Evening star., 1936-05-02
Bv Leila MechHn


water color are shown. and, quite out |
OF the ordinary, the latter are con-
siderably larger than the former. In
fact, in almost every instance this
painter seems to have used oil colors
for his quick sketches, done with great |
directness and simplicity, and water |
colors for deliberate, studied compost |
tions. Never, however, does he appar-
emily confuse the potentialities. to say |
nothing of the peculiarities, Of the two |
media there is no mistaking his oils
for water colors or vice versa.
The little oils which first catch ones
attention are less than 8 by 10 inches
IN dimensions. but are frankly seen
and broadly executed. In composition.
what is more, they encompass in
some instances spacious views of land
and sky with incidental buildings, etc.
OF these there are no less than 10, all
of which we're, it would seem, painted
abroad-delightfu souvenirs of Euro
pean travel Here for instance. are
pictures of "A Basque Church and
An English Castle" glimpses of the
Sussex Chalk Cliffs" of The Welsh
Coast" and of the country Near Biar
ritz" as we'll as of An Old Time MILL
French Haystacks" and of Winter
IN Poland" AL are picturesque. color
full. we'll seen and rendered with more
than little evident emotion on the
part of the artist.
Some of this same quality of delight
in sheer beauty is found in Mr. Del
bos' larger works in water color, which
ale likewise rendered with spontaneity.
Especially notable are his paintings of
old houses at or near, Rockport, Mass,
overShadoWed by old New England
'elms, the heavy, dark foliage of which
contrasts sharply with the sunlight.
cool but dazzingly bright, on the white
painted clapboard walls. Admirably
has he portrayed the character of
these noble trees and excellently sug-
gested the atmosphere of the simple
Old homesteads.
Quite a group of Mr. Delbos' water
colorS are of Cape Ann themes, among
which most elaborate and unusual, is
one of Pigeon Cove" as seen from
part of the cape and the roadway al
most on the crest of the hill. There Is
nothing distorted in the vision. One
looks down on the sea in all its superb
blueneSs and notes the contour of the
land. a sharp promontory jutting like
a finger toward the open ocean, and
observes the WhiteneSS of an abandoned
granite quarry like scar manmade
on the face of Nature. An extraordi-
narily difficult piece of drawing, this
composition is most skillfully rendered
with a calm assurance and sustained
strength quite mastery.
In two other instances, Mr.. Delbos
has chosen a somewhat similar high
viewpoint. In AT Anchor" one sees
only the idle little boats at rest on
quiet water and no sky at all, whereas
in other cases the horizon line is de-
liberately placed high. 1t is an inter-
esting point of view, and perhaps, in
part, because of the technical difficulty
to be overcome in transcription, has
for many painters today allure. But
when paintings are purposed to be
hung on walls rather than seen on the
floor a certain amount of readjustment
is thus required of the observer. Who is
actually looking up rather than down.
However, when this feat OF vision is as
cIeverly achieved as here in these
paintings by Mr.. Delbos no legitimate
complaint can be made.
In subject matter, as well as media
and handling, this exhibition will be
found exceedingly varied and engag-
ing. It will continue to May l5.
ApropoS OF the
Presidents Exhibition.
INTEREST in this exhibition of
- ships and ship models lent by the
President has not been limited to
local circles. Inquiries concerning it
have come from various parts of the
country and talk of a marine mu-
scum in Washington is heard on
many sides. The art editor OF the
Boston Globe, A. j. Philpott, writes
to remind of the important painting
done by the late w. F. Halsall of
Provincetown and Gloucester, and to
inquire the present whereabouts of
his huge canvas depicting THE Ore
gon at Santiago" shown with a COL
lection of this artists marines in
the National Gallery of Art good
many years ago. 1t is hanging now
in one of the Naval Academy Build
ing at Annapolis. BY both Mr.. Phil
pott and William H. Downes, for
many years art critic of the Boston
Transcript. this painting is highly
praised for artistic quality as well
as historic significance. While paint
ing 1t the artist fell from the scaf-
folding and received an injury from
which he never completely recovered
Another painting, the battle between
the Monitor and the Merrimac, en-
titled THE First Fight of Ironclads,"
the work of Mr. Halsall hung for
many years in the Senate Office Build
ing, but is now in storage, for lack
of wall space for display. A marine
museum, providing appropriate place
ment, for such works of historical
and artistic value, might very soon
become national asset, as well as
an incentive to pride and proper
patriotism.
introducing TtOo
Ne11 Paint Makers.
T OVERS of art and print collectors
will find much to enjoy and ad-
mire in the joint exhibition of dry
points, mezzotints, aquatints and
etchings by Ruth Doris SWEET and
Alexandra Mastro-Valerio set forth
this week and until May 20 in the
Smithsonian Building. under the aus
pices Of the Division of Graphic Arts
of the United States National Museum.
Miss SWEET, who lives at Southern
Pines, N. c.. but has travelled and
worked in all the South Atlantic
States, took up etching only five or
six years ago, in which time she has
made rapid advance toward profcien-
cy. From the Society of American
Etchers' most recent annual exhibi-
r;y,k E1ar{do pinav