Evening star., 1936-04-11

devoted to works In water color and
/ one for paintings in oil. In the former
a painting in gouache of Granada, !"
| by Eleanor Parke Gusts, has a place
Of honor, and witnesses, as always. to
the artists competent craftsmanship
and amazing ability to recreate
atmosphere through an accurate rem
dering of details brought together in
a well-unified composition. Here John
Butler is at his best in a painting of
boats in process of building on a sandy
shore. To this section Norma Bose
contributes two characteristic paint
| ings-one Of the Church at Truro"
! perched on a hill, done in the browns,
grays and black, emanating as formula
from the Woodstock School, much
used today by those who would escape
tradition. Included in this section Is
an amusing water color by Hugo linden,
The Ford"-an antiquated specimen
standing beside an old barn or she'd
memento Of the past, witnessing to
the rapidity Of progress. The Ford
of this vintage, it may be remarked,
was manufactured before its manu-
facturer had awakened to the economic
value Of art in design, which awaken
ing is said to have cost Mr.. Ford, be-
cause Of delinquency, cold million
dollars. Mr.. linden is primarily a de-
signer. Perhaps in painting the
ancient Ford he had this legend in
mind. But more likely, being also
sensitive artist, he did it to please
himself.
In the alcove given over to oil
paintings by members of the Arts
Club there is very fine canvas by
C. P. Meltin, a former student Of the
Critcher School. 1t is Of Gala Lilies"
in jar, on white covered table, and
structurally, as well as in rendering
of values, Is particularly successful.
In this section is a self-portrait by
Cornelia Yuditsky entitled Through
the Mirror"-a unique composition
featuring a boudoir doll. Here, also,
may be seen an excellent little land
scape by Elizabeth Graves and a
flower study by Margerite Neuhauser.
Last, but not least, in this round are
the two alcoves given over to the
members Of the Society of Washington
Artists. 1t Is in one of these the
president. Charles Bittinger's painting
in an old New England homestead
hangs: and, strangely enough, not so
widely separated in accuracy of rem
dition or provincial favor. "The
Market" by Alice AcherSon, shown
lately in an exhibition at Studio
House, a marvel of craftsmanship and
literal Interpretation. AS A. E. New
ton, the book collector and essayiSt,
once remarked, the world does not go
on, but round and round. But motives
may differ. There is a quiet element
of beauty in the room, on the walls
of which is the old pictorial wallpaper.
whereas there Is chiefly, 1t would
seem, life, motion, confusion in the
busy, up-to-date market scene which
Mrs. Acherson has Transcribed so
graphically without atmosphere or
noticeable color. In this section
Beulah Weaver, who delights in the
transcription of drab, commonplace
themes, and does it well, Is repre-
sented by q painting Of barns, sheds,
hay stacks, as seen, all in browns,
against dull-colored hill, each object
clean-cut, in three dimensions, but
stern and unlovely.
There is conspicuous absence of
figure paintings and portraits of note
throughout the exhibition. Perhaps
patrons were not asked to lend. Hans
Schlereth makes excellent contribu-
ton, as a member of the Society of
Washington Artists, by a three-quarter
length of German peasant woman
holding her prayer book and rosary
in her clasped hands. This is
academic, but Q very sound piece Of
painting. done. presumably, In Ger
many when the artist was studying