Evening star., 1949-06-12
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District Sculpture
Presented at Club;
Also Water Colors
Prints by Clark
By Florence S. Bergman

The Arts Club has opened two
new exhibitions, an "all-Washing-
ton sculpture show" and water
colors and prints by Roy Clark.
both to remain through June "a
The sculpture group. including
16 or more works in various ma
terials on pedestals around the
gallery and a case Of ceramic
sculpture. makes an interesting
display. reminding one how in
frequently sculpture Is exhibited
in contrast to the situation as re-
CARDS paintings and prints. Art
clubs and galleries. writing to the
American Federation of Arts about
its travelling exhibitions. say,
"Give sculpture a break" But the
variations in shapes and sizes, the
fragility. bulk and weight that
make sculpture difficult to pack
and costly to transport, operate
against more sculpture shows.
Consequently. 1t is gratifying to
see increased activity among local
sculptors.
Russell A. Houston. president Of
the Washington Sculpture Group
Eleanor M. Keller and Jane Love
are responsible for the present
display at the Arts Club.
Not more than 10 sculptors are
represented, the majority by two
works each, most Of them con-
servative. There are graceful fig
ures and busts by Adella. Belle
Bellerose and Eleanor Mullican
all of which can be cast in per-
manent materials. Animal sub
5ects by Florence Bessom Higgs
Katherine Hobbs and Elizabeth
Cleveland are also sound. conser-
vative work. A stylized group of
three nuns by Marie Appel has
charming simplicity.
Jane Love and Robin Brant
contributed the only modern"
works in the show. Mrs. Loves
limestone head is columnar ab-
straction. Mr.. Brant's wood group,
'Wrestlers," has beautiful cir
cular grain and its bulky shape
emphasizes the ideas of strength
and weight. 1t is regrettable,
however, that so much modern
wood sculpture has split. Early
woodcarvers were able to turn out
figures which remained intact for
many years, whereas not a few
contemporary sculptors' works in
wood appear with assures in their
initial displays.
Sculpture would seem to be an
awkward medium for caricature,
but L. Geer Wilcox has used it to
satirize a group of garrulous wom-
en- In Ladies Lunch"
Quebec to New Orleans
Roy Clark's one-man show in
the Arts Clubs reception rooms is
record of many attractive
places. Mr.. Clark translates into
drypoints and water colors his feel.
ing for beauty in landscape and
picturesqueness in old architec-
lures. The best work in the show
] think, is the Red Mill" hang
ing over the dining room mantel
larger than most Of the exhibits
and distinguished by all-over de-
sign that is not apparent In some
OF the smaller paintings.
Mr.. Clark has sought his SUBJ
Jects in Canada and from Maine
to Florida and Louisiana, and
numerous States in between, not
excluding the Washington area,
where he can find plenty of
scenic charm without waiting for
vacation. Other pleasant water
colors in the show are street
scenes in Quebec and New Orleans
and several water subjects, pre-
sumably on the Potomac. Among
his drypoints the best (in my
opinion) are a few from New
England, such as Covered Bridge.
Sheffield, Mass" (the artist
native city,, and "Old House
Quebec"
Mr.. Clark attended the Uni
versity Of Southern California in
Los Angeles. the Art Students
League Of New York and the New
York School of Art, where he had
eminent painter-teachers Ken.
meth Hayes Miller and Irving
.Wiles, and the Corcoran School
Of Art. Benson B. Moore, he says.
helped him greatly in mastering
drypoint. He exhibits with many
professional groups and plays an
active role in Washington organ
tzations. having been president Of
the Washington Water Color Club
for three years and secretary Of
the Society of Washington Artists
for two. ellis paintings have re-
ceived awards in both organiza-
tions. He Is also affiliated with
the Landscape Club and the Min
iature Painters, Sculptors and
Gravers' Society.
" n
Veteran Modernists
Five modern painters, each
working In a strongly personal
idiom, are represented in the exhi-
bition of give American Paint
ers" which will open to the public
toporrow at the United Nations
a .