Evening star., 1938-12-18
Wafer CoIors Exhibit
To Stay al Cortoran
Until January IS
Paintings and Prints
Separated; Current
Trends Reflected
BY LEILA MECHLIN,

and II prints selected from 400 sub
mitted to the jury. The former oc-
cupy the walls of the gallery set
aside for special, transient exhibi-
tions, on the second floor, to the
left of the main staircase; the latter
are shown in cases in the atrium.
Less gay and colorful than in years
past, this exhibition undoubtedly re-
meets current trends. These are in
part technical, the badge of certain
modern schools, but also in part
spiritual, the essence of contempo-
rary life. Fear rides abroad in many
forms and not the least potent is
that OF uncertainty concerning the
future. 1t is this more than any,
thing else that is accountable for
1.-The triviality and grimness of much
" OF the painting of today.
There are many we'll painted pic
lures in the Water Color Clubs ex-
hibition and not a few that have
been done apparently blithely, but
the show as whole gives q little
the impression of WEAKNESS, and the
works for the most part are less
spontaneous than heretofore. Also
some of the very good painters who
nave done distinguished work in the
past are not at their best.
Public To Confer One Prize,
Two prizes were offered in con-
nection with this exhibition-one of
$50 to be awarded by the jury of
selection, and the other of $25 to
be voted by visitors to the most pop
ular picture. If the judgment of
jury and public agree it will be an
exception to the rule, for the former
is commonly governed by technical
achievement and the later by merit
IN result. The jury's award in this
instance went to painting by Glen
Mitchell entitled "Ruby's Red Chat
eau'-a house of the Victorian era
which would seem to have been
made OF red plush, in front of which,
across the sidewalk, are piles of
brown earth, resembling loaves of
ginger bread, while to the left un-
der tree with spreading branches
stand, sit, or recline, several at
tenuated damsels. The color neither
sparkles nor flows but is messy and
without sharp edges.
1t is a serio-comic work which
= must have been difficult of execu-
ton, but in completion is merely
calculated to set ones teeth on edge
or send shiver down ones spine, if
by nothing else than the sheer hid
eousness of the architecture. Mr..
Mitchell Is also represented by q
painting in the same technical man
ner of q landscape entitled pleas
ant Country"-likewise in spirit Vic
torian.
Rail Siding Scene Noted.
Honorable mention was given a
painting by Mitchell Jameson of a
freight car sidetracked at a rural
station. very well composed and ad-
mirably painted. not, to be sure, a
beautiful subject but well seen and
not unbeautiful as interpreted by
the artist who, in his rendering,
gives indication of the charm of
light through air, those elements
BY which natures miracles are
wrought. This painting hangs half
way of the south wall on which may
also be seen very clever and fresh
ly rendered study of The Old Wind
mill at Nantucket" by Ruth H. Lee
and a carefully studied, elaborate
composition by Eleanor Parke Gus
tbs, Market at Chichicastenango,
with many figures in the fore
ground, work both picturesque and
convincingly authenic
Here, too, one greets again with
pleasure Mary G. Riley's transcript
ton of the facade and steps of
"Calvario," and sees for the first
time a study made by Elizabeth
Sawtelle, last winter, of Travellers
Palm, Jamaica"
Kenneth Stubbs, of the Corcoran
School faculty, Is represented by an
excellent still life, Elizabeth E. Sayre
by spontaneous rendition of a
Church at Chilmark," Alice Ache
son by a characteristic Street in
Georgetown" none too flattering to
that now fashionable section west
of Rock Greek. Frances w. Wheel
er's Winter Evening and Kath-
crime Summy's Lighthouse both
lend distinction to this group.
Other Works Distinctive.
On the east wall, in a row, hang
several very engaging works, vari-
ously rendered but in each instance
with artistic feeling and evident un-
derstanding Of the latitude and
limitations Of the medium employed.
These are October Landscape" by
Roy M. Mason, colorful and excep-
tionally luminous; 'The Savannah
River by Thomas Craig; Back
yards Under" reminiscence of
food, by Martin Gambee, who, by
the way, contributes dramatic pic
ture Of the September hurricane in
New England; an interior, Lee
Mansion" by Ruth Perkins Stafford,
very skillful and effective, and vii
|lage Churchyard," picturesque and
well set forth by H. Purcell Rodman.
All Of these are painted with clarity
of color and evident command of
medium, which, after all, the public
has a right to expect of those who
make Water-color painting a pro-
fession.
There are less flower and still life
paintings in this exhibition than is
usual, but, for the most part. those
which are shown are outstanding.
RED Tulips" by Josephine Mast, is
q strong, direct and very effective
work; Elizabeth Muhlhofer has sur
passed herself in her painting of a
vase of mixed Summer Flowers
which in technical excellence and
style recall the works Of the Dutch
masters of earlier days, and Iona
Miller Keplinger's briskly painted
vase Of Mexican Sunf1owers" not
only maintains her enviable reputa-
ton but lends . delightful spot of
color to the show. OF unique in
terest, however, are three paintings
of still life which hang on the north |
wall: Cucumber Magnolia" a map- |