Evening star., 1948-06-27
Art
Tolnan Captures
Washington Scene
In Recent Times
By Florence S. Berrymon

ings, drypoints and aquatints b.
Ruel P. Tolman, Just opened at tht
Division OF Graphic Arts, Nationa
Museum, Smithsonian Building, is
felicitous choice for six summe
weeks (to run through August u
Mr.. Tolman has given so much OF hi
time and energy to the administra'
tive field of art that many washing
tonians MAY not realize he is him
self painter and etcher of lont
experience. Now that he has retired
as director of the National Collec
ton of Fine Arts (two months ago.
one may hope he will find more tim'
for his own expression.
It seems obvious that he will d.
80, since the current show Is com
posed of early and recent work, ant
not much in between. He was al
active printmaker 35 years ago, ane
captured on copper many Washing
ton landmarks, some of which ar
gone while others appear today
much as they did then. OF more thar
30 items on view, many depict sucf
subjects as the Monument, Whit
House, Smithsonian Building, Capt.
tol, National Gallery of Art. Ole
Bannockburn Golf Course, the con-
struction of the Harrington Hote
showing the tower of the old Post.
Office, a view of Great Falls. the
entrance to the Corby residence al
Chevy Chase Circle, and other SUBJ
tects of the Washington area, make
this exhibition predominantly Local
in subject interest.
Mr.. Tolman's work is traditional
impressionistic in handling, with a
marked feeling for beauty and pic
turesqueness. His landscapes and
harbor scenes are delightful, as well
as the architectural themes. One
competent portrait indicates that
he can handle that type Of subject
as well. Incidentally, his most recent
prints have greater breadth ana
freedom and velvety texture.
Ruel Tolman was born in Brook
field, VT, in 1878, but moved to
California, where he studied at Po-
mona College and at the University
of California, graduating in 1902.
He came to Washington in his 2Os,
studied at the Corcoran School of
Art, later at the Art Students League
and National Academy of Design in
New York City. In 1908 he was ap-
pointed assistant instructor at the
Corcoran School, remaining until
1919,
In 1912 he became associated with
the Division of Graphic Arts, served
as assistant curator and subsequent
lv curator until 1916. From 1894 he
also served as acting director, later
director, of the National Collection
of Fine Arts. He is also writer on
art and is a pre-eminent authority
on American miniatures. He is large
" responsible for the fine collection
of miniatures acquired through the
Catherine Walden Myer fund since
1888.
During this long career as a mu-
scum administrator, Mr.. Tolman has
etched and painted for his own
pleasure, exhibiting his work gen.
orally with local artists groups only.
He had several charming miniature
oils in the most recent onnuel OF
the Miniature Painters, Sculptors
and GraverS' Society.
Washingtonians will look forward
to seeing more of Mr.. Tolman's work,
now that he has the time to devote
to it.
Phillips Acquisitions
During the summer Phillips
Memorial Gallery will show con-
temporary American paintings,
from its permanent collection,
changing them about once month.
The first group, now open IN the
print rooms, comprises Is items toils
and a few gouachesl, nearly half of
them acquired during the past
season.
Among the recent acceSSionS is
John Gernand's charming Window
and Flowers" looking out upon a
lush early summer landscape.
THE Governors Cup Vaughn
Flannery's modern Interpretation of
a racing event of two centuries ago,
was in his one-man show at the
Phillips Gallery last winter. Judges
and spectators in Colonial costume
are dealt with very summarily COM
pared with the loving delineation of
the horse. Every devotee of races
would be happy to place a bet on
this handsome animal.
An outstanding acquisition is Ed
ward Hoppers Approaching a
City" composed of stark, clean-cut
angles. 1t brings to mind ones i'm
preston of a train entering tunnel
to the station of many a large city.
Karl Knaths' Deer" almost hidden
in the protective woods, dark against
a morning sky, was in his one-man
show. So, likewise, was Maurice
Sternes harbor scene, After Rain, :"
all misty gray and green. James
McLaughlin's Sheep Cote" and
Jacob Kainens old Canal" were
acquired from the Washington and
Baltimore artists show at the Phil
lips Gallery last month.
One of the largest paintings on
view is Hans MoHer'S Don
Quixote," mounted on his wretched
nag, Rozinante, fitting at the wind
mill. done in a modern idiom, pre-
dominantly chocolate brown in
color. 1t will doubtless strike many
visitors as a caricature of the sub
ject, which would be apropos. as
Cervantes' novel could be inter-
preted as a caricature of an idealist
This contemporary version, however,
has very tough competition in the