davidaulloa/AmericanStories huggingface dataset:
Evening star., 1940-11-03
Bulletin of Current Exhibitions

Gallery Seventeenth
NW-Permanent collection
prints coors Mitchell Jameson through
IA Water colors etcngs Alfred Huty through
November 81.
Club Washington street NW-Waer coors ech
ngs and drawings by the late Charles Woodbury..
Phillips Gallery, N.W-Paint-
by old modern masters sculpture prints selected from
permanent collection through November Autographs
aquatntS by Goya.
Library, Eighth colors by
Library of Congress- Division Fine ArtS-Lhographs by
Joseph etchngs
makers original Illustrations photographs of early American arch
lecture.
Whistler paintings
prints; room; American paintings
Textile Museum 1880 street NW-Rug tapestries and other
textiles of the Open Mondays Wednesdays
Hewitt Myers, Fifteenth street NV.
National Natural History Building Tenth street and
Constitution NWThe National Collection of Fine Arts
udng Gea Evans Johnston johnson and Pe collections
paintings porcean obets Sixth annual Metropolitan
State foyer through Etchngs
and Autographs by Chide Hassam lobby through November
National Museum Arts Industries Building south side of
November
ALLEGATIONS Gallery independence sw-ols
water coos by five members of the local Art Unit through No
venber.
Gallery, Independence
children Philippine through November.
D. Memorial Hal-Amercan
represented by English potters: December
Chalet Nonparl 7103 Old road Bethesda Md
Aquatone wood block prints by William Henche through No.
"a.
University Gallery. Sixth street Nw-Paint
ings by Howard M Jackson; to November TO-
Little Gallery 3208 street NWPanngs Margaret Brooks
Johnson through November 15
Studio Gallery George Washington University 2l2l street
oil Paintings William Cafee through November
The Bookhop Gallery 9l6 Seventeenth street Naturalization
Women City Club 736 Jackson place NW-Pantng by Mrs
Webster Ruckmsn, through November.
Evening star., 1940-11-03

New York City. "A Survey OF
Persian Art" in three volumes by
Mr.. Pope was published about two
years ago. The author is said to
have spent IL years compiling it,
and the London Times described it
as "the most magnificent book ever
produced"
Washingtonians are exceptionally
fortunate in being able to study
superb examples of Persian art of
various types, in the Freer Gallery
and Textile Museum of this city.
AS these two institutions do not
offer special exhibitions throughout
the season, they are not so frequent
ly brought to public notice, as the
museums and galleries which have
frequently changing shows. Art low
ers who forget to pay occasional
visits to the Freer and the Textile
Museum are missing opportunities
to see very beautiful displays.
Several galleries at the Freer are
devoted to the arts of Persia, chiefly
pottery and Illuminated manuscript
leaves decorated with exquisite min
iature paintings. One can obtain
at least an acquaintance with the
art of Persia, beginning with the
Evening star., 1940-11-03
Water Colors Exhibited
Mitchell .LnmieSnn,s pninti

MttcheU JdmteSOn'S Paintings
Reflect Contemporary Ten
denotes.
Mitchell Jameson is undoubtedly
one of the most talented of the
younger group of Washington ar
fists, and he has furthermore made
good use of opportunity. Under the
Treasury Departments art project
he has painted for a time in Key
West and then in the Virgin Is
lands. More lately he has by di-
rect commission done mural paint
ings for post Offices at both Marl-
boro and Laurel, Md. One of his
paintings has found its way, by
selection, into the White House, and
many others are privately owned
here in Washington. Thirteen of the
water colors in the current exhibi-
ton at the Corcoran Gallery of Art
are owned and were lent by the
Secretary Of the Treasury and Mrs.
Morgenthau. These we're all
painted, it is understood, when the
artist was staying in their country
home in New York State.
1t is not at all unreasonable that
Mr.. Jamieson's work should reflect
to some extent the tendencies of the
contemporary school; indeed, it Is
much more surprising that so little
does he seem to follow others and so
strongly stand on his own feet.
Apparently anything and everything
that meets his eye may be regarded
as grist for his mill. In other words,
subject matter and even compost
uion are of apparently less concern
to him than mere transcription.
Obviously he paints with enthusi-
asm. His work is direct and strong;
occasionally, but not very often, it
interprets mood.
Sometimes he is a little brutal in
his manner of transcription, over
looking completely those subtleties
which give universally as well as
permanency of interest. 1t is not
necessary always to reduce a COM
position to a common denominator
in order to insure immediate effect.
Better far are those paintings which
Evening star., 1940-11-03

Also at the Freer are unique ex-
amples, such as a Kubatcha stone
pediment for a double window and
an intricately carved wooden door
Of the Seldjuk period.
In the late 14th century, Tanner
lane endeavored to revive the Mon
gol World Empire, but his success
sors, lacking his political genius,
ruled only in q part Of Eastern Per-
sia. They are said to have been "the
most refined lovers of art the world
has ever seen on throne" Chi
nese influence continued strong then
and under the Sefevi dynasty in
Persia in the 10Th and 18th CEN
turies.
The Freer Gallery has exquisite
manuscript pages with miniatures
representing Persian art in this field
for four centuries. including the
Mongol school, early 14th and early
18th, and the Sefevi and Herat
schools, 18th, 10Th and 18th CEN
turies. Many of these miniatures are
devoted to episodes in several popu-
lar stories: Alexander, Khusraw and
Shirin, and Bahram Cur and the
seven princesseS. The last men,
Evening star., 1940-11-03

Exhibition in the Corcoran Gallery
of Art, is made up of water colors
and prints, to which have been
added a few drawings. There are
16 paintings, all of which are hung
in the gallery, and "a works in black
and white, shown in the reception
room.
This is an exhibition sent out by
the American Federation of Arts
and, presumably, to save cost in
transportation and insure safety of
the works, both paintings and prints
have been matted and passe-par-
touted with cellophane, instead Of
framed under glass, with great loss
of effect and detriment to the artist
who by the display was to have
been memorialized. The cellophane
catches many reflections and, there
fore, makes it impossible properly
to see the paintings and prints; the
binding has no decorative value and
when slightly worn takes from the
dignity of the display.
Even SO, Mr.. Woodbury's work has
sufficient inherent distinction to
surmount even these handicaps and
the attentive visitor will find here
much to admire. AS an etcher, the
late ChardeS H. Woodbury. was pc
cunarly gifted and exceptionally
successful; as painter he stirred
the emotion of those who saw his
paintings as have few others.
Both in paintings and etchings
Mr.. Woodbury. represented chiefly
the sea, and as he knew it off the
lower coast of Maine at Ogunquit.
But he also transcribed mountains,
finding in them suggestion of some
of the elemental force which at
tracted him to the sea. Also at one
time he made quite a number of
plates of elephants, in which case
it must have been bulk and rhythm
of motion which attracted him.
His etchings are very rugged, his
line habitually heavy and broken,
as befltting the themes he portrayed.
Others have shown the ocean in
many moods, but none has better
expressed the restlessness of the
waves than he. He was fond of
picturing, through the medium of
etching, little boats bobbing up and
down, tossed and tossing in cross
sea off the shore or in harbor, but
as drawn by him each boat seems
to take its place in the composition
and to hold it with complete unity.
Writing of Mr.. Woodbury's etch-
ings some years ago, John Taylor
Arms has said, Here, in these
works, are present those two quail
ities-the thought and the mode
and the perfectly adequate Ian
guage chosen to interpret them
which are the essence of the fine
print" To which he added, Among
all the conflicting tendencies, isms
and fads that beset graphic art to-
day, it is refreshing to know, or have
Evening star., 1940-11-03

toned story concerns Persian King
who married the incomparably
beautiful princesses of seven neigh
boring countries; installed each
princess in her own pavilion and
spent one day a week with each.
The miniatures depict Bahram Cur
with various of his wives in ex-
Quisite settings.
The story of Khusraw and Shirin
is one of the most famous love
stories in Persian literature. Khus-
raw was King of Persia, Shiri1 an
Armenian princess. She lived in a
palace beyond a mountain and en-
gagged a young architect-sculptor
to tunnel through it in order that
she should receive promptly her
daily supply of milk from farmers
whose herds grazed on the opposite
slope, according 70 the Freer CAL
lery's miniatures. The young sculp-
tor fell hopelessly in love with her
and died tragic death.
The Textile Museum, of which Mr..
rope IS trustee, mas many delicate
cloths-of-gold of Persia. orna-
mented with designs inspired by the
miniature paintings of the SefeW
period. Others are decorated with
flowers and birds, which it is in
teresting to compare with the paint
ings of the Ming period in China.
Washington is extremely fortu-
nate to have these exquisite collec-
tions of the Freer Gallery and Tex
tile Museum available to the public.
Persian architecture, of course,
can only be studied through photo
graphs. Mr.. Pope was in charge of
a tremendously important project
begun in Persia in 1929. a systematic
Photographic survey of all the early
mosques. Prior to that time, be-
cause of an ancient Iranian tradi-
ton of the sacredness of the "high
place." Persian mosques, he said,
were closely guarded from the in
trusion of the non-believer. who
risked death in entering. But II
years ago. the enlightened view of
the Shah made it possible to make
such a survey.
Evening star., 1940-11-03

Sassanians, for there is a hand
some memorial silver plate of the
fourth century, with a high relief
design of prince on horseback,
hunting wild boars
A study of history explains the
exchange of influence in the arts of
the Near East. The Sassanian Per-
slams occupied Syria and Egypt in
the early seventh century. Prior
to that time. while Rome was still
great, its trade spread designs from
one country to another. Silk weaves
of Persian origin have been diScov-
cred in Egypt from those early peri
odS. Other fabrics, examples of
which one may see at the Textile
Museum, reveal copies Of models
from Sassanian Persia of the seventh
and eighth centuries. SaSsanian fab
RIGS, chiefly medallion designs with
heraldic animals. provide a clear
picture of the textile art of the
early Persians.
After short-lived occupation, the
al aus SOIl4 utIeO llOI OILY SSIId anu
Egypt but also the Sassanian En-
pire of Persia. The conquests of
GhenghiS Kan in the 18th century
united all Asia from the Yellow Sea
to the Mediterranean under the
Mongol Great Khan. Chinese influ-
ence became paramount and trans
formed Near Eastern art in all it's
aspects.
OF these earlier periods, the Freer
Gallery has several cases containing
beautiful Arabic CPerSian) book
bindings, leaves from the Koran,
and illuminations; Rhages and Rak-
ka pottery, in many shapes-jugs.
vases, platters. lamps, etc.-most of
which are elaborately decorated with
figures, animals and geometrical de-
signs in still brilliant colors. They
are representative of 10th to 18th
century work. The designs are in
some instances incised and then
colored. In other cases, they are in
relief, as in large Rhages vase.
18th century. covered with lapis
blue, much worn, but visible over
the entire surface.
Evening star., 1940-11-03
Display Is Announced

The Washington Water Color Club
announces its 45th annual exhibition,
to be held in the Corcoran Gallery
of Art in December, opening to the
public on the 14th. At the fall meet
ing of the club it was voted to
award three cash prizes in the dis
play, as follows: First prize, $50;
second prize, S25, and prize by
popular vote (ballots to be cast by
visitors, $25. Further information
and entry blanks can be obtained
by application to the secretary, Mrs
Frances Hungerford Combs, 1920
Kanawha street NV. Seward Hume
Rathbon is president of the club.
A. H. o. Role vice president and
Eleanore Parke Gusts treasurer.
Evening star., 1940-11-03

do not hit too hard but retain their
best for those who linger and seek it.
Of some of the paintings by Mr..
Jameson in this exhibition this is
very true. Both Windy Morning"
and Morning in May" in the group
lent by Secretary and Mrs. Nor
genthau come within such category.
They are strong but at the same
time subtle; while elemental, they
open ones eyes to that sheer beauty
which may be inherent in even the
commonplace.
Shenandoah Springs" which be-
fore the exhibition opened found a
purchaser, is of this type. THE
Cane Cutters" is another. Especial
ly interesting is this last in the mat
ter of competition. AS rule Mr..
Jameson uses pure color and with
a full brush, but one of the paint
ings shown-"Cattle in Shows in
gouache-water color made opaque
through the admtxture of Chinese
white. In this drawing and COM
position both are good, but the ef-
4ClL 10 dlllCl llUlIObOlIUuo.
Utterly Unlike.
With so much that is factual it Is
a little startling, but very interest
ing, to find in this collection two
paintings utterly unlike, in manner
of treatment as well as style, all the
others set forth. These are
'Cholula" and Rain" both of which
are reminiscent of the Chinese
classic school of painting. very sub
tie. and above all primarily sugges-
tive; the stuff of which dreams are
made; a bit mystical and abstract,
but neither forced nor unreal. Is
this the direction that Mr.. jamie
sons work will take, built on the
strong foundation he has laid, or is
it merely an excursion in search of
adventure? Only the artist and
time can say.
These paintings to which refer
ence has been made are in the
southeast corner gallery on the
Corcoran Gallery of Arts first floor.
In the room adjacent, where certain
notable works in sculpture may be
seen at all times, IL other water
colors, some painted in Mexico, by
Mr.. Jameson, have been hung, but
the cream is in the first 18. and the
exhibition as a whole would have
been stronger without these addi-
tionS.
Mr. Jameson was a pupil of the
Corcoran School and the Abbott
School of Art. He was born in
Kensington, Md, in October. 1915,
and therefore is still only half way
through his 20s The future should
hold much for one who, in so short
a time. has gone So far
Evening star., 1940-11-03

known, a man like Charles H.
Woodbury., who built his oeuvre on
the great traditions, taking that
which has suited his purpose, add
ing that which is wholly his own,
making a distinct personal contri-
button to the sum total of the
worlds heritage and enriching it
thereby"
Mr.. Woodbury. has indeed en-
riched us not only by his etchings
but by his paintings. his teaching
and his writings, and his death last
summer is much to be deplored. His
paintings are in an utterly different
vein from his prints, but in them.
too, he has expressed motion and
majesty. Although he painted with
a large brush and in broad sweep
ing strokes, there is linear rhythm
in his water colors as well as in his
prints-perhaps even more. Also he
shows us, in these, how charming
color held in mass may be in itself
and with what simplicity and econ
omy of effort the elemental can be
presented.
Interestingly contrasted to his
pictures of the sea of Maine are
his paintings made in the West
Indies and the Caribbean Sea. Mr.
Woodbury's painting has sometimes
been likened to that by Winslow
Homer, but as a rule there is little
similarity. This rare similarity is
found. however, in one of the water
colors in this exhibition, Watching
the Surf" which in character recalls
Homer's masterpiece. High Cliff,
Coast of Maine" which is in our
national collection of fine arts,
Smithsonian Institution.
The best memorial that any ar
tist can have is, as in this case, his
own works.
Evening star., 1940-11-03

CLUB, ana etchlngS by Ch1lde Has
sam in the National Museum, all
of which are of outstanding interest
and Importance.
For print collectors and connois-
seurs, the Goya prints, on view in
the print rooms of the Phillips
Gallery, will hold greatest attrac-
tion. OF the A examples shown,
each is a fine impression. Also,
adding to their interest from the
collectors standpoint. is the fact
that, in several instances, two differ
ent impressions-a first and second
or first and third state-are shown
side by side, manifesting remarkable
changes made by the etcher. In the
group taken from the "Caprichos"
(Caprices), the plate entitled What
Trimmer Can Do" shows, in the
first state copy pencil sketches by
Goyas own hand and reveals how
the second state developed in his
mind.
with tentative lines" to quote
Mr.. Joachim's comment, appended
to the little catalogue, "he (Goya)
indicated the little COLLINS in the
air, one of them sitting on top of
that draped tee. This one he
Evening star., 1940-11-03
Big Exhibits Coming

Next Saturday there will be
opened in the Corcoran Gallery of
Art two exhibitions Of major i'm
portance, both of which have been
obtained through the courtesy of
the International Business Machines
Corp. and its president, Thomas ].
Watson. One of these will consist
of paintings by American artists of
today, one from each State in the
Union, and also this country's ter
ritorial possessions. The other will
be made up of 100 etchines and
other prints by American artists,
presenting in sequence a complete
record of print making in this coun-
try. These prints have been selected
and assembled by the American Ma
tional Committee Of Engraving, Of
which John Taylor Arms Is chair
man. These exhibitions will con-
tinue through December I, after
Evening star., 1940-11-03

he is far better known as an etcher
than a painter. This is because,
for nearly 20 years, he has devoted
himself to etching and rarely ex-
hibited except in this medium. Re-
Gently, however, he has been max
ing water colors and with results
no less successful, producing, like
wise, in this field works of outstand-
ing distinction. The Corcoran Gal
lery of Art is fortunate in having
the privilege of showing at this
time a considerable number of these
recent water colors, as we'll as
comprehensive group of his etchings
and dry points.
Some of Mr.. Hutty's etchings were
reproduced in 1929 in a series of
American Etchers' monographs,
issued by the Grafton Collection
through a New York and London
publisher. The introduction in this
instance was contributed by Dun
can Phillips of this city and is, while
brief, very discriminating and ap-
preciative and quite as applicable
today as when written.
Despite his own personal predi-
lection for color rather than line,
for reasons which he makes very
clear, Mr.. Phillips expresses great
admiration for Mr.. Hutty's skillful
and significant use of line, as well
as for "the appreciation he invari-
ably shows of the possibilities of the
medium, etching" This same ap-
probation of potentialties of means
employed to create work of art
will now be found fully manifested
in Mr.. Hutty's water colors-so we
have at this time both line and color
to charm the eye and stir the emo
tionS. Undoubtedly it is this under
standing of differences which puts
the work of this painter-etcher on
very high plane. In his etchings
and dry points he uses line with
infinite knowing, delicacy and firm
ness, never besmirching it to OBJ
tain tone or cover weakness; in his
water colors he is no less construc-
tive, but line is relegated to second
place, color and tone being given
supremacy. In these paintings we
find the freshness of color aSSoci-
ated with youthful exploitation, but
with it that evident sureness of
touch which obviously may be ex-
pected to go with maturity of ex-
preston.
Alfred Hutty has two homes
one at Woodstock, N. Y, where in
early days he studied langscape
painting under Birge Harrison: the
other at Charleston, S. c. 1t is in
and around these places that many
of his best subjects have been found,
both for his etching needle and his
paint brush.
Favorite Subjects.
The subjects that he has fire.
quently essayed are trees, of which
he Is most fond and knowing, archi-
tectural themes, especially as set
ing for human beings, and people.
In every instance it is the feeling
of place that one finds in his tram
scriptions, rather than mere bare
facts. None has interpreted the
life of the Southern Negro better
than he, showing it at its best,
without exaggeration or offense. In
this his paintings and etchings
parallel the writings of Du Bose
Haywood, author of "Porgy,"
"Mamba's Daughter" etc.
1t is not necessary here to enum-
crate the honors that have been
Evening star., 1940-11-03
Richmond Artists to Exhibit

Mrs. Theodore Kane will again
sponsor a series of exhibitions to
be held during the winter in Wes-
ley Hall. The first, which will open
on November 10 with private view,
will consist of works by members Of
the Richmond Academy of Sciences
and Fine Arts; a return courtesy
for the exhibition of works by WASH
ington artists assembled by Mrs.
Kane and lately shown by this acad-
emy in Richmond.
Evening star., 1940-11-03

well chosen with fitness for use in
mind.
Among the artists whose works
are reproduced are Hobart Nichols,
Rockwell Kent, Gordon Grant, AL
dro T. Hibbard, Millard Sheets.
Charles Burchfield, Paul Sample,
Randall Davey, Clifford Beal, John
Taylor Arms, Stow Wengenroth, Le-
Won West and Loren Ford, to name
only a few.