Evening star., 1948-09-12

approximately a mOnInS S QurdClOH.
Mathematically bright art lovers
will figure there should have been
nearer 300 such one-man shows in
two dozen years. But the Division
of Graphic Arts has held occasional
shows by print societies and other
organizations tsuch as the Artists
Guild exhibition which closed Labor
Day. and one or two summer shows
annually. selected from its perma-
nent collections.
The division has presented sur
veys of the work both of established
printmakers and comparative un-
knowns, some of whom have since
attained prominence. A partial list
of exhibitors beginning with Mrs.
Jaques reads like a Who's Who
Among American. Printmakers":;
there have also been number OF
distinguished foreign artists. Some
are in their prime, some have passed
on.
A few of the 1874 names will suffice
to indicate the caliber of the divi-
sion's monthly shows: John Taylor
Arms, Ernest D. Roth, Arthur w.
Heintzelman. Charles w. Dahlgreen,
Kerr Eby, Thomas w. Mason.
Charles H. Woodbury., George E.
Burr, Samuel Chamberlain, Levon
West, James McBey, Walter Title,
John Steuart Curry, Adolf Dehn,
Jean Chariot and Paul Landacre.
In recent years, larger proportion
of the exhibitors have been esthetic
radicals.
Jacob Kainen, curator Of the Divi-
sion Of Graphic Arts, said IAN effort
has been made to present cross
section of American printmaklng,
together with occasional work by
foreign artists, with no special en-
phasis on any particular esthetic
tendency Since technical aspects OF
the graphic arts are featured here.
many artists working in new and
original media have been given rep
resentation. The division has
reached a milestone in its efforts to
encourage the practice of print
making"
Technical exhibits setting forth
step by step procedures of all the
major print processes, together with
practical variations and combina-
tions, are on permanent display in
the division.
IL Years Lithographer
Prentiss Taylor is worthy sue
cessor to the aforementioned eX-
hibitors in the Division of Graphic
Arts. His 80 Autographs are we'll
chosen, full of interest and variety.
The show looks back over his work
in this graphic medium beginning
in 1881. Practically all of these
prints have been displayed before,
but seeing them all together inn
presses on one. the fact that he mas
tered his medium at an early date,
that his work has been an evolu-
ton, that he has not dashed of in
new directions just for the sake of
being different, and finally that his
latest development is subtle rather
than radical change. tHis recent
Autographs look less like prints and
more like wash drawingsD Conse-
quently, the exhibition is "all of a
piece" 1t is not hung chronology
ically; 1882 and 1945 prints hang
side by side, and look well together.
The visitor will be repaid by CIV
ing more than a casual glance at
these Autographs. Mr.. Taylor is not
one who improvises and tosses off
finished" work every day. 1t is
obvious that he plans his compost
tions carefully, and makes every
part of the picture interesting.
When he first took up lithography,
Mr.. Taylor did not hesitate to tackle
outsized stones. as witness his 1881
Zulu Chief" the largest print in
the collection, somewhat stiff and
lacking the nuances in his later