Evening star., 1942-10-18

technique are two works by Edgar
Corbridge, "Sakonnet Farm" and
Evening" rendered in such a way
as to give them an atmosphere of
peace and repose.
An exceptionally beautiful work is
Eliot O'Hara's Near Swift River"
painted in deep purplish blues and
gray, with strong feeling of vast
distance and complete silence. "Our
Coastline," by Edna Way, with noun
tains rising sharply from the sea,
resembles Norway's fjords. Eliza
beth E. Poe's two symbolic mountain
studies have an abstract character:
Silent Night" and "Fluted Hills"
In studying the paintings depicting
the sea, one is impressed with the
fact that practically all the subjects
in the present exhibition hug the
shore" Whether this is mere COIN
cidence, or whether there is some
subconsclous recognition among
painters of the seas present menace,
cannot be determined. But there is
no marine similar to that by Stanley
Woodward which won the first prize
in the Washington Water Color Club
annual two years ago. Most of the
present paintings comprise harbor
scenes or other glimpses of the sea
in which human association is i'm
piled. Gordon Grant, one of the best
known painters of ships, is repre-
sented by The Inlet" showing boats
near boathouse. Herbert J. Gute's
Business and Pleasure" has
trawler and yacht, side by SIDE at
wharf; the painting is suffused
with a warm light green tonality.
saunders Tug" by Henry w. Olson,
with a suspension bridge in the back
ground; Prentiss Taylor's Kings
Wharf, st. Thomas" one of his Vir-
gin Island paintings of several years
ago. Lois Mailou Jones Fishing
Boat" in an inlet, and Laura Jones
ThompSon's similar subject, "An-
chored-Larsen's Boatyard' all add
pleasant subjects, well executed, to
the river and harbor group.
Other Subjects.
Still life and flower paintings in
clude some of the most decorative
works on view, pictorial charm being
inherent in the subject matter. Iona
Miller Keplinger's tawny Tiger
Lilies" Rosario Gerbino's Vase of
Flowers, set off against a sunny
window; Margaret L. C6megys' "Old
Scales overflowlng with colorful
vegetables (the only traditional still
life in the show; Lois Munn's
"Ranunculus," painted with a very
dry brush; Gertrude Browns NAL
lows" growing at the waters edge;
Frances Hungerford Combs Sum
mer Lilies in brass jar with a
background of bookshelves; Eliza
beth Mulhofer's large study of
"Narcissus and Daffodils," in light
green, yellow and white; Jane Peter
sons stunning Blue Morning
Glories," which carries the whole
length of the gallery, and Blanche
Baxter's "Anemones" add color and
vivacity to the exhibition.
Only two straight portraits are
shown: Edith McCartney's excellent
pastel of Serena" self confident
little girl with long dark hair, and
Clara Saunders sympathetic char
acterization of Negro woman,
Aida" done in soft crayon Carolyn
Bradley's Market at San Miguel" is
peopled with MeXicans in large hats:
Stupart Freeman's little sketch of
two farmers ploughing. Richard
Collins small studies, j. Roland's a
PM" and one or two other items
carry the burden of figure repre-
sentation.
Knight of the Bath" by Louise
Metcalf, depicting handsome
Siamese cat lying in small tub, on
blue bath towel rejecting the blue
eyes, is the sole animal subject and
will undoubtedly be popular. Jap
anese beetlessgrasshoppers and other
garden menaces are featured in
Kenneth Offers well-painted fan
tasy, Before the Big Drive"
Ruth Perkins Saffords Bed
chamber-Royall House" and Susan
B. Chase's "Cozy Corner" both
painted in an unobtrusive technique
that stresses the subject matter, in
vite the observer to enter and be at
home. They are the kinds of rooms
most of us would like to have in our