Perth Amboy evening news., 1922-05-24

York, but in his studio in Washing
ton Square he still thought of the
subtle atmosphere of the Aztec color
work. Artists all about him were
eCstatically turning out batik smocks
and lampshades. and they naturally
began to inquire why he did not en-
/ gage in the popular ar5 of dyeinS
with wax. He replied that he had
a vision of something 50 ethereally
beautiful that batik with its erotic
colors and set designs had no at
traction for him. After taking this
stand, there was nothing for him to
do but to try and reproduce his WIS.,
ion.
Three years ago. he wen to the
artists colony at Woodstock and set
to work in secret. He spent all of
his time experimenting with silks
and coloring methods, hoping al
ways to produce something that
would give him the same feeling CT
So tisfaction hat the old Aztec man.
tie had given him. Eventually he
achieved his ambition.
The process, whether it includes
dyelng or painting with Oils or water
colors, he guards carefully. He ex-
pld4lS llidl bC hdo put iOb OAis hi1
fortune but his heart and ambition
into it. 1t was evolved out of his
| own background and interests, and
i the method as well as the style OF
the art is therefore an expression of
his own personality.
Mr.. Walters has had a varied ex-
perience with the arts. he has been
a violin student at Leipsic, a student
Of painting at Munich AMI Paris. ana
he spent some time at Oxford del
wing into the classics and study
ing the life of the ancient Greeks.
He invented a color organ l. es-
tablish a note. scale of s ~rm and
cold colors, and this scale he later
used as the foundation Of his --ztec
color work.
Most of the silks in his exhibition
are meant for wall draperies n
scarfs. Long strips about Is inches
wide and 7 or s feet long hang on the
| walls. They float in the breeze from
an open window and the ripple
makes the colors more irridescent.
1t Differs from Batik
Mr.. Walters explains that this
flowing of the colors involves one
VI III lAGOlACss ilc bNAASNCo Una
sharply outlined designs are not
draped or allowed to float, because
the design is lost or distorted when
the material falls in folds. He be-
lieves that where folds form the
charm of decoration, the folds ought
to have free expression and ought
not to be interfered with by hand
designs, that the designs should
float into the folds. This is the rea-
son of the shadowy effects.
II is not easy TO describe anything
so elusive as the colors in the Vari-
gated hangings. Frederic Mac
Monies, sculptor of the Civic Viz
tue statue which has so upset New
York, calls them a poet painter mu-
sicion's vision of color adapted to
fabric. MacMonnies added. in a
flight of poetic abandon. hat they
reminded him of glitter and SHIN
mer and sheen of dragon tiles' wings
and pale sun risings and storm
blown gardens"
There is one piece entitled Rain
bow" The long strip has at top
and bottom a shadowy green anu
blue lake with slender reeds hall
visible in the water. From these
cool colors the sky rises through
rainbow tints to a vivid orange sun
set, and in the center OF the scarf
between the two scenes is the con-
v~entional rainbow curving across the
sky.
Morning Star" is a blending OF
dark purple, green and blue suggts-
ton of the sea at daybreak. lighted
only by one shaft of pale lemon col
/ ored light. Summer" is a silk
hanging with a background of sky
blue shading into rose. Delicate
yellow flowers bloom in the grass
at the loot of the piece, and above
a single branch of a budding tree
stands out against the Sky.
What the artist considers his mas
terpiece OF textile decoration is a
great pink famingo poised AGAINST
an exotic tropical background. The
famingo appeals to Mr.. Walters as
the motif that is most beautiful and
best adapted TO decoration in form
and color. Much as Whistler used
a butterfly. Mr.. Walter uses - swiftly
sketched fiamingo for his signature.
With his pink famingo, his rainbow
silks. and an alluring touch of mys-
terry. Mr.. Walters has become the
talk of the art colonies Of New YORK
and Washington.