Evening star., 1942-10-25
Art
Notes
Exhibition Gives
Fine Understanding
Of Chilean Nation
BY Florence S. Bergman.

Inc eXfl1DlClOQ OF CQllean con-
temporary art which opened at the
National Gallery two weeks ago,
and concerning which factual in
PRODUCTION was given on this page,
offers an opportunity for Washing
tonians to learn more about Chile
than they are likely to learn from
following the current political sit
uation in the newspapers. The ex-
hibition comprises happy selection
from the larger display that opened
in Toledo last spring.
The predominantly conservative
nature of the show, and its revela-
tion of French influence from I'm
pressionists and later movements
now regarded as traditional" rather
than from the School of Paris")
are doubtless causes of surprise to
the average visitor. Our ideas about
contemporary Latin-American art
we're so highly colored by that of
Mexico, the first to be shown here
en- large scale, some II or IS years
ago. that many of us have half ex-
pected the art of all other republics
south of the border to be akin to
it. But nothing could be farther
from the truth.
Nor is there any intention of sug-
gesting that Chilean art is pale
echo Of French art. Chilean art
might be called international, like
our own, like Canada's, and that
of other nations in the Western
Hemisphere, which were settled by
people from Europe and the British
Isles Because of its large Indian
population and its indigenous cul-
ture. Mexico developed unique art.
The present Chilean exhibition
can be considered thoroughly rep
resentative, in view of the circum-
stances of its selection. It's out
standing qualities are good crafts
rlanship and academic character.
One is not surprised to learn that
most of Chile's best artists have
undergone long period cf academic
training at the School of Fine Arts
in Santiago and that many of them
followed it with study in Europe.
Furthermore, they seem to have
a healthy, happy outlook. The cur
rent exhibition is a cheerful show.
The subjects are pleasant in most
instances, the color is fresh and
bright, the execution deft and sure.
One must look to subject matter
for any "typically Chilean" aspects.
Portraits, figure paintings and land
scape provide these.
Portraits by Roberto Humeres are
among the best on view-sensitive.
individual characterizations of his
niece, Teresa, and two young men,
one an outdoor type, the other (re-
prcduced) intellectual, meditative
and rather melancholy. incidentally,
the latter doubtless embodies the
mental concepts which many of us
have Modern in technique is the
sinister MODEL by Enriqueta Petit.
Dora Pulema's Maternity" is SIM
plified study of a peasant mother
and children, grave and dignified
Mexican influence is discerned in a
portrait of a child with a coll, by
Enrique Lopez: the little girls di-
rect gaze is startlingly alive. Pedro
Lobos' group of three figures shows
a major concern with rendering of
solid, rounded forms. "Margarita" by
Albino Quevedo is surprisingly Poin-
tillist in technique; the subject is an
idealized young beauty. Gregorio de
le Fuente presents a brooding So
phisticate in his white and Black. y
One finds Chile in the landscapes
i,,c Guidance
human habitation. Pablo Bur-
chard's Street of Ouintero" and
"The Drinking Place" have a ma
tive favor (although these paint
ings seem much too large for their
subject natter. There is real en-
chantment in Mireya La Fuente's
Chilean Country" a village street
with pink houses against a noun
tain background; similar object Is
Armando Lira's Autumn" repro
duced here two weeks ago. An out
standing work is Landscape in
Spring" by Carlos Pedraza, pur-
chased by the Toledo Museum. 1t
is really cityscape, with handsome
buildings around park. The shim-
mering atmosphere, the tender
young green, pink and violet in its
color scheme produce haunting
impression of spring. In view OF
Chiles extensive coast line, one is
baffled at the lack of marines or
seaside PAINTINGS. A small canvas,
Scene of the Canal of Tenglo," by
Arturo Valenzuela is about the only
thing in this class.
TIE visitor will probably be struck
+" the prcportioratoly lace number
Of still life and flower paintings
rlost of them excellent, and rep
resenting varied technioues Their
color is superbly handled, and tex
lures are we'll indicated. One carries
away an impression of radiant
flowers, luscious fruits, sunny win
dows. interesting furniture and dec
orations. There is as much love
of still life arrangements, appar-
entity. as in 18th century Holland;
but the work is modern in handling
free and fluent. Paintings by Jose
Perotti (dishes of grapes and pears)
by Luis Torterolo with its knowing
use of values, by Maria Tuppel
fmany objects nicely integrated)
and by Pablo Vidor "a studio corner)
are but a few of the still-life COM
positions which arrest the visitor
Well-painted still-life touches en-
liven the portraits too, notably the
eypressionistic Painters Birthday
by Israel Roa, purchased by the
Museum of Modern Art. New York
1t is done in broad. free, moderl