Evening star., 1936-03-14

colleagues" but attracted the startled
attention of all who passed it by"
Later still Mr.. Dallin modelled THE
Appeal to the Great Spirit" which
now stands in front of the Museum of
Fine Arts, Boston-a statue which
has chronological significance. plastic
importance, dignity and spiritual con-
tent. The arms are lowered, but out
stretched in supplication, the head
thrown back. 1t stirs in all deep emo
ton and conveys profound message.
Dallin has done other works, but
none better. His work Is strong and
elemental, forceful and direct. In
mis- day he has seen the development
of our great West, and since he began
to model the art of sculpture in this
country has flowered. Though now
in his 77th year, he has the spirit
of youth-he is never idle. Last Sum-
mer, in the studio adjoining his
Arlington Heights home, he was mod
cling an equestrian statue, full size,
of Paul Revere, conceived so years
ago with the young students enthuSi-
asm. Four years ago, when his
monument to the Pioneer Mother
was unveiled in Springville. his ma
tive Utah town, Mr.. Dallin went west
by airplane. At the dinner to be
given in his honor he will tell some
thing of the developments he has
witnessed and of the feeling toward
his own work. Tributes will be paid
to his achievement by Secretary Dern,
Senator King and Charles Moore.
old friends Of long standing.
Prints by a
California Artist.
THERE have not been many woman
etchers who have attained dis
tinction in the past. Mary Cassatt
being the one outstanding exception.
but of late several have come to the
fore with just claims to eminence.
One of these is Mildred Bryant Brooks
of Los Angeles, a collection of whose
work is now on view in the Smith,
sonian building, under the auspices
of the division of graphic arts of the
National Museum. Born in Maryyille,
Mo, the seat of the State Teachers
College. in 1901, the daughter OF
scientist and a painter, Mildred Bry-
ant grew up with a respect for nature
and a love for art. She "majored" in
art at the University of Southern Cali
fornia, studying under F. Tolles Cham
berlin, but she did not begin to etch
until 1929, five years after her mar
riage to Don j. Brooks. Her mentor
in etching was Arthur Miller. art
critic and etcher of exceptional skill,
from whom she undoubtedly learned
methods-what to do and what not to
do, invaluable knowledge-but who,
beyond this. exerted wisely no limiting
influence upon her work.
As now and then happens with those
of exceptional ability. Mrs. Brooks, as
a print maker, came very quickly to
maturity, almost from the first
achieving results of notable merit. In
such instances it would seem as though
vicarious experience was unconsciously
accumulated and stored against the
pending but unanticipated moment of
use. In 1882, only three years after
beginning etching, Mrs. Brooks print
Spring" was bought by the Califor-
mia Society of Etchers for distribution
to associate members. and in 1884 her
plate MY Friends" was awarded the
John Taylor Arms prize for technical
excellence by the Society of American
Etchers and received also prize from
the Chicago Society of Etchers.
To Mrs. Brooks the etcher's needle
is apparently perfectly natural me-
dunn of expression. With equal deft-
ness and success she makes etchings,
dry points, aquatints and engravings,
and her works. while very varied, have
a distinct individuality quite her own.
She has something to say and the
ability to say it. She is evidently not
striving to be original-her originality
comes from within-is herself.
OF the 40 prints included in the COL
lection on exhibition in the Smith
sonian, six have won awards, and six
were made for the P. w. A. under
Government patronage. They are for
the most part landscape subjects, in
which now and then are introduced,
as incidental, houses. people, animals.
Many are typical Pacific Coast
scenes-California rocks and noun