Evening star., 1945-05-27
Bv Leila Mechiin

entered by etcherS. engraverS, llth-
ographers and other print makers
throughout the United States in
competition for prizes offered for
the third successive year by the
Library of Congress under provi-
sions made in accordance with the
j. and E. R. Pennell Fund. From
this number the 375 now on view
in the Library of Congress were
selected by professional jury Of
three distinguished print makers
Asa CheffetZ, wood engraver; Armin
Landeck, etcher, and Robert Riggs,
photographer.
Then came the task of selecting
the winners. Again there was a
jury of three, but in this instance
comprising the two special advisers
on Pennell Fund purchases, John
Taylor Arms, etcher, and Stow Wen
genroth, photographer, together with
Miss Alice Lee Parker, acting direc-
tor of the Division of Prints and
Photographs of the Library of Con-
gress.
AS a result "a awards were made
S first of 500, 10 second of $50 and
10 third of $50. All of the prints
so singled out for merit will go
into the Library's permanent COL
lection. This in itself is a great
honor. 1t may also be noted that
the prices paid were, for the most
part, in excess of market value
purposely so in order to emphasize
appreciation of merit and encourage
further effort.
The only prints eligible for entry
In this competition, and hence ex-
hibition, were those produced within
the current year, therefore the dis
play is essentially up to date. That
it should be so comprehensive and
the works shown so technically good
is reason for wonder. Where have
all these print makers come from?
How have they acquired their pro-
ficiency? Where in these busy and
solemn war days have they found
the time and the urge for produc-
ton?
The Spiritual Quality
1t should be remembered, how
ever, that art is something more
than technique. AS well-known
print maker and connoisseur has
said, The true worth and enduring
ness of a print, of any work of art,
depends primarily upon the degree
of spiritual quality it possesses. Un-
less this element is expressed in
teligibly and with beauty, however,
its presence avails us, the audience,
nothing"
This should be kept in mind as a
measure of true worth artistically.
1t is by such measure that the cur
rent exhibition falls short. Here
is amazing skill but comparatively
little idealism displayed. One Won
ders why. Is it the war, the unrest,
the WEAKNESS and doubt in many
minds which so finds expression,
or is lower level of life made OBJ
vious? 1t is hard to say. The fact
is disturbing. Art which deserves
the name enriches life, shows us the
best rather than the worst, discov-
ers the unseen and makes it mani
fest. Ugliness, depravity, folly do
not need to be perpetuated; their
depletion serves no purpose, unless
the artist SO engaged is Daumier,
and even he made us often see be-
meath the surface something better
than that specifically displayed.
A note of tragedy pervades this
exhibition, although few of the
prints shown are concerned with
war. For example, Thomas Benton
is represented by lithograph of
Fire in the Barnyard," in which
Is pictured a horse, mad with fear,
being led by farmer past burn
ing haystack. There are pictures of
violent storms; there are pictures
of low-class if not degenerate peo-
pie: there are tragic accidents in
doors and out.
Contemporary Life
Then there are prints setting
forth glimpses of contemporary life,
such as "The Beauty Salon." by
Carolyn Durieux, and Surgical
Dressings, Red Cross" by Margue-
rite Klumm, the latter very similar
in suggestion and rendition to Grant
Woods cynical Daughters of the