Evening star., 1949-01-23

and Aline Fruhauf show the least
change. The first two are sound
painters who get beauty into their
work today, as they did in the sos.
I The poetic mood of John Gernand's
early work deepened to romanticism
today. Harold Giese's somewhat
tight brushwork dn his 1888 por-
trait) Is looser and fresher today.
Miss Fruhauf is now employing, on
Washington artists, the gentle Carl
cature in detailed miniature tech
niuue that she used in New York
in the '30s.
The major change I note in Alice
Acheson's work is her brush tech
nique, but her two paintings at the
Whyte seem less representative Of
her decade than any of the other
artists examples do of theirs. The
landscapes and flower arrangements
she has sent to various group shows
In recent years definitely surpass
work she did in the '30s.
Bernice Cross youthful naivete
in her early paintings has developed
into determined primitivism.
James A. Porter's 1888 portrait is a
straightforward characterization, in
strong contrast to his recent abb
straction. His one-man show at
Barnett-Aden Gallery year ago
showed no such trend. Helen Beihl,
John Galloway, Robert Gates and
William Calfee have changed most
noticeably, toward abstraction. Mr.,
AGalloway's color has become subtler.
Watkins Unit
Watkins Gallery, having consid-
erably more space, Is showing 40
paintings by 20 artists. some Of
whom went back from IS to 20
years for their early examples.
Mitchell Jamieson's early natural
istic watercolor is overshadowed by
| his powerful Deposition" Others
whose pairs of paintings show great
er strength, better technique, more
imagination or some other virtue,
are Margaret Appich, James Nc
Laughlin and Mary Bradley Wat
kins.
| A few at Watkins Gallery con-
tinue to paint much as they did in
the sos, with no diminution Of their
virtues: Lloyd Embry, Lois Jones,
Richard Lahey and Marjorie
Phillips.
A larger number who used to do
such work, but have changed notice
ably, in some instances radically,
include Sarah Baker. Samuel
Bookatz, Walter Carnelli, Elaine
Hart ey, Gladys Milligan, Omar Car
rington and Lucille Evans.
! Marguerite Burgess. Jacob Kainen,
Theodore Kane, Pietro Lazzari,
Jack Perlmutter and Helen Rennie
were modernists a decade ago, and
continue to be. Mr.. Lazzari is a
veritable virtuoso Of change. His
latest work Is a departure In the
direction of more brilliant color and
Oriental influence, which character
istics are heightened by its prox-
unity to his early painting In an
earth-red tonality, and classic In
fiuence.
The success of this exhibition
makes one hope that Whyte and
Watkins Galleries can put on
eventually, the sculpture retrospect
tive they are contemplating.
! Polish Manual Arts
! Many loans from the Polish En-
bassy and private owners augment
the exhibition of Polish manual arts
now at the Natural History Build
ing, National Museum. The cata-
logued items number "a, in the
travelling show brought here by the
American Federation of Arts, which
will remain through next Sunday.
The group of tapestries by Helena
and Stefan 'Galkowski, with their
soft, subtle, beautifully blended
colors, and their knowing utiliza-
ton Of peasant forms. struck me as
far the best display in the collec-
ton. Another outstanding class OF
objects comprises ceramics; pitchers,
jugs. jars. in simple, graceful shapes