Evening star. [volume] (Washington, D.C.) 1854-1972, 1944-03-12
Art
Washington Artists
Annual Exhibition
D.. ILL MnLI.
By Leila Mechiin.


the world at large is impressively re.
fiected in the Society Of Washing.
ton Artists SD Annual Exhibitor
which opened in the Corcoran Gal.
lery of Art last Sunday afternoon
to continue to March %.
The IS paintings and 20 works II
sculpture by artists OF Washington
and vicinity, which constitute thi,
showing, are with but few exceptions
modern in mode. At a glance they
make a bold and colorful display
but upon inspection there seems tt
be little held in reserve to assure
permanency Of value.
Looking back over the long series
Of exhibitions held by the Society Of
Washington Artists, the majority ir
the Corcoran Gallery Of Art, the
change in the times, particularly In
apparent ideals, is very marked; the
search for beauty seems to have be-
come q scramble for originality
oddly, and the art Of transcription
given way to self-expression, loudly
acclaimed.
But we must remember that art
has always reflected life and that
life has not always been on the high
est plane; there have always been
periods of discouraging aridity dur
ing which, however, strength seems
to have been gathered for fuller
growth and flower. This confusing
time In which we now live may be
one Of these. It is not unreasonable
to believe it.
A Notable Change.
The roots of change in the field
Of art are of slow growth, deriving
sustenance from the once small nv
ulets of Observation-Disclosures
impressionism, poStimpressiontsm,
abstractism and so on-which,
merged. have become . torrent
sweeping all before 1t. Among con-
temporary artists there are few to-
day who have been able to Withstand
its force. Notable change Is seen IN
the current exhibition In viewpoint,
especially in choice Of theme. Mod
ern art has undoubtedly prof1ted
by simplification and habitual direct
handling, but both of these virtues
can be carried to extremeS-orig-
inality is inherent not deliberate.
With these things in mind, we turn
to the exhibition.
The arrangement and hanging this
year are especially good; also the
selection, made by jury composed
of the officers and of members Of
the Executive Committee, is marked
by variety and catholicity. There Is
q fairly comprehensive representa-
ton. The award Of prizes was,
however, made by an outside jury
composed of Edmund Archer, for
merly assistant curator Of the Whit
ney Museum of American Art, New
York; Eliot O'Hara, water colorist Of
this city, and Heinz Warneke, sculp-
tor. These awards previously pub
nshedf conspicuously! stressed the
modern tendenciesa,oft pronounced
character, as for instance "The
Haunted House." by Douglas Brown.
to-which an honorable mention was
voted, an, abstract composition. In
some of the still-life paintings the
influence Of the French school
through Cezanne may be traced, and
there are two instances Of compo-
sitions wherein nonobjective forms
are used as units Of design.
Place of Honor.
On the other hand, some Of the
works shown are extremely conserv-
alive, as for example the portrait
of a dark-haired young woman seat
ed In q red chair, Million in Black"
painted by Andrea Pietro Zeraga,
one time a student in, the Corcoran
School of Art, to which the place
OF honor on the west wall of the
gallery of special exhibitions has
been given. There is in this i'm
pressive painting reminiscent note
of George Bellows, but the manner
of rendering is clearly the painters
own. That the medium is perhaps
q little too obvious goes to show how
easy it is to avoid one error to fall
into another. On the whole this is a
notable performance.
Much praise may be given a small
portrait study Of Georgia Girl" by
Pietro Lazzari, and to boy Read
ing" by Robert Lowell, both of which
are reticent and very significant
charming renditions.
To the right of the Zeraga por-
trait hangs a painting by Alice
Acheson entitled Bread" and show
ing q young man sharing his less
than half loaf with group of chill
dren, all apparently hungering
This theme obviously was inspired by
accounts Of suffering in Europe. II
Is gray and sad but subtlely sci
forth and with a genuine touch o.
pathos-a picture once seen not tx
be forgotten.
Among other unusual works ex.
hibited is Charles Dunn's painting OF
the Cruciflxion, dramatic in the ex.
IRENE, but partially marred by thu
grotesque imagery of the haunting
bystanders-men like monkeys-in'
human-as, of course. they were, bu
presumably wearing the cloak O
sanctity. Near this is found a paint
ing Of a Dark Bird"-a bird O.
progressing upon his victims OF
the ground, held down by his claws
This, too, Is horrifying but ad'
mirably painted, in manner Orien
tai In style and simplicity.
Paintings of CIowns.
Possibly reacting from war ant
its woes quite a number of painting
of clowns, professional fun makers
appear in this exhibition. The presi
dent of the society, Rowland Lyon
shows one entitled big Buffoonery'
Sarah Baker gives a life-size por
trait of Paul Gerome, Clown,
painted with simplicity, and from
Paul Leland Thompson has com
Clown Alley" Also Amy Jone
won an honorable mention for flgur
composition by a barker and Glow
at the entrance to circus tent
which is realistic and traditional
The medal for figure painting thi
year went to Richard Lahey for a.
elaborate painting of the interior
YoroetYroo hlx, IF HE nwY1 house O