Evening star. [volume] (Washington, D.C.) 1854-1972, 1931-03-29

ject colorfuI and markedly individual. This
artist delights in painting the Basque fishermen,
whereas his older brother, Valentine, depicts the
mountain folk chiefly In the village of Garay
Ramon's painting is stylistic and essentially his
own No one could confuse it with the work
of another artist The emphasis is upon the
living people in the foreground of all his works.
The landscape, although an important part Of
each pattern appears rather like backdrop.
italicizing the reality of the human subjects
StAlwart young men with bronzed faces, 1.-the
girls, older men and women whose faces have
been furrowed by manual labor and long con-
tact with the elements. There is, too q stolidity
about most of them, perhaps symbolic of their
characters, Which contrasts strongly with the
fairy-tale quality of the distant landscape
mountains bathed in the purple light Of eve
ming clusters of white or buff-colored houses
climbing the hills, romantic as the pro-
verbal castles in Spain. But the artist can
depict motion with the utmost success, as in
the large painting of la Pelota," the Basque
national game, said to be. like the Basque Ian
guage, too difficult for any foreigner TO learn
The curved bats on the arms of the players
are reminiscent Of lacrosse. The same types of
people appear frequently in Ramon's paintings
The fisherman wearing the Chinese red jacket
in "A Family Of Fisherfolk' is seen again,
almost identical in appearance and pose, even
to the fish in his left hand, in THE Vender of
Atunes." The Basque Reaper and BASQUE
italian ever painted, are the same man as
appears in THE Angelus." One Is amused to
see that the ubiquitous beret, which looked so
out Of place on many American heads last year,
is exactly right as worn by De zubisurre's
hsherfolk.
In the dining room at the club are paintings
by James L. Carbery. To judge solely from this
small group, which is not very sound thing
to do, one Surmises that the artist looks upon
life and finds it ruthless or at best, ironic
affair. Especially telling are q small Cruel
hxion," little more than q sketch, which shows
three meless and expressionless figures above
a surging mass Of bestial faces; WAR" a brutal
face which comedies with ones mental concept
of a butcher In the Chicago stock yards and
enough of the military uniform to reveal q
number of glittering decorations, and Index
ExpurgatOrius," cleric with a cat-and-canary
expression, holding a large folio. These little
paintings are reminiscent of Daumier.
The etchings Of Capt. w. Francis Longstan,
which I'LL the reception room on the first floor,
are, with single exception, portraits of London
at night1Views of Westminster, st. Paul's
Ptccadilly Circus, Houses Of Parliament the
Tower, National Gallery and other world
famous buildings seen in the picturesque glare
of street lights, now and then reflected on wet
pavements. Some critics have declared Capt.
Longstaf one of the best portrayeFs of London
atmosphere since Whistler. His Partially to
night scenes reminds one Of the American
etcher, Martin Lewis but there the similarity
ends, for figures play very little part in Capt.
Longstaf's etchings. He is q native Of Austria
liza and was one Of the fighting artists Of the
World War In this capacity he Is said to have
made the first sketches Of the American Expe-
dictionary Forces. Severely wounded and tempo
rarily deprived of his sight, he went to England
to recuperate and he lost his heart to the
British capital. Capt. Longstah's work is not
new TO washington, as group Of his water
color drawings exhibited here about seven
years ago and few years later his etchinGs