Evening star., 1952-07-06
News Of Artists and Exhibitions
Arts Club Summer Show Now on View at Club Gallery
Is Traditional Exhibition Of Works by Members
By Florence S. Berrymon

4lC uucLIlUcIS GXulDlUlOu
which opened last Sunday at
the Arts Club is almost entirely
traditional, as has been the case
with recent editions of this long
established annual. It is COM
posed of Al oil paintings. water
colors. pastels and drawings and
one block print, by 80 artists in
these media, and eight photo
graphs by five members in that
field. On the opening day about
20 additional paintings were
shown in the garden.
Prior to the opening Harry w.
zichterman, chairman of the
Painting. Sculpture and Graphic
Arts Committee, asked the art
critics of the Washington news
papers to make their respective
choices of the "best painting in
the show" to be so identified.
There are no prizes in this an
nual.
I agree with the findings Of
a symposium held in New York
City some years ago that art
critics ought to "stand up and
be counted" at whatever risk
OF catcalls and rotten tomatoes.
It Is easier for us to wait for
jurieS to make their choices,
after which we can pick flaws in
them.
I like best Margaret Herr's
Family" Less adroit techni-
cally than certain other paint
ings. it tackles a subject Of
greater depth, and conveys sue
cessfully (to mel the relation
ship between parents and child
the latter's childlike absorp-
ton in her pet bird, the mothers
meditative tenderness and the
interested, protective attitude Of
the father.
Aword Winner
Helen E. Townsend's 'F1ow-
ers." one Of the shows top
works, is the only one that has
fetched an award. (Second prize
for oils in last autumn's Met
ropolitan State Art Contest at
the National Museun.) It has
excellent arrangement, fresh.
clean colors and subtle har-
monies established between
flowers, vase and plum-velvet
background.
white on White" by Walter
Bachrach, a still life of white
flowers. gold and white china
and table checkered rust and
white, impressed me as a beau
tiful painting. Flower and still
life constitute a large proper
ton Of the show. I also liked
Helen Minif1e's 'sDelphinium,"
Sarah Redd's "Peonies," Bobbie
Kerr's "Phelpsapts." Ann Loves
pastel Of fruit, and Babs Van
Swearingen's white Bird Of
Paradise"
The landscapes and harbor
scenes speak of summer: Ruth
Osgood's impressionist, "Old
Apple Tree" with it's strong
sense Of depth as one retreats
from it; Minor Jameson's
Barn." Garnet Jex' early
Summer in Virginia" Marie
Barnhart's BOATS of Crissf1eld,"
Polly Kittelle's Orleans, Cape
Cod" Alice Addison's water
Front" Truro Lighthouse" by
Bette Hartnell, and Fog" by
Isabella Walker.
Georgetown Canal" by Harry
Zichterman, is almost the sole
representative of contemporary
idiom. The scene, reduced to
fiat, fresh-colored areas, effec-
lively arranged, still conveys
the appearance of the subject.
A detailed portrait" of the
same picturesque section Of
Washington. by Bobby Baker.
Is primitive in character.
Marguerite Munn's high
keyed. simplified Spring" and
Gladys Milligan's "Newsboy"
have the effect of, posters. Mig
non Atchison's Country Crave
yard" is unique in its sense Of
pathos. Theodore Kane's por-
trait Of Saniya AL Faqih, lent
by the Ambassador of Saudi
Arabia, presents a Near-Eastern
beauty in American dress.
Lloyd Henbest's ozark Land
scape," a negative and charcoal
black print, and L. M. Leisen-
rings several photographs Of
Egypt, are interesting additions
to the show. which will remain
through the Labor Day week.
Swedish Textiles
The National Collection of