Evening star., 1941-11-30
C0rc0,un Exhibits Water C0l0rs bv John C0stigun
Artist Also Paints
Well in Oils and
Is Able Etcher
BY Leila MechHn.

able 10 express NlIllSelI WIN equal
skill and facility in two or more
media. as is John E. Costigan, an
exhibition of whose water colors
opened in the Corcoran Gallery of
Art last Tuesday, to continue through
December IA.
Mr.. Costigan paints in oils as well
as in water colors and he also etches,
in each of which fields he has at
tanned distinction. Curiously enough.
his manner changes with each
medium. His oil paintings have the
appearance of having been done
with rather dry brush. the pigment
laid on in short strokes. which, COL
lectively, create an effective ensem-
BILE. In his water colors. however,
his pigment flows freely and the
stroke is broad and decisive. The
palette he uses for these. moreover,
has, 1t would seem, a wider range.
Then. upon coming to his etchings,
a third mode is seen, one which is
peculiarly adapted to the require
ments of copper plate and etching
needle.
There is also, probably, no other
American artist who has so closely
followed the trend of the time and
interpreted it. in all its baroness,
with such truth that it becomes pro-
foundly significant. Living near to
nature himself. he has brought 1t
nearer to others and. even in the
raw, manifested the beauty of such
life, together with its universally.
Life on Farm.
The majority of Mr.. Costigan's
paintings and prints have had to do
with life on the farm and those who
live it-men, women and children
of today who love the feel of the
earth, the dome of the sky over
head, the long look to the distant
horizon, and the animals, likewise
made by God and placed under
mans dominion. 1t must not be
supposed for an instant, however,
that Mr.. Costigan deliberately takes
upon himself the role of Interpreter
Far from it, for the fact is that he
paints and etches simply that which
makes strongest appeal to him. The
deeper meaning discoverable in his
works is there because it is inherent,
as are all things of the spirit.
Not every one will like Mr. Costi-
eans water colors because they are
broad and leave much to the imagi-
nation, or, in other words. do not tell
the whole story. But for this reason
they will be found to wear well and
none who knows can deny their
artistic quality. In them one finds
the essence only of reality, subtly
distilled by a seer who is an artist.
Obviously some of the "a water
colors on view are better than others,
but that is customary-few are able
to achieve the top every time. Among
the tops" are such group pictures
as Late Afternoon" In the Fields
and Summer Day" Also, Two
Children in Pool" Boy and Girl
in a Boat" Mother and Children"
Each of these has lyric quality.
Charactistic, also, of almost all Mr..
Costigans works is his Interpretation
Of light, not necessarily yellow and
warm, sometimes white and thin,
but always glimmering, caressing,
enveloping. 1t is this, sometimes
half binding which eliminates de-
tail and gives glamour. But, in this
connection, it NAV be remarked. IN
some instances, the painter seems
to have leaned a bit too heavily upon
such potentiality; for, though it may
be partially obscure, it cannot hide
slips in craftsmanship for which
there is little excuse or explanation.
Appreciation of Artist.
A few years ago, the Society OF
American Etchers issued to its hon.
orary and associate members an
etching by Costigan entitled Cutting
Fodder" and at the same time an
appreciation of the artist and his
work written by John Taylor Arms
was printed and circulated. 1t was
very understanding and is quite as
applicable to his paintings. 1t reads,
in part, as follows:
"Costigan has been called mod !
ern Millet. and while comparisons
are seldom significant from the |
point of view of fair and thoughtful
criticism, there is enough of truth in
this one to justify it, remembering
always that the two men are in
tensely individualistic and therefore
must, of necessity, differ widely.
Each Is a poet, each is imbued with
a passionate love of the soil and a
profound consciousness of the re-
lation between it and human life.
Each is simple and direct in his
approach, feeling deeply and content
to express that feeling as unaf-
fectedly as lies within his power. '''
Always the painter, Costigan sees
in terms of mass and tone and rela-
tive values, and. though the linear
quality, which is the true etcher's
most expressive means, is never lost
sight of in his work, it is richly
clothed in color. He is conspicuous
example of the oft referred to in
dividual, the painter -etcher.
Among so much that is mere vir-
tuosity, experiment and restatement.
1t is both stimulating and encourag-
ing to find an artist who has some
thing profound to say and knows
exactly what it is and how to say it
John E. Costigan was born in
Providence, R. l., in 1883 and is en-
tirely self-taught. In 1928 he was
made a National Academician. He
is a member of the American Water
Color Society, with which was re-
Gently merged the New York Water
Color Club, and also of the Society
Of American Etchers and other
professional organizations. Many
awards have been made to him for
paintings in oils and water colors
and for etchings, besides which he
is represented in more than 20 mu-
seums and art institutions OF this
country.
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