Evening star. [volume] (Washington, D.C.) 1854-1972, 1931-02-08

at Toledo, the other called '"rhe Sentinel Of
the Sierras," a little donkey standing on q
height among the great peaks. Mr.. O'Hara
claims to have found Spain-the land OF sun
light"-nost fascinating under clouded skies
In 1928 Mr.. oHara received one Of the
Guggenheim fellowships for travel and study
abroad Last November his painting Bridge
at Ronda," won for him the Irving BrOkaw
prize in the combined exhibition in New York
City Of the American Water Color Society and
the New York Water Color Club. His exhi-
bition here will continue through February n.
In April he will hold q one-man exhibition in
New York.
GENERAL purchases have been made from the
Royal Society of British Artists exhibition
Of water colors now on view in the COrcOran
Gallery of Art. The 20 or more pictures in this
collection are almost without exception pic
torial and charming. English artists have al
ways been interested in water color as q medium
and have used it well; but there Is q distinct
difference IN these English works and the
works of our own American painters. Despite
the freedom with which the English employ
water color, there is invariably, in all Of their
paintings, an evident consciousness Of tradition,
a serious intent Of bringing the work to uni
fed conclusion that we do not find In the ma
jority Of paintings by Americans. American
work may be, and probably Is more Spontan-
eo1s, but It Is also more fragmentary.
To those who have grown up among the
great monuments Of art Of the past art itself
is more important than anything else and the
artist conscious Of his ancestry, recognizes an
obligation to the past as well as the present.
The so-called modern artists, both here and
abroad, have endeavored more or less success
fully to get away from representative painting,
to symbolic rather than transcribe subject,
to create impression rather than render fact.
The paintings by these British artists, which are
not IN the modernistic mode, would seem to use
facts to symbolic emotions creating SEM
blance OF things seen as one might epitomize
group of experiences. Here in nature for in
stance, the artist notes a beautiful effect, o
pleasing composition, but it is his privilege to
improve this composition, to complete natures
intention, and to so render effect that the
charm is obvious to all. Especially notable IS
illustrating this purpose and achievement are
THE Old Bridge, Barnard Castle" by George
H Downing; Waterloo Bridge Under Repair"
by e. Handley Read; Morning Hampshire" by
J. Littlejohns; Poole Harbour" by David VIII
son. Evening" by J. Nicolson, and Water
Mill Near Canterbury" by Harold Waite.
This is the kind Of exhibition which one en-
joys seeing and studying, an exhibition provOca-
tive Of thought, while at the same time stirring
to the imagination.
THE collection of wood gravures by Macowin
futile, now on view in the Corcoran Gal
lery Of Art is creating much interest
The method Of making wood gravure Is the
same as that used by the American school Of
wood engraving of the period of~1875 to 1895,
only in the one instance the wood cut was for
the purpose of reproduction, while in the
other-that of the wood gravure-it is a picture
in itself.
Macowin Tuttle painter, illustrator and en-
graver was a pupil Of Chase Duveneck and
the Julian Academy, a member Of that famous
school to which reference has Just been made.
He has developed the wood gravure as a per-
sonaI expression, and Is engaged at present In
producing a series Of pictorial works Of this
sort ut Princeton, Yale and at oxford. He