Evening star. [volume] (Washington, D.C.) 1854-1972, 1930-05-11
Continued from Nineteenth Page

Continued from Nineteenth Page
"In the Orchard" are Of similar character
outdoor scenes of child life intimately por-
trayed.
"Apple Tree in Spring and Copper
Beeches" are examples of pure landscape
painted apparently for the joy of the doing,
inspired by a subtle and exquisite sense of
beauty Of color and juxtaposition Of har-
monius rhythncal forms.
The "Old Farm House" introduces again a
note of human interest and it contrasts in
terestingly the sternness of architectural line
with the grace OF natural forms.
Tulips and "marigolds" are both excellent
still-life studies, the former particularly good in
color and skillfully rendered. sweet Peas"
combines still life and figure, that of little
girl seated beside table on which bowl of
sweet peas has been placed. In the interpre-
tation of this subject and also that entitled
"a Bowl of Fruit" Mrs. Phillips has taken
the modern viewpoint from above looking down.
It is not always that an artist gains through
the aggregation of his or her works. Mrs.
Phflhjs does, partly because she does not re-
strict herself to single formula, and invariably
treats each new subject as problem in ITSELF
Her works have not only received high COM
mendation in New York, but are being generally
invited for notable exhibitions throughout the
country-tangible evidence of widespread APP
probation.
MENTION was made in these columns last
week of the exhibition Of water colors by
Vivian Guy which opened at that time in the
Yorke Gallery. But one must see these water
colors to fully appreciate them. Occupying
three galleries, they may be regarded in two
groups-water colors of our great West and its
unique scenery, and water colors done in Europe
and In India.
To those who know the West, the Yellow
stone Park with its great geysers, the canyon
fN4 fflQ he ~ ArfoN 81,
frst group will be found of particular interest
There are many who have endeavored to paint
our great West; there are comparatively few
who have succeeded in interpreting its strange
ness and its vastneSs correctly. Mr.. Guy uses
an entirely new method of Interpretation when
he portrays the Western wonderland, a method
essentially modern in its simplicity and yet dis.
tinctly his own. He does not attempt accurate
transcriptions, he does not initiate nature but
he tnterprets in big, simply way impressions
made upon him by what he has seen, impress
sions which conjure up in the mind of the OBJ
server vital memories
MIR. Guys water colors of French, Italian and
Indian subjects are handled in quite different
way. They are broad, but more detailed, more
sophisticated. In several instances, particularly
a nocturne OF Nice as seen from the heights, a
view OF Florence on a gray day. and one or two
other subjects, he has used both line and color
effectively and uniquely
IL Is color, undoubtedly, that makes to Mr.
Guy chief appeal. Not only is this evidenced in
his rich, colorful studies of the West and in his
r1cner and more colorful studies of the East and
OF the Riviera, but in his manner of mounting
ms water colors, each with a border of con-
trastng color which gives a keynote to the
painted composition.
IL Is remarkable thing that with the
nundreds OF artists producing today and the
thousands OF pictures that during season are
passed In review, it is still possible for one to
nno something to say which has not vet been
SAID, and method Of saying it all his own
Gutzon Borglum, the sculptor, once remarked
mat no one need try to be original-every one
hao Deen SO created, therefore to be original