Evening star., 1932-02-07
NOE[ QE ART AND ARTL[[[

drawing room one of an amazing cloud effect
light rays radiating in downpour of glory
upon a richly colorful land-once seen can
never be forgotten.
After all, as Allen Tucker said in his splendid
talk on The Appreciation of Art at the Phil
lips Gallery week before last the artist does not
copy nature, but interpretS it, transcribing his
own impressions, that which to him is sig
nihcant. And by the way Mr.. fuckers talk was
one Of the best and most memorable on this sub
Ject that the writer has ever heard, opening
new avenues of thought, stating old truths in
such a way as to give them fresh significance
expressing forcefully and we'll the real mean
Ing or art) Happily he had a large atten-
tive and appreciative audience
But to return to Mr. Ennis paintings: The
one exception to the Maine subjects is a por-
ualt. II is in water color and of Horatio Walker
the great painter of genre who is claimed both
oy Canada and the United States and divides
his time between the two countries Mr Walker
Is represented in the Corcoran Gallery of Art
py one OF his finest works, Ave Maria and
scarcely museum in the United States does
hot numoer one OF his paintings in its perma-
rent collection. Mr. Ennis has pictured him
seated and at three-quarter length and has
succeeded in getting an excellent likeness.
Inc Arts Club has been very successful in it's
transient exhibitions this season and has wisely
while faYOring local artists. created variety bv
an occasional invited exhibition from out of
town of notable character, such as this.
HE exhibition Of etchings by Joseph C. Clag-
horn. which opened in the Smithsonian
Building February !, comprises Al prints and
is varied and exceptionally interesting In
oeed, 1t is seldom that etcher employs with
such facllty so many methods and sets forth
such variety Of subjects. Some of MI. Clag-
hornS work is pure etching in line, some is
Sott-ground and aquatint, some in color. AS to
subjects he shows a group Of architectural
themes, local buildings landscape and nude
figures
Among the buildings that he has etched are
the White House. the amphitheater at ArIing-
ton, the Capitol, Mount Vernon, the Pan
American Union. Constitution Hall and Arlirg-
ton House. These are small plates made es-
sentialy as souvenirs of place. Of them all.
perhaps those of Mount Vernon, the Capitol
and the facade of the Pan-American Union are
the most significant. setting forth not merely
fact Of design, but spirit OF purpose
There is something very poetic and lovely
about Mr. Claghorns soft-ground and aquatint
etchingS Of landscape themes witnessing to
hghtness OF touch and sensitiveness of percep-
ton. Among these is the original of his recent
Christmas card.
And speaking OF Christmas cards, included
in this exhibition is the card which Mr.. Clag-
horn etched by special commission for Presi-
dent and Mrs. Hoover this year. AS the plate
was purchased, copy OF the card bearing the
signatures of both the President and Mrs.
q Hoover was sent to the artist by White House
carrier. 1t is this print which he EXHIBITS.
Especially interesting, both from the stand
point Of draftSms nship and technique in etch-
ing, is the group OF nudes included in this
showing. the majority Of which are beautifully
drawn full of action and exceedingly chaste.
witnessing to the loneliness Of the human form
and the possibilities OF rhythmical motion
Joseph c. Claghorn was born in Philadelphia
In 1869 studied at the Pennsylvania Academy
OF the Fine Arts under William M. Chase.
Thomas Anschutz and others and also at the
School of Industrial Art and in the School of
Architecture at the University of Pennsylvania.
His first professional work as manager and
art director Of an engraving and printing COM
pany. He has travelled extensively, done en-
gineering and newspaper work. His uncle,
James L. Claghorn. was at one time president
Of the Academy Of Fine Arts. but his ancestry
goes back through a hardy line Of New Eng
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