Evening star., 1942-11-22
Jack Berkman Paintings
At Whyte Gallery.

At Whyfe Gallery.
The exhibition of oil paintings by
Jack Berkman, which opened two |
weeks ago at the Whyte Gallery,
falls short of expectations, one re-
grets to say. The oil medium does |
not seem to be the logical one for
presentation of "social-conscious"
themes, such as his "Okie," Grapes
of Wrath-type of underprivileged
boy, and such squalid sections as
"Schotts Alley" The sordid sub
ject matter makes such paintings |
unsuitable for decorations. Further
more, if the aim of these works is
to remedy Cor at least to stir up |
indignation over the wrongs which
inspired them, it would be more
practical for them to be transmitted
through a graphic medium, such |
as lithography, in order that the
pictures might reach a much wider
audience than can be expected for
oil paintings.
Mr. Berkman's forte is color, |
which he uses boldly in fresh, bright |
tones, and which is most successful |
in his still life paintings. specifically
"Gladiolas and Daisies" Still Life
With Napkin" and yellow Flow
ers." But for what purpose he in
PRODUCES distortion in some of these,
as in Grey Vase is difficult to
ascertain. This work, for example,
is so close to being representations
that the asymmetrical vase is likely
to give an impression of faulty
drawing. One hopes to see Mr.
Berkman pursue the path revealed
in his cheerful watermelon Boats"
Mexican Costume Plates.
Silk screen prints of paintings of
Mexican costumes by Carlos Merida
were placed on view at the fine arts
division Of the Central Public Lii
brary early this month, to remain
until December l. This Guatemalan
painter was introduced to Washing
ton II years ago, when his work was
included in a large exhibition OF
Mexican arts brought to the United
States by the The American Fedora
tion of Arts.
The plates should be of interest
to students of design and handi-
crafts, and also to every one with an
interest IN Mexico's unique people.
Rene Harnoncourt, in his intro
duction to the prints, says in part:
"Mexico's wealth of folk costume
is almost unlimited, but Carlos
Merida has given us the very es-
sence of the subject i. contem-
porary Mexican folk costumes which
are genuine regional developments,
untouched by the influence of stage,
screen and tourist trade. In these
costumes, Merida, the painter Of
distractions, has discovered every
subtle relationship in color and de-
sign; Merida, the admirer of Indian
craftsmanship, has noted every es-
sential detail" Costumes are
among the most subtle of all forms
of folk art, he points out, and only
people with sensitive understand
ing of the qualities Of their handi-
crafts, weaving, embroidery, leather
work, straw and metal work, could
evolve costume that relates them
effectively to each other and to the
movements of the human body"
The plates show figures, men,
women and children, wearing the
costumes. One sees the ubiquitous
shawl in its two versions. the sarape,
a mans accessory. and the rebozo, q
woman's, both indispensable to Mex
ican costume. They vary extensively,
according to- the locality of origin.
The sarape is used as a coat, as q
sleeping blanket. as q carpet. One
sees, too, the handsome, dashing
Mexican cowboy or charro outfit,
which has come to be regarded IS 4
national symbol.
Mexican women's head-dresses are
mostly braids wound around the
head In various ways; but one spec
tacular headdress, Of the Yalaltec
women, with yards OF yarn braided
into the lustrous black hair to give
the effect Of a turban, lasts rs long
as six months. and serves at night
as a pillow. The women's costumes
are more varied and attractive than
the mems.
Negro Artist to Exhibit.
william S. Noisette, special mes
senger and receptionist OF the direc-
| tor of the Federal Bureau Of In
vestigation, whose avocation Is paint
ing, is to have An exhibition Of
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