Evening star., 1936-04-25
Bv Leila MeckHn.

ment stores, is not only the event OF
the week, but an event of great inter-
est Last year, when the venture was
launched, ostensibly under the patron
age of the Washington Post and the
District of Columbia Federation OF
Women's Clubs, but actually through
the initiative of Mrs. Eugene Meyer
and Mrs Samuel A. Swiggett, there
was a tremendous response and great
enthusiasm on the part of the artists
and the cooperating organizations;
all of the expense was subscribed by
the organizers, numerous money prizes
were offered. This year. while under
the same auspices, the conditions are
somewhat different; the artists pay
their way through the medium of
small fee for each work submitted,
the number being limited, and the
prizes take the form Of a guarantee
of purchases to the amount Of Sl00,
given by the management of each
store in which the exhibit is set forth.
Also jury regulations were little
more stringent. But certainly there is
no evidence of encouragement on the
part of the exhibitors; approximately
300 works being accepted and shown.
These were divided into eight groups,
as nearly as possible even in merit,
by one of the organizing committees.
The stores in every instance accepted
the assignment and provided for dis
play to the best of their ability. A
special effort is being MADE to sell,
and the cooperation of the public
is sought in balloting for the most
popular works exhibited.
The general character of the exhibit
ton is more conservative this year
than last. Taken. all in all, there is
less modernistic work shown. but the
average of merit is not appreciably
better. The chief reason for an indie
pendent Exhibition of Art is to give
opportunity for the unknown to be-
come known, the submerged to emerge,
the talented to manifest talent. Rarely
has a great genius thus been brought
to light, but it should be remembered
that such are not numerous. 1t is a
matter OF qualification in connection
with the current show, however. to
note the number of unfamiliar names
stances the excellence of the work
contributed by these artists. This
alone should reward the effort of the
organizers.
Selecting at random IS such names,
none, it was found, was listed in cata-
logues of exhibitions held by either
the Society of Washington Artists
or the Washington Water Color Club
recently, nor in the Who's Who in
egis of the American Art Annual.
This discovery is distinctly stimu-
lating.
1t is also to be noted with salts
faction that some of the best known
of the local artists have made con-
tribution, not presumably for selfish
reasons, but to testify to approval and
appreciation, by lending cooperation,
democratically take their place or
places with the rank and file, asking
and expecting-and to the credit of
the management let it be said receiv-
ing-no special favors.
The difficulty and danger of such
an exhibition is that of misunder-
standing on the part of the public,
which is apt to accept exhibitions of
art "on authority" and without dis
elimination. Necessarily an inde-
pendent exhibition, which is more or
less open to all, is low in standard, as
compared to those selected by strict
jury or as educational, museum dis
plays. There is greater mixture of
good and poor a wider latitude of
choice. The public should not be
deceived, but, on the other hand,
should not judge too harshly. Here
Is an opportunity to try ones own
metal-to pick and to choose, to
cultivate discrimination. The ballot
Is an excellent incentive to such end
A S TO buying. Almost all works
of art are for SALE, although they
may not be produced primarily for
this purpose. and demand undoubtedly
stimulates effort. But no work of art
should be bought for any other rea-
son than desire on the part of the
purchaser. The love of art is a deep
emotion, which, when gratified. yields
boundless pleasure. More than this,
such qualification is an elemental hu-
man need. This, and this alone,
gives works of art value, not merely
in the present. but continuing indefi-
nitely. For this reason it is absurd
to say that conditions of life have
so changed that the artists must build
up new clientele. People still buy
automobiles. yachts, jewelry and works
of art, when they want them, or more
simple things for less deep purses. 1t
is all question of how much art
is wanted. Here is opportunity for
demonstration.
But turning to the exhibition it
self. Each section is shown differ
emily. At Garfinckel and Co.'S the
pictures are on easels arranged in
semi-circular array, confronting the
visitor as he, or more probably she,
steps from the elevator. A few frocks,
incidentally. lend human interest" as
silent observers, but there is no back
ground Of merchandise which might
be thought to conflict. At w. and j.
Sloane's, where, by the way, there is
an extensive exhibition of period
rooms, the exhibition is set forth on
the walls Of large stock room. and
adjacent Office. in company with in
Vulnerable electric lamps with white
shades which key up the color scale.
The little theater at Jelleff's provides
ideal setting for the exhibition which
fills its walls and overf1ows into the
entrance hall. Nothing could be bet
ter than this for the showing of pic
lures. Woodward and Lothrop is also
fortunate in having ready-made gall
leries-a whole series of four-well
lighted and arranged, good for con.
templative seeing. At the Palais
Royal the exhibition has musical &C
compartment, being shown on the
floor where radios are sold. Both
Hecht and Landsburgh have assigned