Evening star., 1938-10-16
By Leila MeckHn.

graphic Arts DIVISION OF the w. P.
A. Federal art project, opened, under
the auspices of the National Collec-
ton OF Fine Arts, in the foyer Of
the United States National Museum,
at Tenth street and Constitution ave-
nue., on October 7, to continue until
the 30th. This is the most compre-
hensive survey Of the work of w. p.
A. print makers that has as yet
been held, and it not only gives op-
portunity for estimate OF worth, but
witnesses to current output in this
field.
Geographically. the range is from
Boston to Seattle. from Detroit to
Santa Fe, not forgetting New York,
Chicago, San Francisco and points be-
tween. Technically, there is. it would
seem, no less width of boundary, for
included are etchings, drypoints, aqua
tints, Autographs, engravings. wood
and linoleum cuts, and also prints
made through an entirely new medium
to which the name, ''carborundum
tint" has been given. The last, dis
covered by coterie of project artists
In Philadelphia, is explained as "a
copper plate intaglio method which
widens the print makers range by
putting within his reach tonal effects
heretofore unobtainabe
In this connection it is interesting
to know that the majority Of the
prints in this large exhibition were
produced by artists working in graph
ic studios established by the w. P.
A. on the cooperative workshop
basis in New York Chicago. Phila-
delphia, Cleveland, San Francisco and
Denver BY this method the abilities
Of all the workers are pooled. and an
atmosphere created similar to that of
the bottega Of Italian Renaissance
days.
Undoubtedly better work has been
done in the field of the graphic arts
by artists working under the w. P. A.
Federal art project than in the sister
fields of painting and sculpture, and
those who see the current exhibition
cannot fail to be impressed by the
technical skill evidenced by the ex-
hibitors, 1t is little short of amazing.
Especially is this true in the arts OF
lithography and wood engraving,
which for a. considerable time were
almost entirely disused but in late
years have been brought back and
given, it would seem, new breadth and
significance. Any child can put
paint on canvass and call it picture,
but to make an etching, a Telegraph
or an engraving one must be master OF
A very eXacting craft. To attain this
mastery requires laborious effort. per-
sistent practice, not unlike that which
every student of music must give to
attain to professional standing. The
weakness of contemporary art comes
largely from casting aside such dis
cipline-the tendency to take short cuts
without counting the cost; therefore
It is especially remarkable to flnd SO
large a coterie as that represented IN
the current exhibition bowling to the
inevitable and taking their place as
master craftsmen. If this lesson alone
has been taught by the w. P. A. Fed
eral art project, the service rendered
Is great indeed.
According to statement ~ MI
Holeer Cahill, director of the project,
the work accredited to the graphic
arts division has been done by a rela-
lively small group of $50 artists. But
the output has been enormous. Tor
since the inception of the project IN
August, 1885, these print makers have
produced 6l,l74 prints. OF the 1O6,-
452 paintings, sculpture and graphic
arts. allocated to l3458 tax-supported
municipal, State and Federal insti-
tutions, these form, it is said, large
section. The artists making the
prints are on salary, pledged to spend
on the work not less than given
number OF hours a month, for which
thev receive living wage Quality
is insured by each design being passed
upon before work on the plate is be-
gun. When these are finished, prints
are made in editions of Is to IS I'M
pressions, all Of which are the property
of the Government and distributed
freely for cultural uses
Art patronage on so large scale
Is so new and unexpected that it is
hard to grasp or evaluate. For the
moment its beneflcence is almost over
vhelmng, but awakening from the
first shock of surprise, one is bound to
ponder gravely what the effect will be
on the future There is an old saying
to the effect that no business can COM
pete with philanthropy. This being
the case. how can art, which is not
subsidized, ever again hope to hold its
own? Also, if such art cannot support
itself through legitimate channels.
what will happen if, or when, the
patronage is withdrawn? To en-
courage the production, or overproduc-
ton. of that for which there is little
or no demand is, as we all know.
serious economic error. In other words,
what is to become of these w. P. A.
artists when w. P. A. funds are eX-
hausted? Unless the market is being
built up and Widened proportionately,
their plight will indeed be pitable.
And also what of the go and 9" who
are not ION relief" and have to make
their living in what may be called
"the open market? Can any one
suppose that through the multiplied
ton of output. the increase OF workers
in the field, this market is not greatly
narrowed?
In reviewing this most engaging
print exhibition no visitor can fail to
be impressed by the character OF the
works set forth and by the fact that
among the print makers there is an
extraordinary scarcity of names OF
Anglo-Saxon origin. Apparently nine
tenths of the artists in this Division
of Graphic Arts are either foreign
born or of foreign parentage-
strangers to our shore who have been
given welcome and must now be taken
care of. This inference, if correct,
would seem to explain in a measure
the type of theme most commonly
chosen-the life Of the poor and labor
ing classes as seen from very realistic
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