Evening star., 1941-05-18

YORK to CanfOrnla, ana the WORKS
exemplify many techniques.
Observers of Government-Spon-
sored art, results of which have been
more or less continuously in the pub
lie eye for six years, are convinced
that many admirable works have
been created. 1t is unfair to expect
every painting, print and sculpture
to be masterpiece; much is medi-
ocre; but there is more than enough
of beauty, originality, technical COM
petence and explorations along new
paths to justify the national art pro-
gram.
Subtle Pathos.
Sculpture now at Howard includes
ceramics, wood carvings, bronzes and
work in stone and plaster. One of
the ceramics has been allocated to
the gallery-"Water Boy" by Frank
H. Aston, jr., of this city, who was
a student at the university. 1t re-
presents a young Negro with inter-
esting differentiation of texture be-
tween the head and body and the
orange-colored trousers. The head
is particularly well done. Although
humorous in character, the little
figure also has a subtle pathoS.
Walt Speck, Michigan ceramist
whose work was brought to national
attention by the Government art
projects, is represented with an owl,
stylized to emphasize its unblinking
Stolidity. This artist has made a
speciality of animals and birds, a
number of which have been previ-
ously shown here.
OF several other glazed ceramic
figures, two by Emmanuel Viviano
Qllinois) present curious contrast.
Alice With Flamingo" is a graceful,
well-integrated piece of work, glazed
entirely in blue. Girls With a
Boar" on the other hand, is heavy
in contour and careleSSly finished.
Some of the color (the brown of one
girls hair, for inStance) has streaked
down over the face. Whether acci-
dental or intentional, it gives the
observer regrettable impression of
inept or careless craftsmanship. A
ceramic, Indian Head" by Beryl Nc
Carly California;, has classic SIM
plicity and serenity.
Wood Carving.
Robert Hogan's simple, solid,
beautifully finished Mexican" of
ebony or some other black wood, is
the outstanding wood carving. An
exotic piece in the same medium is
Patlocino Barela's God the
Father" which reminds one of the
primitive carvings in Mexican In
dian churches. Barela was discov-
cred by the New Mexico Art Project
when his only creative mediums
were a pocket knife and a piece of
WOOD.
Elimination Of detail gives aScetic
simplicity to Samuel Cashwan's
mankato stone figure of ST. Francis.
Its styliZation helps emphasize the
concept of impersonal goodness.
Two plaster groups by Archie Gar
ner California;, entitled Youth
at Rest" are successful in their sug-
gestion of repose. In each instance,
a boy and a girl recline with vari-
Gus symbols: hammer and cog
wheels, Sheafs of wheat, etc. One re-
calls that the modernists often have
been derisive of traditional sculpture
because of its many symbolic figures
standing around with their arms
full; but one notices that contem-
porary sculptors also give their fig
ures plenty of objects to hold or
lean upon.
Prints in the exhibition include
Autographs in black-and-white and
colors, drypoints, aquatints, wood
engravings, etchings woodcuts, and
a carborundum tint. Lithography
appears to be the most popular me-
dunn in printmaking today, and
UNDERSTANDABLE so; it offers f1exibil-
ity and much variety to the artist.
Color Autographs.
Russell Limhach of New York Is
responsible for two beautiful coler
Autographs of winter landscapes in
Connecticut. typical scenes of snow
covered hills, little lonely farms,
leafless trees with pattern making
branches, and frozen streams. win
ter" also inspired Emil GAnso, .