Evening star., 1942-02-01

ton which is not explained in IS
title: Composition, 1912" There
are. too, number of small sketches.
hastily done to judge from their
appearances. depicting poor, shabby
figures in appropriately drab colors.
"Steppin' Out" by Bernard Cure
vitz, is ironically gay in its inpli-
cations, despite the squalid section
depicted, Illuminated by a glaring
street lamp, which accentuates its
sardonic humor. One suspects the
same quality in Paul Arlt's wash
ington in Wartime" a handsome
interior filled with women in Red
Cross uniforms, rolling bandages or
something similar; the suspicion
that the artist had his tongue in
his cheek in observing these earnest
workers Is aroused solely by the
sketchy, suggestive technique he
employs. In a number Of other
subjects, figures are incidental to
their backgrounds, as in Alice Ache
sons "Spading Flower Beds" and
Grace Horn Meas Hay Baling."
nicely rendered but in curious pal
lid color scheme.
Landscapes comprise the second
largest subject classification, in
marked contrast to last years an
nual, which had scarcely any exam
Piles. Among the admirable works
in this category in the current show,
are Maryland Farm" by Helena
Hall, Roy Clark's breezy Hillside"
Omar Carrington's spacious "Shen-
andoah Farm" "Old Bridge, Aldie,
Va" by Florence A. Everhart, Lynn
Drive" by Janet Eldridge, Gustav
Trois' Edge of the Wood" Miguel's
"Desolation," a meticulously painted
desert scene, not nearly so desolate
as some of the figure subjects men
toned above; "Old Houses, Fall
mouth, Va" by Garnet w. Jex;
Snow in Virginia." by Emile M.
Arlt: Minor S. Jamesons Winter
Afternoon" and Lee Atkyns' cloud
topped View From Dickey Ridge" !"
Practically all of these are repre-
sentations of beautiful places, done
in realistic manner. =
Related to landscapes are a num-
Der of street scenes and other works
in which buildings are more promi-
nent than their backgrounds. Lucille
Haynes street in Georgetown,
William F. Walters "Old Stable" and
Robert Motley's Mill Race" have a
pleasantly nostalgia quality. Henry
Olson's Main Street of Tangier
Island" is forcefully presented and
filled with sunshine. In strong con-
trast is its neighbor, 1851 Street."
by John w. Sanford, jr., a moody
night scene with a lemon-yellow
moon which is reminiscent of AL
bert Ryder. Roger M. Rittase's
Railroad Crossing" is practically
the only scene of its type in the
exhibition. Suzanne Mullett's "Nub-
BILE Lighthouse" delightful tran
scription of famous subject, and
Perkins Cove" by Ruth Osgood, are
outstanding marines.
The remainder of the works are
flowers, still life and interiors, which
subject classes include the majority
of abstract paintings. There are
several colorful, decorative flower
studies: "Gladioli," by Mary Ruth
Snow, which has a charming scheme
of subtly varied reds and blue-green,
and Marguerite Munn's "Chrysan-
themums." Competently handled
still life in the traditional manner
includes Norma Bose's Music and
the Mask" and Iona Miller KEEP
fingers Indian Vegetables" Lois
Mailou Jones Green Apples" on an
oyster-white drapery over a chair
is somewhat softer and broader in
handling. Kitchen Design" by
Harold S. Bloomberg IS very linear
in technique, and seems more like
large colored drawing than an oil
painting. May Marshall's tiny inte-
rior, Studio Chair" reveals abstract
features in its composition. Paint
ings by Alexander Clayton, Ferol
Sibley, Dante Radice and Jane Love,
although they have no connection,
nevertheless constitute a series of
progressive distractions, easily COM
pared because they are hanging near
each other. The gourds in Mr.. Clay
tons semi-abstraction are easily
discernible; the next two painters
works are less like nature, and Miss
Loves "Harlequinade" defies identi-
f1cation altogether. There is cold,
intellectual quality about abstract
painting, however, which makes it
difficult for the layman to feel much
enthusiasm.
The sculpture section Of the 51st
annual comprises Is comparatively
small works in various materials:
Wood. stone. bronze and plaster.