Evening star., 1942-02-15

PiOSCcc Va Pou4tAi6 90 eAACJ A1C ~
| their docks.
Especially notable Is q painting
Of workshops in Detroit. lighted and
running at night, by Carlos Lopez,
which bears the inscription: I'VE
will work all night, too. Not to
build a new Utopia but to keep
the one that we already have"
All this is very stimulating. OF
interest, too, is the fact that
searched out in directory Of ar
lists in this country, the majority
of the contributors are found to be
mural painters, who, under the
section nf fine arts. have executed
works for post ofiices and other
public buildings in their own locali-
ties. OF them Edward Bruce and
his associates in the section of fine
arts must feel exceedingly proud,
for here Is fruit from their own
sowing.
The spirit with which the artists
Of the country have responded to
the call of the Government should
also be noted as essentially patri-
otto, for although the works were
purchased, it was at prices extreme
ly low for professional productions
A word, too, should be said In
praise of the work in black and
white, much OF which Is up to q
very high standard. Among the
contributors in this section are
George Harding, well-nown illus
traitor and mural painter, pupil OF
Howard Pyle, and Edward A. VIII
son, who has illustrated several of
the publications of the Limited
Editions Club and those OF other
well-known presses.
This exhibition will remain on
view in the National Gallery of Art |
until March 8. after which it will |
probably be sent out on circuit.
Paintings on New
Metallic Mediums.
There Is novelty as we'll as daring |
in the paintings by Buell. Mullen
now on exhibition in the foyer of |
the National Museum, under the |
auspices Of the National Collection
Of Fine Arts and the distinguished
patronage Of Gen. and Mrs.
Marshall, Admiral and Mrs. Moreel,
DR.. and Mrs. Paul Cret and Mr..
and Mrs. Floyd Odlum.
They represent experiments made
by the artist over a number of |
years in quest Of a new medium
which will be most permanent and
in the use of which the spirit of |
life today will find adequate ex-
preston.
The metals used are steel, copper,
aluminium and variations on these
bases in combination. Rolled very
thin they are still very durable. The
surface, in most instances, Is highly
polished, and thus reflects the light |
from many and various angles.
Obviously it has no atmospheric
quality and the painting done upon
it In oils is clean cut in outline
as though produced independently |
and affixed. This impression is in
correct, for the painting is done |
directly on the metal, the surface |
OF which in the area to be covered
Is roughened in advance In order to
take and hold the pigment.
The majority of the, works set
forth are portraits, but there is one
very large picture of Hong Kong |
Harbor done on steel and purposed |
as mural decoration for the Naval
Academy, Annapolis. There are
two mural projects presented in the !
form of original studies intended for
large murals of an idealistic type |
to go to South America. One of
these typifies Mans Struggle to
Reach the Heroes Pinnacle" and |
the other is entitled, THE Trumpet |
Shall Sound" both very interesting |
in design.
Mrs. Mullen has for some time |
had an enviable reputation as
painter Of oils on canvas and her
portraits in this exhibition witness
to her excellent craftsmanship and
capable handling of medium. Her
portrait of Gen. Marshall is espe-
cially good despite the severity of
sharp edges and glinting back
ground. Most pleasing, perhaps, are
two portraits Of children enjoying
outdoor sports, in both of which
the cold, gray background has been
effectively roughened over the entire
exposed surface. There is also a
good deal of charm in a little land
scape in which a hay cart is seen
taking its way homeward at the end
of day in which the gray metallic
sky seems to reflect the lights Of |
early evening.
At any rate, this is all along the |
lines of experimentation, and, as
always in such case, none can say |
just where it may lead. Art which |
is so durable that it will last indefi-
nitely without being treasured Is
rather alarming to contemplate, but
Father Time is hard to circumvent-
and, after all, who knows when a
masterpiece is in process of creation.
AS to representing the spirit of
today, may not we ask ourselves how
much of it we want to hand down
to posterity? Quite possibly our
modern art will be some day held in
no less derision than Is now the
Victorian art of the past century.
This does not mean, however, that