant Seamen Exhibition. 25: Early American Paintings. Paintings by Stuart Davis. Old Masters.

34 The Art Digest Fer Everyone a The Outstanding INSIST UPON GRUMBACHER QUALITY IF YOU WANT THE FINEST IN COLORS, BRUSHES OR ARTISTS’ MATERIAL

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leaflet. MADE IN U.S. A. M. GRUMBACHER 468 WEST 34th ST.. NEW YORK CITY -+ 179 KING ST., W. TORONTO, CANADA BRUSHES ARTISTS’ MATERIAL COLORS THE DOWNTOWN GALLERY (Edith Gregor Halpert, Director)

on the occasion of its 20th anniversary

announces an impo rta nu t ALL-LOAN EXHIBITION f OUTSTANDING EXAMPLES of AMERICAN PROGRESSIVE ART by RAINEY BENNETT JACOB LAWRENCE BEN SHAHN RAYMOND BREININ JULIAN LEVI CHARLES SHEELER RALSTON CRAWFORD JACK LEVINE MITCHELL SIPORIN STUART DAVIS _ EDMUND LEWANDOWSK! NILES SPENCER DAVID FREDENTHAL JOHN MARIN WILLIAM STEIG O. LOUIS GUGLIELMI GEORGE L. K. MORRIS REUBEN TAM BERNARD KARFIOL HORACE PIPPIN KARL ZERBE YASUO KUNIYOSHI KATHERINE SCHMIDT WILLIAM ZORACH and a selection of 19th century art by WILLIAM M. HARNETT, EDWARD HICKS, RAPHAELLE PEALE, JOSEPH PICKETT AND ANONYMOUS FOLK ART MASTERS ORIGINALLY PLACED BY THE GALLERY AND NOW LENT BY Museum of Modern Art, Phillips Memorial Gallery, University of Minnesota, Carnegie Institute, Santa Barbara Museum, Metropolitan Museum of Art, The Art Institute of Chicago, Addison Gallery of Fine Arts, Whitney Museum of American Art, University of Arizona, Walker Art Gallery, Worcester Museum of Art, International Business Machine Corp., Virginia Museum of Fine Arts, Boston Museum of Fine Arts, Museum of Rhode Island School of Design, Swope Art Gallery, William Rockhill Nelson Gallery, and distinguished private Collections.

TO BE HELD OCTOBER 15 TO NOVEMBER 3

in its new permanent as at 32 EAST 5ist STREET NEW YORK .

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