Evening star., 1941-07-13
Portraits of
at
COrCOran
Good Paintings by
Reputable Artists
Prove Popular
Bv Florence S. Bergman

PORTRAITS OF Chlloren, Dy AHlell-
can painters, at the Corcoran Gal
lerv of Art until the end Of July,
Is an exhibition having popular ap-
peal demonstrated at It's display
in other cities as well as other
claims to interest. In the first
place, it comprises good painting by
artists of national reputation. Sc
lected by a painter. Peppino Man
pravite. to be circulated by the
American Federation of Arts. In
cidentally, Mr.. Mangravite was
Washington artist some years ago.
He is now on the faculty OF Cooper
Union Art School, New York.
In the second place, these paint
ings are revelations of adolescent
psychology, for they were done by
the artists for their own pleasure.
They were not constrained to rep
resent the children in their best
clothes and happiest moods. In
deed, any one who may still retain
the delusion that childhood Is our
happiesc period" would receive few
jolts from these portraits. In some
instances, of course, the artists have
dealt with their subjects just as
they would have handled commits
stoned portrait. But the majority
of the works impress one as having
been painted as analytical exercises.
Artists Like Children.
The painters attitude toward
children is beautifully expressed in
this statement by Mr. Mangravite,
issued in connection with the exhi-
bition:
Portraits of children are rare
only on the walls of public exhibit
tions; in the artists studio, the
inevitable painting of a child can
be discovered hanging on wall or
carefully stored in closet. Artists
like to paint children. They see
in the growing being all that is
simple, tender, pure. These quail
ties are akin to the artists inner
most nature. He sees in the child
the mirror which reflects the father
to the man-and in it he recognizes
the symbols of the continuity of life.
This is an uncomfortable force.
hence irresistible of expression to
not painted child at one time or
another in the span of his painting
life? From the early European
masters to our most distinguished
contemporary American painters, the
child has challenged the artists
powers for subtle Characterization"
How different are Alexander
sons Kenneth" Mr.. Brook has a
sympathetic understanding of chill
dren, and subtly reveals their re-
actions. The Mexican boy is be-
wildered, unhappy, perhaps suffer-
ing. Ones heart goes out to him.
His portrait is far more convincing
social document than the bitter, dis
torted caricatures in paint profusely
created by artists of the social
protest group.
Kenneth is similar in spirit
This salloW, haf-starved boy, with
his protruding ears, somber eyes.
hollow cheeks and sweater stretched
across his taut little chest, is to the
writer the most tragic painting in
the exhibition. But apparently there
is room for disagreement for Mr..
Mangravite says of him: Look at
kenneth =; what fun it would
be to spend an afternoon fishing
with that boy!"
Tawny Curls.
A majority of the artists have
painted girls and, judging from the
present exhibition, have preferred
those with reddish blond or auburn
hair. Robert Philips model accen-
tuates her tawny curls with a red
brown dress. The pose of her head
and her demure expression make
one suspect that she captivates
every one who knows her. The most
beautiful child portrayed is Jon Cor
blnos auburn-haired Lucy Robin"
with her translucent, creamy COM
pleXlon and dark violet-blue ewes.
But, instead of the happy expression
one would expect in so exquisite a
1ace, there is lonely wistfulness.
Head OF Lynn" with dark red
hair, by Henry Varnum Poor, is re-
produced in colors in a recently
published biography of the artist.
He explains 1t as color modelling"
and "tactile surface painting" indi-
eating that his interest was more
matter of technique than charac-
terizatlon. Lynn herself is the
daughter of another well-knovn
American artist. Ruth by Nan
Watson, the one WASHINGTON
painter represented in the exhi-
bltlon, is another work in which
one feels that painting problems
were of primary interest. The
pretty head is posed successfully
against delicate tinted back
ground which matches the COM
plexion tones, but does not enpulf
the face and throat.
Finally these paintings disclose
the artists personal attitudes toward
- life. Theoretically, all an artists
work does that; but it is easier for
the public to perceive it in uncom-
mlssioned portraits, such as these.
than in landscapes or still life. for
example. Some artists have an es-
sentially objective outlook, accept
people, things and circumstances as
they are, without any desire to
change them; their contributions
IN the Drecent shou, ch O llenoe IN tho