Evening star., 1942-03-15
Bv Leila Mechlin.


ceramics of the Western Hemi-
sphere, which may now be seen IN
the Corcoran Gallery of Art, is
UNIQUE and of outstanding impor-
tance. Comprised in its catalogue
are over 300 works by more
than third of that number OF
contemporary artcraftsmen OF can
ada, the United States, South ana
Central American countries. These
were assembled in the Art Museum,
Syracuse, N. Y, last October, IN
celebration of the 10th anniversary
of .he National Ceramic Exhibition,
founded in memory of Adelaide Al
SOD Robineau, distinguished Syra-
: cuse ceramlst.
The showing now on circuit, Is
therefore an expansion OF the an
nual displays held for a decade un-
: der the enthusiastic leadership OF
the director of the Syracuse Art
Museum, Anna Wetherill Olmsted,
and the advice of group OF ma
tionaly known experts. In l94l,
sponsored by the Syracuse Museum
of Fine Arts and the International
Business Machines Corp, the exhi-
bition became representative not
merely of the whole United States
or the whole of North America. but
of the entire Western Hemisphere.
Primarily this project was planned
to advance the potter's craft and as
a gesture of good will to our Hem1-
sphere neighbors, in whose work we,
as well as they. take a just pride.
"Since art" says Thomas j. Watson,
president of the International Busl-
ness Machines Corp. and honor
ary chairman of the ADVISORY
Council, lis one of the truest means
for revealing the heart and mind OF
a people, it logically should play an
increasingly important part in the
development of more thorough
understanding between our coun-
tries" 1t is furthermore his con-
viction, and that of his associates,
that thus through the language OF
art-which is universal-humanity
will be bound together in "a firm
and lasting kinship"
MANY persons who see this ex-
hibition will find it surprising, as
Henry Varnum Poor, mural painter
and ceramist, has confessed that he
did, because "it is not just compe-
tence you see here. but free, lively
and genuinely personal expression
through the fluid art of the shaping,
glazing. decorating and firing of
clay" The work set forth is original
and lively, as utterly different from
that which was produced a double
decade ago as are these times from
those.
1t is difficult to define this differ
ence, for it declares itself in, para
doxically, increased simplicity and
at the same time sophistication
Undoubtedly, the potters and the
Sculptors and enamelers whose
works are shown have been strongly
Influenced by that which is primi-
tive, but their application of that
elemental instinct is very intelli-
gent and knowing.
As whole, the collection, which
Is beautifully installed. makes a
favorable impression instantly upon
the visitor. The forms are good,
the color harmonious and varied.
Perhaps some of the pieces are bit
overheavy and might not look so
well in a handsomely furnished room,
but they are not meant as such.
For the most part they have char
acter and subtlety, especially in de-
sign. As Richard N. Bach of the
Metropolitan Museum, and. chair
man of the jury Of selection and
awards for this exhibition has
said, "The gauge of quality is a
barometer of design, an indicator
of the character of today; but also
a promise for tomorrow
OF the more than 300 works
shown, 81 are by craftsmen of the
United States-not merely from one
section, but from the entire country,
the East and the West. New Eng
land and California, New Mexico
and Michigan, marking boundaries
Whereas there once were six or
eight centers of production, all east
Of the Mississippi, except those on
the Indian reservations, there are
now about so. Native clay seems
to be good in quality and abundant
The Canadian representation is
by no means so large, but is also
widespread, reaching from New
Brunswick to Vancouver. For three
years previous to this hemisphere
showing the Canadian Potters' Guild
has made contributions to the an
nual exhibitions in Syracuse. The
Dominion of Canada also abounds
In good rich clay, as good as that
previously shipped from England;
several Of the Canadian universities
are furthermore introducing In their
curricula courses in ceramics.
The oneness Of the potteris craft
and its employment in the countries
Of the Western Hemisphere is es-
pecially we'll manifested in the ex-
hibition In the Corcoran Gallery Of
Art by no distinctions being made,
no boundaries marked. Canada hob
nobs with Argentina, California with
not only Maine, but Venezuela. OBJ
viously there Is difference if one
looks closely, but it is in the manner
Of handling rather than in spirit
and intent. Clay workers in Argen-
tina, Bolivia, Brazil. Chile, Colom-
bia. Ecuador. Paraguay, Peru, Uru-
quay, Venezuela are all represented
as we'll as those in Mexico, Panama,
Cuba and Puerto Rico.
nA earlier days the potters of
South and Central America con-
cerned themselves chiefly in making
things Of utility; now we are told
the accent is primarily on decora-
tion. No doubt there is an eye on
the market, but such tendency is
not pronounced in any Of the works
included in this exhibition. OBJ
viously, however, it does affect
choice of subjects. There is a Ger
tain gaity in some of the Latin
American exhibits which is very
pleasing-as we'll as now and then
a profoundly serious note-the latter