Evening star., 1939-04-02

advantage There is sunny qualit
brings back recollections of works in
the same medium by Sargent, who
used it, most frequently. to give ex-
preston to holiday spirit, and en-
thusiasm engendered by the surpris-
ing loveliness of things seen.
Take for example her transcript.
ton of corner of MY Friends Gar
den," or its neighbor to the right
Fountain Versailles" or again
'Lion Fountain, Alhambra," or bil
further on, Woodland Water Fall
and note how skillfully she has
caught the impression of a moment
and rendered it with the feeling OF
something in transition rather than
static. Exceedingly strong and bold
is her rendition of the "Matterhorn
From Riffelalp.' and with strange
beauty all its own because of the
play of light and shade, her version
of "Rockport Quarries," the latter
nothing more than a man-scarred
wall.
Miss Gay has studied under Cottet
Menard and Blanche in Paris; has
travelled much and is student OF
architecture as we'll as of painting
But it is not what she has learned
from others that her achievement
reflects, rather, to the contrary, her
own clear seeing and strength OF
conviction. Perhaps when she was a
student of the Boston Museum
School, Tarbell and Benson, her
masters there, helped to open her
eyes, but that is all any teacher can
do for his pupil. Now as teacher
herself Miss Gay has been for some
years performing this function. It
is the fruits of her holiday travel
that she is now showing so effective
ly in the Arts Club gallery.
Spanish influence in Gonzales
Water ColorS.
Xavier Gonzales is also teacher,
member of the faculty of the New
comb College of Art, New Orleans,
and director, during the summer, Of
the Art School of the Sui Ross State
Teachers College, Alpine. Tex. He
was born in Almeria, Spain, Al years
ago, and it is doubtless from the land
of his nativity that some Of the
grimness of his art was derived. But
also from this source may have come
its inherent strength and solidity.
The fairy gifts bestowed at birth
are most often handed down from
unknown forebears. But it was at
the Art Institute of Chicago that Mr..
Gonzales got his preliminary train
ing in art and his paintings, if grave,
are very sophisticated. One does
not have to be told that here is one
who has studied profoundly and ex-
perienced much. The work speaks
for itself. And yet it has tanta-
lizing vagueness, is elusive to the
last degree in certain instances. The
painter seems to be reaching for
something which he has not been
able to actually grasp, as do many
of the so-called modernists. This
is true of his Interpretation of Jean
Valjean's Garden" but by no means
of Street in Antilles by
the way, found purchaser on the
day the exhibition opened. A row of
clothes, drying on line, gives accent
to the foreground OF the latter. but
they hang very quietly and unshad-
owed with stiffness almost oppres-
sive. The absence of light in the
majority of Mr.. Gonzales paintings
is especially notable.
Mr.. Gonzales does not confine
himself to architectural subjects or
outdoor pictures, but paints also
figures and portraits and does them
we'll. Most notable of those in
cluded in the current exhibition are
his life-size portrait of Picasso and
a figure entitled ETHEL at Work"
The former is peculiarly interesting
as a likenes of one of the leading
modernists of the day, one who
above all others has used abstrac-
rion in such wise as to induce
credence. But the potrait which
Mr.. Gonzales has painted is not
that of a sane man, If eye and ex-
preston are index to sanity. The
latter. a half-size full length, is
rather vague in treatment. but with
certain brilliant passages which give
1t outstanding value. Two winter
pictures, winter Grass" and win
ter in Paris" are both very i'm
pressionistic, subtle and In treat
ment modern" Evidently Mr..
Gonzales does not hesitate to ad-
venture when the spirit moves him.