Evening star., 1937-07-17
By Leila Mechlin.

chosen this off-season to place
on view selection OF the
prints acquired during the past three
years for the national print collection;
most engaging Midsummer show,
the extent and variety of which will
surprise and delight print lovers.
These recent acquisitions, shown
how for the first time but happily to
remain on view for some months, cov-
er wide range of subject and media.
and are by print tmakers not only from
many parts Of this country but also
abroad: collectively they patiently
evidence the present state Of print
making as an art. In this collection
the gamut is run from prints which
are purely abstract to those which are
completely traditional, and from the
holdest wood-cut to the finest etching,
from prints so large that they will
hardly go into the cases to one the
aize OF thumbnail There must be
200 or more. and each will be found
tn possess individual interest. Further
more this Is not an aggregation OF
names. although among the print
makers represented are many Of out.
standing reputation. In this group,
strangers have been made welcome,
and the visitor is, therefore, afforded
the delight of enlarging acquaintance
To the print lover, such an exhibit
tion AS this offers not one but several
avenues of pleasure: first. that intrin-
sic in the merit Of the prints: second
the opportunity Of meeting 'old
friends" works by print makers whose
style and distinction have long been
recognized: third. measuring ones own
Judgment by discovery. and of all
the last is perhaps the most exciting.
Practically all of the prints shown
In this exhibition are contemporary;
some are very modern. and the feeling
Of life today runs through the entire
collection. This means nice ad-
tustment OF viewpoints which liter
ally. as in life, evade cassifica ton,
the beauty which we have inherited
from the past is still ours. and no less
precious because we are seeking with
eagerness new beauty in unexplored
fields.
IN THE works of artists from abroad
we see the most exereme express
aions OF this seeking. as. for example,
series OF distractions by a German
print maker. r. R. Yunghaus, to no one
Of which has he given title. He uses
light and form to create impressive
faly hr1
reference to faCtual things. One can
not call them designs" although. of
course, they are designed They have
no more meaning than the fash of
light from the windshield OF a pas
sing automobile, or than a detached
piece OF machinery; they awaken sem
sation but do not evoke esthetic
emotion; they speak new language
and Of another world not altogether
engagin
Also extreme, but distinctly ap-
preaching the known. are two large
prints. explorative, working studies of
"Sleepers." by Kathe Kollwitz of
Berlin. considered by many the
greatest print-maker OF our day, who
was already admirably represented in
the Library OF Congress collection
These must primarily be regarded
from the standpoint of pa tern
white against black. swept in with
harsh, strong lines. Whatever Frau
Kollwitz does has strength and power
snd sometimes, as in third print by
her in this collection of a mother and
nf
One does not, as rule, have to ex-
plain her work, its merit is obvious.
Her subjects have, for the most part.
been found among the working people
whose cause she and her HUSBAND have
long espoused.
From Enrico Glicenstein, a Pole.
have come some interesting line prints.
freely etched, of animals; prints which,
as the work of one who is both print
maker and sculptor, reasonably possess
an element derived from the plastic
Quite different, but also explorative.
are the lithotints by G. Favia, an
Italian: large plates OF Venice and
other Italian architectural themes,
handsomely rendered in this little
used medium. A lithotint is painted,
rather than drawn, on stone and, as
a rule. the effects produced have been
very delicate, but as employed by this
artist. there are strong contrasts of
light and shade, great breadth and
force in handling, results which can
well be described as brilliant.
TURNING to the works of our own
American print-makers, pleasur-
able note will be made Of an aquatint
by S. l.. Margolies, entitled Mans
Canyons bouquet" of New York
skyscrapers. sloping outward, and
crossed by rays of light descending
from the heavens, from right to left
which, strange to say. makes a fasci-
mating composition and one which lit
orally transcribes the impression these
titan towers make upon the beholder,
In nomenclature by no means usual
Cubism If such it Is is here seen to
achieve an astonishingly beautiful
purpose. Margolies, it is said. only
turned to etching two years ago, in
which time he has developed a new
technique through the medium of
aquatint
Perhaps there is no healthier sign
OF progress in the field of the graphic
srts today than the variety Of media
now in use. Here in this single ex-
hibition. We find wood blocks wood
cuts and wood engravings. lithogra phs.
lithotints. mezzotints, aqua tints, with
and without etching: dry points
and pure etchings. The last are still
the most dincult, adventurous and
satisfying, at least in most instances,
In the long run. But quite number
OF the print-makers employ several
media, using more than one with
ease, and choosing the one which,
upon occasion. Is best fitted for the
rendition Of the subject to be tran
scribed.
Thomas Handforth. who halls from
Washington State. but has spent most
Of his time for the last few years in
China, is admirably represented here