davidaulloa/AmericanStories huggingface dataset:
Evening star., 1936-11-14

significant. All in all, the murals
take distinctly front rank in the pres
ent show, Will the art section of
the Procurement Division of the
Treasury Department, with its greater
resources and professional clientele,
score still better in its exhibition in
the Corcoran Gallery Of Art next
week? We shall see.
IN ORDERLY array, easel paintings
in oils and water colors follow
the murals in this exhibition. There
are only 10 or IL Of each, and when
it is recalled that Of these works
over 5000. have been produced for
Government wage, and use, during
the past year. under the Federal Art
Project, 1t is not unreasonable to
expect these to be outstanding for
merit. But instead, they are, for the
most part, grotesque and depressingly
unlovely. The interest they must
arouse is through their unique in
dividuality. Louis Guglieloni pictures,
with meticulous care and detail, a
Wedding on South Street. New York, "
in which the departure of the bride
engages attention: Austin Mechlem
has painted from photograph pic
ture of skiers descending a snowy
slope, in which motion is well indi-
Gated but photographically; Hester
Miller Murray presents an unusual
composition of a group Of buffalo at
night, rather vaguely painted; from
Lawrence Lebduska of New York has
come carefully rendered painting Of
Farm Team; Jack Levine of
Massachusetts, shows double portrait
entitled Conference" by no means
fiattering to those portrayed, nor en-
gagingly rendered; more humorous by
far IL Creporio PrestODinO's american
Evening star., 1936-11-14

Landmarks statue Of Civil War
soldier on a pedestral before the door
of q G. A. r. hall. These, with
Schools Out" a street and play
ground scene by Allen Critic of Mas
sachusetts. and San Francisco
Street." by Hilaire Hiler of California,
together with two still-life subjects
both well done-by Elizabeth Terrell
and J. Pandolfini, respectively, COM
plete the showing Of easel paintings
in oil.
Among the water colors, occupying
an opposite alcove, there is perhaps
more variety as well as promise. Here
q broad view of the "Ohio River in
Flood" by John Stenvall, has much
In merit to commend it. Lonesome
Farm" by Raymond Breintn. has
dramatic quality, and Start Of Wild
Horse Race" by John VALLEY. action
and organization. Also a portrait Of
Mrs. Simmons" by Samuel J. Brown,
Is structurally good and very well rem
dered. But here, as in the oil-paint-
ing group, there is no evidence Of
interpretative power, no apparent
comprehension Of, or desire for,
beauty. In practically every instance,
1t is realism, actuality, things that
can be touched. illustrated. reported,
rather than felt. or conceived. that
have been set forth by the painters.
Perhaps in this mechanical, swift
moving age, this is our preoccuption.
The graphic arts have suffered
much during the years of depression.
and the print market has not made
as rapid recovery as might have been
anticipated. but, strangely enough. in
this section the most mature work
in this whole exhibition Is to be
found. Here such well-known and
accomplished printmakers as Mabel
Dwight, Harry Sternberg, Emil Gam
Evening star., 1936-11-14
Have How to Dine

and designed not to detract from the
conviviality in hand. Whereas in that
earlier era the long, sumptuous repast
served to sustain the company until
next mornings breakfast, today the
public nibbles at food from the cock
tail hour on through a hasty dinner,
night club supper or q midnight
snack-even unto scrambled eggs and
Canadian bacon before separating at
dawn.
p ROBERT'S experience in serving the
public began when he was IA
years Of age. Being European born.
with an American father and Swiss
mother, he grew up at q time and
place where youths selected their fu-
ture calling and were apprenticed to
it. At IA, then, he was apprenticed to
q hotel In Berlin, Germany. He began,
literally, at the first round OF the
ladder, assisting in the dining room,
becoming familiar with the wine
cellar, and receiving, as he climbed, a
thorough training in what was known
as "the front Of the house"
From the Stephanie Hotel in Baden
Baden to the Kaiser Hof at Bad Kis-
singer, then on to the south Of France,
from Nice to Evian LIE Balm in Swift
zerland, then to the San Reno on the
Riviera, London next and, in 1906,
from London to the United States.
Maitre-d d'hotels of the day were con-
centrating on New York. So did
Robert. He began his American career
at the Belmont and from the Bel
mont went to the Plaza-that fine
old structure on the square facing the
park. One Of the most famous cafes
Of the day he had the pleasure OF
opening. That was the Cafe Martin:
at Twenty-sixth and Broadway, where
he drew patronage for three years
before attending the call of the Belle
vue-Stratford In Philadelphia.
In 1918 Robert left the Bellevue
Stratford to come to Washington to
open the old Shoreham-a career that
was interrupted by Army service dur
inr the World War. When he came
back from the military post in Ala
bama where he had been stationed,
he launched one of the most pictur-
esque enterprises Of the day-the st.
Marks Cafe, situated in an old Negro
church that had been converted into
restaurant. The st. Marks was
famous in Its time, but it has joined
the shadowy legion of eating places
that are no more.
Two years later Robert launched
lie Paradis and Club Chantecler-a
subscription night club that knew q
nine-year vogue. When he left to take
charge at the new ehoreham Hotel,
Evening star., 1936-11-14

centration and attention they gave
to legislative bills up on the hill.
EOR Roberts experience in the
Capital has included service in
the old Willard, where he did his bit
toward making many a Gridiron din
ner the talk of the time, and he knew
the distinction Of opening to the pub
lie the old Shoreham Hotel that once
stood on downtown corner and was
the gathering place Of every famous
statesman or diplomat who ever came
to Washington. Those, declares Robert,
wistfully. were. indeed. "the good old
daysl"
Life moved at a leisurely enough
pace, but there was time really to en-
joy the good things every new day
offered. Conversation, as an art, had
not died. It flourished in the cafes
and grill rooms of the Capital; it
provided the motivating sparkle to the
guests sitting about luxuriously laden
boards. After every course q differ
ent wine was poured tenderly into the
proper glass. White wines and red
wines, dry wines, sparkling wines-all
carefully chosen as an aid to the di-
.gestion Of the particular course it fol-
lowed. And the guests at table had
time really to taste them, delight In
their flavor, catch the gleam Of light
across the liquid gold or red Of their
surfaces, gratefully inhale their subtle
aromas.
"In those days" says Robert with
his quiet little smile, men saved the
country in very pleasant fashion"
Much of the change in the habits
Of the Capital, Robert believes, can
be traced to the days Of prohibition.
During prohibition, he says, the
younger generation got out Of the
habit Of leisurely dining. They
snatched their furtive cocktails and
dashed on to snatch second or third
furtive cocktails, where they could.
Emphasis was placed upon drinking,
not upon eating. Young folks lost
their appetite for food. They grew
up without learning what constituted
good food and fine dining.
To complicate the situation, women
grew calory- y-conscious. Foods contain
ing starch were banned from menus
that were to be set before women. The
lowiy potato grew lowlier still in the
estimation Of the feminine diner. At
length It was baflished from their
menus altogether. The mere mention
of q potato was anathema. Less and
less bread was consumed by the ladies'
Sugar was measured out sparingly. and
the day Of the rich dessert was nc
more.
Evening star., 1936-11-14
By Leila Mechin.

YNDER the title New Horizons
in American Art" compre-
henSive exhibition of work
done under the Federal Art
Project of the Works Progress Admin
istration was set forth in the Museum
of Modern Art, New York, in October.
A cross-section of this collection is
now on display in the United States
National Museum, Natural History
Building.
The purpose of these exhibitions is
TO make visual report to the public Of
one years activity on the part of the
Federal Government in this particu-
lar field. In New York 400 works
were shown, selected by an impartial
critic, the curator of the Museum of
Modern Art, from several thousand
available; an elaborately illustrated
catalogue with a foreword by Holger
Cahill, director of the project, was
issued, and much interest and dis
cussion were aroused. The selection
shown here consists of the best of
these 400 so honored and approved.
<Ao l4lC 1CACA al xAA v l. AOJSSS 40 bAOoSA
In scope and Nationwide in extent,
the current exhibition covers diver
sifed range in locale and activity.
Sculpture in wood and stone, paint
ings made by children Of the under
privileged, illustrations for an index
OF American design, Autographs, wood
block etchings, paintings in oils and
water colors, murals in fresco, egg
tempera and other media are all
included, by artists living in all parts
of the United States. the majority of
whom. incidentally. it is said, are
between the ages of 20 and 80.
The Federal Art Project of the w.
p A. is primarily relief measure,
80 per cent of those on its rolls being
unemployed. 1t has provided over
5000 painters, sculptors, print-mak-
ers, designers, teachers and others
Intimately associated with the devel-
opment of the arts, with a living
wage. The accruing works represent
the artists quivalent-produced with
gratitude and enthusiasm-but an
essential equivalent just the same.
Also, it must be remembered that
many of these artists have not had
time, or opportunity, until now to
win their spurs. With over 5000
practicing artists in the country who
had won reputation and had to sus-
tain it, there was not much chance
for an up-coming crop of equal num-
Der to get foothold on the somewhat
mythical ladder of fame" It is to
this submerged half that the Federal
Evening star., 1936-11-14
ART PROJECT WORKS SHOWN
Comprehensive Exhibit Brought From New York to National
Museum Reveals Some Results of Experiment in
Social Welfare-Coming Treasury Showing

Art Project has brought opportunity.
With these facts in mind 1t will
readily be understood that the usual
and accepted standards of Judgment
cannot be applied to the works so
procured and now exhibited. This
art project, framed and administered
by the Federal Government, Is new
experiment in social welfare and eco
nomic justice, and must be regarded
primarily as such. Neither by one
year of activity nor an exhibition or
two can its merit be measured or Its
success assured.
IN THE current exhibition, emphasis
has been placed. as it was in New
York, on mural painting to which,
under Government patronage, great
impetus has been given of late.
Actually, mural painting can be
properly judged only on the wall for
which it was designed and executed,
but effort has been made to recreate
environment by setting up small
models of rooms, on the walls Of which
the new-made paintings are to be
seen. There are three Of these in the
present showing, the most elaborate
of which is the library Of the Evander
Childs High School in the Bronx, New
York, around the walls of which run
a most elaborate mural in fresco by
James Michael Newell, formerly Of
Washington, representing THE Evolu-
ton of Western Civilization" Near
this model hangs a large panel of
cotton picking in the South, actual
size, as it appears on the wall back
of the librarians desk, and nearby
are series of progress photographs
showing the work under development,
and case containing colors, tools and
other paraphernalia.
Newell was a trained and ex-
perienced mural painter when he took
over this work, and he has put his best
into it, a monumental achievement.
In color it admirably accords with the
wood work and furnishings of the
room, the walls of which it covers
but whether it decorates that room
and accords with its architectural de-
sign, whether it conduces to sense
of quiet and contemplative receptivity
on the part of the youthful readers
for whose use the library is purposed-
are other matters which would seem
to have had very little consideration.
That is one of the interesting and
rather preplexing things about this
particular exhibition. BY those in
charge the social content of the
work is especially and repeatedly
emphasized, but the effect Of the work
upon the public, both in immediate
reaction and through extended in
f1uence, seems not to have been con-
sidered at all. For instance, in the
matter Of the mural paintings-can
one read or study in a room the walls
of which represent unceasing motion,
turmoil, If not confusion? Is one
cheered or comforted, if an impatient
Evening star., 1936-11-14

80 and Charles Locke are all well rep
resented - the first named by a de-
lightfully humorous as well as ac-
complished picture Of THE Museum
Guard" standing at the foot OF a
Victorian bed under a cupid-bedecked
canopy, yawning with boredom, while
q couple of museum visitors stand by
entranced. To keep ones humor un-
tarnished through unending bad times
Is in itself q notable achievement.
A lithograph by J. G. Bethlehem OF
''The Unemployed" brings the situa-
ton vividly before us.
IN THE section devoted to the work
OF children, done under w. p A.
Art Project instructors, there Is a
water color painting Of Sea and
Rocks" by Washington boy. Yon
Fook, aged 13, of the Americanization
School, which Of all the works ex-
hibited alone indicates a turning to
nature for inspiration and a reaching
out for beauty. OF interest in this
section, especially as indicative Of
imaginative quality. are marines,
Deep Sea River" and ITO the Res
cue" by children aged 8 and -. re-
spectively.
The last section of this exhibition is
devoted to illustrations made for the
Index of American Design. all Of
which are very accurate. For this in
70 he r1aad
to which skillful painters cheerfully
accommodated themselves to the dis
cipline of historical fact. Perhaps
after all If some of our younger paint
ers who seem so seriously to lack Gre
ative inspiration would seek outlet In
the crafts 1t might be well, not only
for them but for the future OF art IN
America. Here is a horizon which
may well be extended.
Sculpture takes an important place
in this exhibition, although there are
only six exhibitors and the majority
of the work shown is primitive in its
modernity. Most remarked Is the
sculpture in wood by Patricino Barela
of New Mexico, teamster who has
carved statues Of saints and the God
head with q primitive religious feel
ing such as is found in the ancient
santos of the New Mexican missions.
Reaching out for original expression,
this sculptor has carved in wood a
group in which he presents himself
as a Heavy Thinker" with a tangi-
bic load resting on his head and sup
ported by his appraised hands. There
is a recumbent camel by Eugene
Gershoy. q Reclining Nude" and a
second figure IN marble or stone, The
Robe" by Samuel Cashwan, which
have both plastic and elemental quail
tiles.
lust what this vast governmental
activity in the field Of art will
eventually bring forth is interesting
matter for speculation. Up to the
present time there seems to have been
neither dictation nor censorship, and
Evening star., 1936-11-14
Bulletin of Exhibitions
CORCORAN GALLERY OF ART

CORCORAN GALLERY OF ART
Permanent collie ction of
erican paintings and
bronzes: the Clark collection of
European art; Barye bronzes,
prints and drawings.
NATIONAL GALLERY OF ART,
UNITED STATES NATIONAL
MUSEUM-Permanent collec-
tions, Evans, Gellatly, Ralph
Cross johnson, Harriet Lane
johnson and Herbert Ward
African sculptures.
NATURAL HISTORY BUILD
ING, UNITED STATES MA
TIONAL MUSEUM-"Horizons
in American Art"-An exhibi-
ton of work produced under
the w. P. A. Art Project.
SMITHSONIAN INSTITUTION,
DIVISION OF RAPHIC
ARTS-Color etchings by Ga
brielle de " Clements, Ellen
Day Hale, Margaret ". Hoyt
and Lesley jackson.
FREER GALLERY OF ART
Permanent collections Whistler
paintings, etchings, drawings
and the Peacock Room, ORR
entail paintings, bronzes, pot
terry, miniatures, etc.
ART GALLERY, HOWARD UNI
vERSITY-Exhibition of con-
temporary prints.
PHILLIPS MEMORIAL GAL
LERY-Paintings by old and
modern masters; oils and water
colors and a few works in
sculpture.
TEXTILE MUSEUM OF THE
DISTRICT OF COLUMBIA
Permanent collection rugs, tap
estries and other textiles of the
Near and Far East. Open Mon
days and Wednesdays and Fri
days, 2 to 5 pm. Admission by
card obtainable at off1ce Of
George Hewitt Myers, 730
Fifteenth street.
THE ARTS CLUB OF WASH
INGTON-Exhibition of water
colors by Ruth Perkins Stafford
and etchings by Louis Rosen-
berg.
LIBRARY OF CONGRESS, d.
VISION OF FINE ARTS-Ex-
hibition of recent accessions;
Pennell autographs: drawings
by American illustrators. Ex-
hibition of original illustrations
by Walter Appleton Clark--re-
cent accessions. Pictorial pho
tographs of the Statue of Lib
erty by jeanette Grifith.
PUBLIC LIBRARY, DISTRICT
OF COLUMBIA--Main build
ing, exhibition Of prints by
Sheffield Kagy.
LITTLE GALLERY, INTIMATE
BOOKSHOP - Paintings by
Margaret Covey.
GALLERY OF MODERN. Mas
TERS-Paintings and drawings
by Virginia Clark and Ted
Egri.
Evening star., 1936-11-14
Kdqy's Prints at the
Public Library.

CHEFTIELD KAGY's exhibition OF
- prints at the Public Library will
well repay attention. With appar-
emily equal facility he makes litho-
graphs, etchings and block prints,
adapting his manner to his medium.
OF the works shown his block prints
are undoubtedly the most striking
and vivid Quite q number Of these
are of industrial themes-working
men in the midst Of their labors.
Others are of contemporary scenes
one entitled THE American Tragedy"
shows q Negro hung from the branch
OF a tree in front Of his own cabin.
But occasionally Mr.. Kagy leaves
realism behind and reaches into the
realm of thought and aspiration. The
heads of three praying nuns, wen
grouped, are of this character. This
is an aquatint with etched outline
printed in tint-and very well done.
Also in lithography Mr.. Kagy shows
competence. The subjects which he
chooses for photographic treatment
are not so striking as perhaps they
might be, but the treatment Is skillful
and good.
Mr.. Kagy is teaching this Winter In
the Abbott School, conducting classes
in the various graphic arts.
Evening star., 1936-11-14
Prof. Cook to Lecture
on Spanish Art.

DROF. WALTER w. s. COOK Of
the department of fine arts of
New York University will give the
first of this seasons series of lectures
on art under the auspices Of the
Washington Society Of the Fine Arts
in the United States Chamber Of
Commerce auditorium next WedneS-
day evening at $3.50 o'clock. The sub
ject, Art in Spain" will be most
timely, because of the haunting fear
of the destruction of masterpieces in
cident to the present unhappy war
fare.
Prof. Cook, who is one Of the lead
ing experts and authorities on Span
ish art, was in Spain last Summer
and witnessed some of the ruthless
destruction of world masterpieces OF
architecture, sculpture and painting,
which for generations have been this
country's proudest possessions. He
will incidentally show some slides of
photographs taken at that time. One
of El Greco's most famous paintings
is reported missing from Toledo. and
what will be the loss to treasures in
the National Gallery, Madrid, through
bombing from the air now in progress,
none yet can know. Not merely Spain,
but the world at large, will be i'm
poverished by this barbaric ruthless
ness.
Evening star., 1936-11-14
Fewer Prunes.

DRUNES have taken their place
among those crops which are
running short. The world crop this
year will be about 252,ooo tcns, Q re-.
duction under last years total OF
10000 tons.
Evening star., 1936-11-14

Of architectural themes, and among the
etchings by which he is now represent
ed at the Arts Club are some of hia
finest works. But these do not pro-
claim themselves at a glance. They
need close inspection, and they re-
serve their best for those who linger
over them.
Rosenberg graduated from the Mas
sachusetts Institute of Technology in
1918, leaving behind him a reputation
as brilliant craftsman and designer
of the architectural school, destined
to become a tradition. He got to Bos-
ton through winning a scholarship
offered by the Architectural Club of
Portland, Greg, his native city, and he
left Boston, at the completion Of his
course, as the winner of the Tech
nology Travelling Fellowship. The
great war intervened so that it was
not until some years later that the
latter award could be put to service.
In 1921 small exhibition of Rosen-
berg's etchings was held in the
American Academy Of Rome, but
etching was then considered by him
as by-product Of architecture, and
he returned to America to practice his
profession. having obtained position
in the office of York & Sawyer, New
York.
For two years, we are told, he made
perspective drawings for this we'll
known firm, and became known as
one of the best men in this field. 1t
was Muirhead Bone, the greatest Of
all dry-point etchers of today, who.
seeing some of Rosenberg's plates,
| hunted him out and persuaded him to
take up print-making, rather than
architecture, as profession. On his
urging, Rosenberg entered the School
Of Engraving at the Royal College Of
Art. London, and became student
under Malcolm Osborne. During his
first year there he produced no less
than 20 plates. and all of fine quality.
Since 1925 he has surged rapidly
ahead, and the sum of his output is
now quite imposing. But each plate
| Is made with the care and love which
| goes into a single masterpiece. Ro-
senberg never sights, or hurries, or
fakes. He is an etcher. inherently.
and par excellence; there are and
have been few like him. Examine
carefully any one of his thirty-four
etchings in this exhibition, and this
fact will become obvious. And how
stimulating and delightful they are!
Infinitely more so than the buildings
represented. fine as they may be, for
the artist in his Interpretation shares
with the beholder his own enthusiasm
and given to the subjects new inter-
pretation. 1t is his vision which opens
our eyes and makes manifest to us
untold and unrealized beauty. This
is a great gift.