Evening star., 1933-12-17

weed panel which found a purchaser was
reminiscent OF the artists SOjourn In Syria,
little Syrian town in the lap OF the hills tall
mountains in the distance a herd of white
goats in the foreground. Another was a mem
ory Of New Mexico-a red mesa, desert land
spotted with sage bush, an Indian in the FORE
ground weaving at a loom. another Indian COM
ing with water jar on her head from her
mound-like home; and still third most in
tereSting and decorative was OF view from
Miss Bush Browns fathers apartment window
here in Washington-roofs and backs of houses
seen under a mantle of snow After all, it is
not the subject that counts but the way in
which it is treated.
In every instance these panels have decora-
tive borders. The Syrian panel has a border
of flowers typical of the Syrian country. The
theme invariably finds its way into the border
and in each instance through some new and
fascinating device. There is no difficulty, the
artist says, in originating these devices. the
difficulty is in working them out, giving them
expression. Her mind seems teeming with pat
terms, dreams of beauty, rhythmical harmoni-
GUS in color, significant; and the rendering to
her, which is done with the utmost skill, is in
variably, she declares. delight. This is art
it should be, art at its best.
IN THE Arts and Industries Building, United
] States National Museum, is now to be seen
a group of pictorial photographs of California
by W. E Dassonville of San Francisco They
are of exceptional artistic interest
The camera has in recent years become a
recognized medium for artistic expression but
seldom is is used more sdllfully than by Mr..
Dassonville- Not only does he seem to under
stand the importance of good composition. but
also the value Of light and shade, and of at
moSpheric effect. His prints of the Monterey
expresses are exceptionally fine-trees standing
out with character and dehniteness sufficiently
but not too greatly defined, their spirit as well
as their form interpreted.
In quite a different manner Mr. DaSsonville
transcribes pictures of the dunes. Realizing
that here there is no emphasis, he depends
upon line and rhythm, delicacy of tone, to give
adequate expression. From plate to plate one
sees complete change Of mood and yet withal
a complete mastery of medium. One or two
Of his beach scenes are very charming, so also
are some of his pictures of San Francisco.
The collection will be on view throughout the
month of December.
IN THE galleries of the Art League of Wash
ington, 1903 Twenty-first street. there was
placed ON exhibition December Is, to continue
to January 5, a collection Of woodcuts in color
by Ernest w. Watson, who Is making interest,"
ing experiments in block printing. Mr.. Wat
son lives in Brooklyn in the Winter and in the
Berkshire Hills In the summer. 1t Is In the
latter region that he finds most Of his subjects.
For most of his prints Mr.. Watson uses from
to 10 blocks, each registering a single color.
These blocks not of wood but of Hrloleun,
and the colors he oils, not tempera-
water color. Unlike the Japanese block prints,
Mr.. Watson's prints have no definite outlines,
no sharp-cut silhouettes. Thus he seems to
have employed old art original
dunn and through it found distinctly varied
form Of expression.
At the same time thst Mr. WatSons prints
were placed on view q few oil paintings by