Evening star. [volume] (Washington, D.C.) 1854-1972, 1930-11-30

York, by John Sloan, and a charming
painting Of the great Southwest entitled
"a Friendly Encounter" by e. Martin
Hennings.
THE New Yorker" Most Modern.
In this gallery there is perhaps one
of the most modern Of the moderns, in
dicative Of the spirit of the time, q
painting entitled THE New Yorker" by
Anne Goldthwaite, and most laughable
OF all the absurdities, picture of two
children grotesquely rendered by Nura,
entitled Little Pig Went to Market
10 little toes projected almost out of
the canvas.
Gallery G has an extremely interest
ing painting by Leon Knoll, a member
Of the jury who acquits himself In all
of his exhibits in this collection admi-
rably. Here he shows two figures sill
houetted against the light of window
in New York, showing beyond an ag-
gregation Of skyscrapers. Here is an
amusing painting by Max Weber en-
titled Still Life Distributed" picture
Of a stove and other junk in An Attic"
realistically set forth by Glenn o. Cole
man; a painting of harbor by John
Carroll which if unentitled would be
vaguely painted by Kuniyoshi entitled
Autumn Twilight; a really excellent
still life by Sidney z. dickinson, and
realistic rendition of the homely little
houses Of Perkins Cove by Ernest Fiene.
In gallery H Abram Poole, who shows
an excellent full-length portrait in GAL
lery B, exhibits Crazy House." typical
of q good many of the houses one sees
painted by modernists, seemingly in ex-
IRENE agitation. Here is a portrait of
young girl, full length, by Eugene
Speicher, invariably a strong painter,
flanked by two little landscapes by
Daniel CARRIER more vague, less deco
rative and appealing than usual. Ber-
nard Karfiol, who received the first
prize two years ago, is represented by
three seated nude figures, brown and
unlovely.
Here, on the end WALL is a painting
by John Carroll, entitled Two Fig
ures," which undoubtedly, in the mat
ter OF modernism, represents the ex-
IRENE. Grotesque and incomprehensible
as these figures are, there Is, it must be
admitted, significance in the attitude
and expression which gives indication
of purpose on the part of the painter to
transcend the limits of graphic art, to
suggest through the medium of paint
more than external appearance. But Is
1t Of enduring loveliness-worth while?
Adjacent to this epoch-making paint
ing by John Carroll are two admirable
still-life paintings by Luigi Lucioni,
illustrating the fact that the Italians,
as the French, in casting aside tradi-
ton are still under its influence. Evil
dencing likewise the difference between
the American attitude, which breaks
entirely from tradition, and that Of our
European colleagues is a painting on
the same wall by Margaret Sargent,
boy and Cow" which merely succeeds
in being groteSque, coarse.
Figures and Umbrellas"
Opposite the Speicher portrait in this
gallery is group Of Figures and Um-
"brellas" by Kenneth Hayes Miller, one
Of the leaders Of the modernistic move
ment who as teacher has welded wide
influence, but is not here at his best.
In Gallery I interest naturally CEN
ters In a painting by Maurice Sterne,
After LUNCH" awarded the first WI.
liam A. Clark prize and Corcoran gold
medal. Maurice Sterne was introduced
to Washingtonians some years ago by