Evening star., 1941-04-20

combine in good effect intimacy,
picturesqueness, convincing verac-
ity.
A second delightful interior in this
exhibition is another bedroom, the
painters own MY Room" she
calls 1.-THE work of Susan B. Chase,
who fully commands her medium
whether she paints rooms or land
scapes, city pictures or flowers. In
color and breadth of treatment it
Is especially noteworthy.
1t is pleasant to find in this COL
lection two water colors by Eleanor
Parke Custis, who has won dis
tinction as illustrator and camera
ist as we'll as painter. Here she
shows The Golf Course at Mas
sau," with its tall palms waving
in the breeze. and New England
Village Green" in winter, when
the grass is blanketed with snow,
and the leafess trees with their
myriad branches make a lacelike
silhouette against the gray sky and
white buildings. Miss Custis is a
very accomplished craftsman but
also genuine artist, sensitive to
beauty and subtlety of effects but
choosing to be concise and direct
in her painting.
There is an exceedingly good
marine in this collection, Rough
Weather" by Margaret L. Come
gys, in which the sense of weight
and motion of water-deep water
and SALTS admirably conveyed.
Miss Ruth Osgood, who has also
in the past essayed with success
paintings of the sea, is represented
by shore landscape, Feather
Trees on the Jetty," which has
much TO commend it.
Excellent Example.
Still life painting has stepped
up with efficiency in water color
technique and now takes its place
with the best, regardless of theme.
Iona Miller Keplinger's water
Lilies" combined with other still
life, is an excellent example of
potentialities and their realization
"a well-composed, colorful and
finely rendered painting. Pearl
Potter Etz shows a charming rendi-
ton of "Black-eyed Susans." broad
ly and artistically set forth; while
from Frances Hungerford Combs
have come two flower pictures,
"Cinararia and Our Garden Flow
ers," colorful, decorative and in
teresting in pattern.
In quite different vein are Iris"
seen as growing, the work of Mar
garet Comegys, and Gala Lilies" in
blue-green vase, by Edith Mozart
ney, almost conventionalized, but
handsome in line and arrangement.
Again quite individualistic and, at
the same time knowing, is "Petu-
Mas" by Elizabeth Sawtelle, who can
always be counted upon for work of
a high professional order, reticent
but assured.
Two views of corners of the "Dum-
barton Oaks" garden-one of "The
Pool" when the leaves are falling,
and the other, THE Fountain" both
freshly painted-have been contrib
uted by Edith Hoyt, who has been
away almost all of the winter. From
Lesley Jackson has come a single
work, but one of great interest, Peas
ant Interior" painted in the manner
of the Dutch school of the last
century and fully manifesting its
right to acclaim and remembrance.
An old peasant woman is seen seated
before an open fireplace; to the right
is a corner of the built-in bed; to the
left an open door, and near chair
with straight back is seen: on the
floor, a pair of wooden sabots-a
homely theme, but touched with
tender human sympathies-a note
of the universal.
Others represented of whose works
mention should be made are Roy
Clark, Benson B. Moore, Anna G..
Rowland, Esther McCord Chapman,
Elizabeth E. Poe (who, by the way,
contributes three of her imaginative
renderings), Omar H. Darlington
and Marguerite Mum What an al
most impossible task it would be to
name the one best!