Evening star., 1939-02-12
New York Studio Guild
Has Exhibitions Here
Travelling Collections Being
Shown at Art Gallery,
Howard University

bronzes by Katherine Pyle Cole,
Breeze" and "Idyll." which would
be classified as conservative.
On the other hand, action is ad-
mirably portrayed in the near-ab-
stract figure Flight" wood cary
ing by John Rood. The few simple
direction lines of cape and skirt
folds and the forward push OF the
small figure convey the idea. Mr..
Rood an Ohio artist, is largely self
taught; he was formerly magazine
editor.
Also in the modern idiom, are
three works by Ellen Key-Oberg of
New York City, young artist who
held her first solo exhibition at the
Studio Guild last October. Her
wood carving THE Manicure" "a
cat sharpening its claws now at
Howard, received honorable men,
ton in the Studio Guilds national
revolving exhibition last summer.
This work has flowing rhythm in
the stretch of the cats body; and
the artist has taken full advantage
of the beautiful color and texture
Of the wood. She is not so happy
in her plaster figure, Reclining
Nude" its forms have been over
! emphasized to the point of bulbous-
ness. Certain modernists express
diSdain for the sleek Psyches and
Venuses of the 18th century and
early sculptors; yet the modern
lists would appear to be in the
nf lcf vi ici1
when they repeat these corpulent
figures. which may represent an OPP
portunity for abstract curves; but
| to the layman, are merely studies
of dangerously overweight models.
The present engagement at How
ard University is the initial presen-
tation of the exhibition of small
sculpture, which is going on cir
cult from here for one year or
longer.
Studio Guild Trio
Exhibition.
The water color show at Howard,
also a Studio Guild loan, circulated
by the American Federation of Arts,
consists of three paintings by each
of seven artists.
The exhibition as a whole is COL
orful, full of vitality, contemporary
in treatment, although not expert
mental. 1t ranges from predomi-
nantlv traditional work by such out
| standing painters as Julius Delbos
| and w. Lester Stevens, to the strik-
ing simplihcations Of Arthur K. D.
Healy. Mr. Delbos' Martha Vine-
yard" harbor scene, and Morning
Over the Barn" are portraits Of
places which in their beauty of SUBJ
ject and detailed delineation, will
arouse nostalgia in many behold
ers Mr. Stevens rich dark colors
and substantial handling give
Milking" and The Sugar Maple
an appearance akin to oil paintings.
Ellen Glines' three flower arrange
ments are also conservative in char
acter.
The other artists represented,
contribute water colors broadly
| painted in clear washes which create
an impression of vivacity and spon-
taneity. OF Rose Churchill's group
! done in Mexico. Taxco street COR
ner, Behind the Cathedral seems
best. The zone of purplish blue
in the sky produces feeling of heat
and brilliant sunshine.
Jean Mertz' trio provides interest,"
ing contrast, having been painted
apparently in New England These
water colors are also infused with
sunshine and fresh air. but are
cooler in atmosphere. Miss Mertz
uses a simple palette, very effective.
Drying Sails (boats at a wharD
is done with three colors; Willow
Tree is monochrome in green.
Bermuda Penny Diver" by Enid
Spidell has suggestion of action
inherent in her composition the
upward thrust of the small boat
cutting the light green water, and
the counter thrust of the Negros
oar.
Arthur Healy's large painting
THE Glen has the effect of some
modern japanese landscapes, in its
deep blue sky fading rapidly to
white behind the black silhouette of
the tree.
Both of these exhibitions will re-
main at Howard University Art Gall
lery until February "a.