Evening star., 1924-05-11
Notes of Art and Artists

trative of autumn, and that the head
OF the figure must touch the top OF
the paper, the feet the bottom, and he
advises that it should properly fill the
space. Then without further sugges-
tion he tells them to go ahead, paint
or draw, and when, after an hour and
a half, the works are finished ne puts
them up and comments upon them
one by one. always kindly. and even
When adversely, with certain sense
ton.
The results are magical, amazing.
and as one looks over the drawings In
black and white and the paintings in
color that have come from these vi
ennese youngsters, one would almost
wish that they might continue ever
chiIdren, for. according to Prof. Cizek
when the Dup;lS get past fifteen and
develop Inconsistencies all save
the fairy gift is withdrawn. Be that
as IT may, the showing that is made
Is remarkable, and ii is one which
demonstrates what an inspired teach
er can do under given circumstances
This is an exhibition which all
teacnerS and parents should see but
which children also will heartily en-
JOY. When shown first in London it
attracted a great amount Of atten-
ton. 1t was then brought to New
York. and the Educational Associa-
ton thought so well of il that it is
financed while in America by one OF
the great foundations It has been
shown in Brooklyn and in Baltimore
and is later TO go on a circuit of the
principal cities of the United States.
+
a the Corcoran Gallery Of Art
"a two interesting small exhibitions
have lately been put on view-one, of
etchings and small paintings by Caro-
line Arlington Of Paris; the other Of
water colors by Helen Breese Wal
cott Of this city. the daughter of
Charles D. Walcott- secretary Of the
Smithsonian Institution.
Miss Walcott's water colors, eight
cen in number, were done in South
America, while working in the field
with an expedition under the auspices
OF the American Museum OF Natural
history. They are all. therefore, OF
South American subjects-'-The Wind
ward Isles" LA Paz. Bolivia; "Eu-
calyptus Trees. Puert' Montt"; The
Plaza, Mendoza, Argentine Republic:
AT Castro, Southern Chile" They
are broadly rendered, forceful works.
IN the style Of Sargent and the other
great water colorists: bold notes, Wig
orously set forth. with a full brush
and apparent ease OF expression,
works which have no trace of femi-
n1nity. but are rather insistently
Virile.
MRS. ARMINGToNS paintings and
etchings are in the south gal
lery, on the first floor devoted to
modern bronzes, and are Of scenes
In and about Paris and Of French
landscape. She and her husband. who
Is also an artist, are both Canadians,
but have lived for more than twenty
years in France She is a strong
etcher and her works show great ex-
actness Of craftsmanship, a certainty
and firmness Of touch Among the
most charming are those OF Mont ST.
Michel" the entrance doorway at
Cluny, the stately, graceful tower OF
the Cathedral at Antwerp and the
fountain at St Jean du Doigt.
These are all quite large, a little
etchings. but for the Queens Doll
House Mrs. Arlington produced a
tiny little etching of one of the great
bridges across the Seine, which is
scarcely larger than a postage stamp,
and this, too. she is exhibiting.
Her paintings are very French in
style and show Indebtedness TO the
school of impressionists. They are
high-keyed in color, atmospheric and
as interpretations of place extreme
ly true. Two of the canal at Moret
are especially pleasing
A portfolio of Mr.. Armington's 8
etchings and Autographs may be seen
tton. They are quite different IN style
from Mrs. Armington's work. and at
the same time very engaging His
Paris seems, both in etching and
hthograph. are full of the atmos-
phere Of the place, complicated com
positions, with many figures and
much suggested movement.
Mrs Arlington gave a demonstra-
ton Of etching last Monday after
noon In the assembly hall OF the
Cosmos Club to a number. OF art
lovers invited by q group OF Wash
inGtoni2ns.
IN New York from May to May
= "a, at the Kraushaar Art Galleries
Marjorie Phillips, wife of Duncan
Phillips OF this city. is holding an
exhibition Of sixteen Of her paintings.
Guy Pene du Bois, New York critic.
IN an introduction to the catalogue.
says: This rs the first comprehensive
exhibition OF the paintings of Mar
jorte Phillips. She shows these
paintings with little or no fore
knowledge of painting for the pur-
pose OF exhibition. Her works NAV
strike the casual observer. at frs
glance, as wanting in sophisticatior
deals IN greater natural emphasis
Sometimes he is Strident. Sometime 6
he deals IN tricks Very often 1t is
Impossible to hang his exhibition
pictures in homes. Marjorie Phillips
pictures, more than those of the aver
age seasoned exhibitor, have the quail
ity Of intimacy. They are without
compromises made for better public
understanding. They are painted
primarily. one Is led to believe for
herself. This does not mean, as in
the case of the informal jottings OF
conventional painters, great deal OF
carfe1esness. Her compositions are
generally very well knit, even though
awkward. Her color flows with ease.
It has variety and grace. a lightness
that escapes frivolity. Tt has mo-
ments Of true intensity. Though this
color is a heritage from the French
impressionists, the direction toward
form in which It is led takes 1t def
nitely out OF that school"
Washingtonfans have already had
the opportunity OF seeing two or
three of Mrs Phillips works: one a
picture Of New York, painted from a
high window: another, a view
through New York window. veiled
with filmy white curtains and partly
screened by growing plants; and a
landscape, the last included in the
Corcoran Gallerys recent exhibition
of contemporary art That she has 2
rare talent and subtle power ot
Interpretation is obvious; that this
talent and perception has been per
mitted to develop with complete free
dom Is IIndnI1 BIT edlY well, and under