Evening star. [volume] (Washington, D.C.) 1854-1972, 1932-01-17

OF Vincent Van Gogh 1t is something earthly
and rugged and, at the same time of a lyric
pregnancy-something unguardedly and tact
Iessly frank, yet tenderly human. I am
thinking of Harold weston
The Phillips Memorial Gallery owns num-
Der of Mr.. Weston's paintings among them q
small portrait of his wife, Asleep" strange,
dramatic figure of woman who has thrown
herself face downward in her unhappineSs
entitled LONELINESS; picture of a cat
painting Of a new stove beside open win
dow To these have been added variety Of
other paintings for the present exhibition
other cats, still life, interiors, figures and
parts of figures; such, for instance, the
knotted hands of a lumberman, the feet Of
a man clad in tan leather shoes-comnon-
place things, one might say, painted with
ruggedness and with little regard for the
called amenities of art, but undoubtedly
different from what has been done before, and
equally evidently done with emotion. To like
or to dislike such paintings is the privilege of
the individual, but no one could have heard
Mr. Weston speak and doubt his sincerity, no
one could his paintings without realizing
the desire of the artist to find fuller expression.
Color" Mr. Phillips has said, sis Weston's
instrument, but for Sculptural rather than
orchestral purposes" His intention is not pri-
marily to produce harmonies, but to recreate
forms, emotions. He is individualist and
he has the courage of his convictions mere
stubbornness or complacent egotism, but the
courage of the seeker. II am glad" he said
in his talk, "of my Quaker ancestry because Of
what 1t has given me-
To again quote Mr.. Phillips: THE guiding
principle of Weston's life is whole-hearted in
tegrity. There is devout, affirma-
tive conscience in the man and In the artist
Weston paints what he lives" Even Mr.. Phil
lips however admits that at times Weston can
be almost needlessly fierce and shaggy in
execution" 1t is this "ferceness" and "Shaggi-
ness this fnsistence upon strength rather than
beauty. that undoubtedly repels some from hiS
works.
IN the Smithsonian Institution, division of
graphic arts, is now to be seen a collection
OF etchings by Beatrice s. Levy of Chicago we'll
known woman etcher Forty-five prints are
shown in all. of which more than twenty are
aquatints in color.
The aquatint it will be recalled, is produced
by giving the plate granual cover before bit
Ing by which surface is produced which prints
in tint rather than line, although lines may
be etched in association Herewith. This me-
dunn makes possible the use of color in print
ing in q way all its own, and the results at
tanned are often very charming. But they lack,
as in the so-caled color etching a suggestion
Of the accidental, and they have not the depth
of tone or strength of pigment that one finds
in the woodblock print To some, color aqua
tints seem lacking in flavor, but with others
they are extremely popular. Miss Levys vary
considerably in character, showing what the
unlnformed visitor may suppose to be expert
mentation or versatility the part of the
artist One of the most attractive of her aqua
tints in color is that entitled The Tide Comes
H. in which color is well applied and the
sweeping coast line attraetvely portrayed Her
CITY Nocturne"-lights twinkling out of dark
ness-1s also exceedingly successful, and the
Edge OF the Desert" has in decorative quality
much to commend it. Many. however, will like
her st. Francis" her Central Park impress
sion" and "Provincetown Houses" equally well,
If not better
Among Miss Levy's etchings in black and
white she shows great variety of subject and
some very elaborate themes. such as stock
Show Chicago" and I'm Orchestra Hall" con-
trasted with several extremely simple subjects
such as African Idol and Congo Gods"
Included in the exhibition are two excellent
portrait etchings, one of Cornelius Botke, tho