Evening star., 1936-05-16

curement Division OF the Treasury
Department is a photograph of the
interior of Federal building at Flush
ing, N. Y, in which mural paintings
greatly enhance the dignity and beauty
Of the foyer.
But all this takes us away from the
exhibition. the purpose of which is to
manifest the technical skill and taste
Of the architects in rendering architec-
tural themes rather than as designers.
In this connection, however, mention
may well be made of perspective of
the United States Mint at San Fran
cisco, designed by Gilbert Stanley Un-
derwood and executed in pen and ink
by H. o. Van der Lyn, according to the
inscription. Standing upon rocky
promontory, this building is indicative
of strength: it seems, indeed, to grow
out of the rocks and be part of them
It is admirably rendered.
Most striking and memorable in this
section are two water colors by H. S.
Chandler, one of the Wren Building,
Williamsburg, Va" and the other
of the entrance TO the Fairfax House,
Alexandria" Here. too. is Colonial
Doorway" and gate, rendered with
breadth and freshness as well as
charm, by A. Bell, and two very excel
lent water colors of Old World build
ings by H. Wallace Smith. To one of
these. to the water color by Mr.. Bell,
and to a pastel, THE Crane" by Roy
E. Skipton, gold stars, designating first
award, were given. Rudolph Nedved
received in this section special COM
mendation for etchings and Francis
Palms for pencil sketches. Two Of Mr..
Nedved's etchings were Of Venetian
subjects. very sensitively seen and
transcribed.
Finally, mention should be made Of
an interesting group of photographs
of landscape designs made by land
scape-architect members Of the Treas
ury Department, Procurement Divi-
sion. These were for private estates
and show the work in advanced stages,
effectively matured. In this most diff
cult branch Of art the artist Is work.
ing not with static materials. but liv-
ing things, and here, more than else
where, visual imagination Is essential
to success. It is the necessity Of al
lowing time for living units to grow
into the pattern of preconceived de-
sign which most tries the patience and
the faith Of laymen who look on.
Owing to the discussion at the present
time Of certain landscape work now
in progress under governmental direc-
ton in Washington, this section of the
Federal architects exhibition takes on
special significance.
Obviously, q good many OF the
works in this exhibition make no pre-
tension to artistic importance-the
authors are architects not painters, or
sculptors, or printmakers - but
through adventuring into these neigh
borly fields they have found broader
vision and evident pleasure. The ex-
hibition is an act of good-fellowship
and a friendly gesture. admitting the
public to comradesship, If the urge
is felt. What could be better for art
and mutual understanding?
Work By Alumni OF the Master
Institute, Roerich Museum.
A URIEL BESSEMER Of this city, an
"a exhibition of whose work was
held Informally on q recent Sunday
afternoon in Mrs. Ethel Hoffman
Kane's studio, has gotten together a
collection of drawings and paintings
by alumni of the Master Institute OF
the Roerich Museum, New York, and
arranged them on display in a second
floor gallery of Silver Wheel, at 1909
Connecticut avenue. The presiding
genius of the institute now Is Howard
Giles, pupil of siddons Mowbray. Dem
man Ross and Jay Hambridge-
painter, director, lecturer and teacher,
the last in superlative degree. At this
time, when the tendency is to toss
all discipline in art to the winds, Mr.
Giles insists upon it with great rigidity
pointing back to Hol,ein and stress
ing the necessity Of . complete un-
derstanding of dynamic symmetry.
His conviction, and that Of his fol-
lowers, is that freedom is found
through law, and that consciously or
unconsciously the great masters have
been obedient thereto. AS every one
knows, the straight and narrow path"
lies within that broader one leading
to destruction, and to step OF on one
side is quite as disastrous as to step
on on the other-but the side toward
which this master institute teaching
inclines has not been overcrowded OF
late. Certainly the work Of students
who have developed in accordance
with and endeavored to carry out
these theories has much TO commend
it, especially that Of Mr.. Bessemer
himself. It is simple and direct, 1t
stresses beauty Of line, 1t shows ef-
fective composition-it Is not careless
or slovenly-and all the expression
lists" to the contrary, it is not lacking
in individuality. But no art can be
taught by rule and no rules can enec-