Evening star., 1924-12-07

stance standing not for 10. but an
unfxed number-the mysterious alge-
braic X. 1t SO happens that there are
IL who are exhibiting, and later on
the number may be increased or
diminished. Primarily the purpose of
the organization, which is extremely
informal. is comradeship and mutual
aid. These painters plan to get to-
Sether once month to talk among
themselves about art, to discuss their
problems-the problems with which
sll artists are confronted, to consider
technicalities with which the general
public is comparatively little inter-
eSted, and from time to time to ex-
hibit, as in this instance. There will
tie no president nor secretary, no
dues. no jury, and, as others are
found congenial in spirit and pro-
ducing work which is worthwhile,
they VIII be invited to join the circle.
1t is an excellent idea, and the ex-
hibition which is set forth is in every
way worthy. Because it is the work
of local artists, no apologies need be
made. These painters are on a foot
ing with the best, and in judging
their works no limiting circumstances
need be taken into consideration.
They are genuinely good.
Three of the eXhibitorS-Richard
s. Meryman, Burtis Baker and Eugen
Weisz-are connected with the Cor
coran School of Art as instructors.
MIR. Meryman was a pupil of Abbott
Thayer, and in his work he holds to
tradition. To his large portrait of
Dean Wilbur, owned and lent by
George Washington University, has
been given the place of honor on the
semi-Circular wall. Gravely painted,
it will be found a we'll studied work,
satisfying the demands Of portraiture.
Quite out of the ordinary is it's pic
torial backgrounds picture of two
clipper ships painted as a part of an
old-faShioned wall paper. There is
a story connected with these ships
and their introduction in this picture.
Dean Wilbur's father and his uncle
were both sea captains. 1t so hap
pened that for IL years they did not
meet, during that entire time their
ships never making mort simultane-
ously. One day, rounding Good Hope,
one clipper ship sighted the other,
and. speaking as they passed, 1t was
discovered that there on the high
seas, far from home, the brothers
were to meet. This meeting had been
eagerly desired by the sea captains
aged mother, and seemed to have
come as an answer to her devout
prayers. Dean Wilbur, as boy, ac-
companied his father on that note
of the motif in the background of the
portrait
Mr.. Meryman shows two other por-
traits, one of Mrs. Dean Acheson, the
other of Mrs. Frederick Brewster, the
former particularly simple and sympa-
thetic. In addition, he shows four Or
five small landscape sketches; two
simply entitled Spring" one Cherry
Blossoms" The last in its exquisite
subtlety recalls Twachtmanns finest
works
Burtis Baker likewise shows both
figure paintings-portraits and land
ecape studies. The Man With a Fur
Collar" is a portrait of his father, an
excellent. painter-like production. AR
rangement in Black and Gold.' lent by
Mrs. Nelson C. Chase, is pleasing
portrait study in which color arrange
ment lends an agreeable decorative ele-
ment. Girl in Profile" is also well
thought out and sympathetically rem
dered; but, most charming of all, per-
haps, is the child-portrait, Mary
Josephine and Tommy Tinker" Ed
mund c. TarbelPs little granddaughter.
The landscapes were painted mostly in
the neighborhood of Rockport or Folly
Cove during the past Summer and are
fresh in color and strongly rendered.
1t is hard to believe that Eugen
Weisz has only been painting for two
years, so knowing is his work, so ac-
complished his technique. His "Timmy
Mullings" is an amazing characterize
ton, painted in a way which puts the
painter in the class with the best. His
Still Life-66" is also notable for tone
values and for sklilful manipulation of
the medium of oil painting.
Cameron Burnside. who is a COM
paratively new conner, shows, six paint
1ngs made in France, all charming in
color, atmospheric, luminous and sur
charged with what, for lack of better
name, may be termed artistic quality,
sensitiveness both in perception and in
Interpretation. Here is one who is
no longer experimenting. fumbling, but
who has found himself his meter.
Eben F. Comins. who gave an inter
esting demonstration Of portrait paint
ing in the auditorium Of the Central
High School last Thursday evening, and
who has distinctly made a place for
himself in Washington as portrait
painter, shows an engaging study, en-
titled Jim of the U. s. Life Guards
a typical representative Of the brave
men who make up that noble corps. He
shows also a genre, a cross section of |
contemporary life, beneath the surface
of which a meaning is to be found If
enc will pause long enough to discover
1t. Among his other exhibits of note
are two beach scenes painted, presuma-
bly,, at Bass Rocks.
Five of Jerry Farnsworth's contri- |
buttons are portrait studies. One is
of his bride. the daughter of Wells
Sawyer. 1t shows her standing,
palette in hand, against the rather
bleak background of the Province
town moors. The others are Prov
incetown types. Portuguese fisher
folk, and have the dramatic sugges-
tion of archaic Spain which Zuloaga
has SO ably interpreted in recent
years. That Mr.. Farnsworth is a
master craftsman is demonstrated by
his still-life entitled Lemons, Jugs,
and Other Things" There are few of
the younger generation who show in
their work so great promise.
Felix Mahony shows six forceful
and colorful, broadly rendered water
colors, virile enough to take their
place in this exhibition side by side
with works in oils without loss of
effect.
k,Alexis Many, on the other hand,
shows oil paintings rendered in the
manner of water colors, but in a way
entirely his own. His seven exhibits
were all painted in California. Six of
them are merely entitled California
Sketch" All are high-keyed and
in a manner peculiarly decorative and
engaging.
Arthur Franklyn Musgrave and
Carl Rakemann both contribute es-
sentially sunny pictures, pictures