Evening star. [volume] (Washington, D.C.) 1854-1972, 1942-11-15
Ne,O York Artist
At National Museum

The exhibition of oil paintings by
Frank G. Kirk which opened at the
National Museum on November 5
affords the public something it does
not get too often these days, in the
exhibition field-the pleasure of
recognition. Without disparaging
| the contributions of some of those
who work in the newest idioms, one
nevertheless derives keen enjoy
ment from traditional painting, such
as Mr.. Kinks. There are portraits
and figure studies of real people
workers, Spanish peasants, Negroes
and others. Several paintings of
miners present these men so wildly
that one feels almost able to wipe
the perspiration and SCOT off their
wrinkled, flushed faces. AS the
artist sees these men they are
physically strong and tempera-
mentally stole, and they have dig
nifty and patience. When asked by
the writer whether he had some
particular social objective in paint
ing miners las there are several
different portraits of them) and their
equipment Gas in the still life, "All
He left" with its pathetic implica-
tions), Mr.. Kirk said thoughtfully:
"No-I painted them because they
are interesting human beings"
The greater part of his work is in
low key, In color schemes fea-
turing browns. orange-reds. dark
greens, and related colors. This is
most noticeable in the many beau
tiful still life compositions, in which
autumnal motifs predominant. The
same handsome objects, presumably
in the artists studio, appear in
various arrangements, combined
with autumn leaves, cat tails, bay
berries, bittersweet and other Of
ferings of the fields and woods. In
these works Mr. Kirk reaches
pinnacle of naturalistic representa-
ton, differentiating accurately be-
tween various surfaces; the tawny
glow Of copper, highlights on porce-
lain, the hard CLEAN of brass, the
dull sheen of silks and satins, soft,
worn. taking wood OF a polychromed
Gothic statue, and many another
object. His painted copper jugs
and bowls are so real" one fears
the metal salvage authorities will
confiscate them.
Many of the portraits and figure
studies have beautifully executed
passages of still life, as in the paint
ing of two peasants entitled Mar
keting," and another, 1.-The Cas-
lillian" There are numerous Span
ish subjects in the present show;
Mr.. Kirk has travelled and painted
extensively abroad and was particu-
larry interested in Spain and its
artists. In monograph about him,
published four years ago, the in
| f1uence of Zuloaga was noted. AS
a matter of fact the rich, somber
tonality of all his work testifies to
Spanish influence. However, at in
tervals, painting in a higher key
and vivid colors proves Mr.. Kirk is
no slave to any color formula. my
Studio Window" is one of these:
beyond large brass samovar and
silver tea things on a table one
gets a cool, misty, blush lavendar
glimpse Of New York through the
window.
Many pleasing landscapes (done
in Europe as well as in this country
and waterfront scenes are among
the 60 paintings on view. The artist
favors picturesque little shacks and
lighthouses on rickety wharves
which offer interesting textures and
contrasts, with an opalescent bit of
water in the distance. The few
actual marines he shows are per-