Evening star., 1933-11-05

ing the modernistic spirit of the exposition Is
well Is setting forth the aspect of the Federal
Building.
Louis Rosenberg as almost every one knows
was educated as an architect He served
throughout the war and returned to this
country to practice architecture in 1925, but
met Muirhead Bone, the great English etcher,
and was induced by him to give up architec-
ture and to do only etching. Under Malcolm
Osborn he studied in the Royal College of Art
London, producing 20 plates In his work
today is seen the English thoroughness and
habitual emphasis on technique Each Of his
plates Is complete as a work of art there
nothing fragmentary about them, nothing
casual Sometimes, perhaps, his superlative
craftsmanship may seem to dominate his
artistic emotion but it is a great thing to find
one today willing to labor indefatigably toward
an ideal of perfection. AS of his biog-
raphers has said: There is in his work no
fumbling or CLOSING over OF imperfectly
understood detail Everything is correctly and
adequately expressed" This same writer finds
in each Of his plates, whatever the pattern, "a
serene quality OF balance which satisfies the eve
and could only have resulted from careful pre-
Hminary study
His etching entitled Royal Insurance Build
Ing, New York" is an example Of his supreme
craftsmanship a most complicated composition.
city picture including skyscrapers galore, and
a great waterway spanned by many bridges.
Most charming in contrast, however,
some of his simpler subjects such the
''Loggia of the Doge's Palace, Venice" and
Doorway to st. Marks, Venice
Occasionally in his works he gives a sense
not only of weight bulk but also surface finish,
which is very attractive; for instance, his
"St. James Palace, London"
In catalogue OF Mr.. Rosenbergs works
Issued in 1880 72 plates are listed OF the
4s ircluded in this exhibition the majority are
new.
THE Art League of Washington opened its
hrst exhibition N its new building, 1903
T%enty-first street, last week. to continue
through November 20. This is the first of four
exhibitions of members work to be shown
oil. water colors, prints and sculpture, 154
exhibits in all, and occupies galleries on the
first and second floors, as we'll as the stair
walls. Inc exhibits range from extreme mod
ernism to extreme conservatism. and yet seem
to form a fairly harmonious whole
Each member had the privilege of showing
one exhibit and of designating which one that
should be; the jury had the privilege of in
creasing this number, and in many instances
artists quite generously represented. For
instance, Bjorn EgeE shows several portraits:
Eben Comins displays recent fresco, Labor
Ing. Men sun h1e painting, extremely mod
ernistic in character, painting Of a Negro,
and one two other works Clara Hill is
represented by four portait busts; Benson
Moore shows water color, Park in Winter"
a very attractive composition, and charm
ingly small oil painting, Sunset on the
Potomac
Hester Temple who only last year Joined the
ranks of exhibitors. is represented by two clever
paintings, The Emerald Glass and The
Duck"
Garnet JeX shows characteristic landscape
September Afternoon Below the Falls" GLADYS
Nelson Smith makes a particularly valuable
contribution in painting entitled, Carnival"
also very well-painted head, Marcia" Adelia
Doolittle Bauer sends admirably painted
interior, problem in the rendition of light
and atmosphere window through which one
sees view of back yard Clara Saunders
shows landscape and a portrit study; A. H.
O. Role, two landscapes; Edith Hoyt an in
teresting Canadian subject; Alice Acheson two
excellent woodblock prints as well as a paint
ing; Alice L. L. Ferguson, a broadly rendered
picture of valley in the Pyrenees Susan B.
Chase is at her best in Summer Flowers" and
Mary Doolittle Dawson in a painting of altheas
Rose of Sharon"
The league lists among its members $50 local
artists and number from out-of-town, It's
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