Evening star., 1928-10-28

Continued from Fourth Page)
degree, tempered, perhaps, by a sense
of the decorative and pronouncedly in
dividual. Here also is Helen Turner's
Portrait of Miss Withers," very con-
servative and rendered in a manner
quite her own. Homely and OF the
moment, but extraordinarily clever is
John Sloan's presentation OF three
women drying their hair on roof on
Sunday fternoon-domestics' holiday.
my Sister Alice" by Luigi Lucioni, is
distinctly modern in manner but mod
ern In the best sense. modern as the
Italians have interpreted this move
ment, finding in it not only simplicity
but decision of statement, barking back
to the great primitives, clinging to
tradition while finding self-expression.
The long vista of these galleries is
terminated by full-length painting of
Virginia country woman by Carl
Melchers, which hangs in the place of
honor in Gallery E. Nothing could be
more realistic than this Interpretation,
this technically splendid painting of
woman in blue Sunbonnet and apron,
with hoe in hand, standing in front
of bench on which are red tomatoes,
a cymling and other emblems of the
farm. Mr.. MelcherS is represented by
two other paintings in this exhibition,
one painting of a mulatto girl stand
ing in front of table on which stands
a vase containing bouquet of flowers
and picture of nude woman dressing
before her mirror. Mr. Melchers' COM
mand of his medium Is extraordinary,
his color is always pleasing. On either
side of this most literal portrait hang
subtle Landscapes by Charles H. Davis
THE Interval" and by Daniel CARRIER,
Blossom Time-Byram," emphasizing,
If not over-emphasizing, its purposeful
abruptness.
On an opposite wall is surprisingly
subtle painting by Emil Carlson, Fog
Bank" while lending gayety to the
group as a whole is a Girl in Red
SASH" by William Glackens, and
Girl in Red Vest" by Guy Pene Du
Sharply turning the corner into Gal
lery F ones attention is Immediately
caught by decorative painting, white
Pelicans After a Bath" by Benson B.
Moore Of Washington, painting rich
in contrast of dark and light, and rem
dered with a full free brush-an ex-
ceptional work. Next, to the right.
hangs a most interesting still life paint
ing by Victor Higgins called Christ
mas Cactus" bowl of green leaves
enlivened by bright red flowers; essen
TALLY work of the Taos school. but
quite different in aspect. Here, nearby.
is M. Jean MacLanes beautifully
painted picture of Beach Life-Devon,"
q group of gay bathers rendered in
somewhat unreal but lovely colors en-
ployed by the Italian primitive painters,
those who sounded the note of the
golden era.
Most notable, and rightly honored by
central position in this gallery, Is Ed
ward w. Redfield's Cottage by the
Sea-" while on opposite walls hang two
other works by this same master, 1.-THE
Ftsherman'S Beach" and "Monhegan
Harbor," coast scenes painted with the
same ability that has characterized Mr..
Redhelds Winter pictures.
Martha Crocker's Portuguese Boys
and Jerry Farnsworth's "Joaquin's
Boys" are hung on opposite sides of the
north door, and they proclaim the
artists to be pupils and close followers
OF Hawthorne.
Aldro T. Hibbard, member of the
jury, is well represented by two land
scapeS in this gallery, and herein hangs
q beautifully painted nude by Sergeant
EACAAduA yVuklE WGilAuIt oGGA dGd1LloL
a background of snow and trees.
In Gallery g one finds a notable
full-length painting by Umberto Ro-
mano entitled 1.-THE Hunter" which is
distinctly in the style of the modern
Italian school; also an tndividualistic
Interpretation by Abram Poole -
"Davidova quaint, admirably painted.
unusual. Dominating this gallery and
in the place of honor is Lillian Westcott
Hale's Portrait of T. S. Hardin, ESQ.,"
son of DR.. Hardin of this city, painted
with consummate skill. The subject
wears riding clothes and stands in front
of table on which are two globes.
This painting when shown in the Win
ter exhibition of the National Academy
Of Design last season created great in
terest and called forth highest COM
mendation. 1t is indeed tour de force.
There is another Case Indian paint
ing here by Maurice Sterne, farm scenes
by James Chapin and Bernard Kartlol,
which supplement their other contri-
buttons; very poor example of the art
Of great painter, H. o. Tanner; a
characteristic work by John Costigan