davidaulloa/AmericanStories huggingface dataset:
Evening star. [volume] (Washington, D.C.) 1854-1972, 1961-11-19

painters like Will Baumeis-
ter.
The look is non-obiective.
The cofors are bright. The
composition, within this
manner, is expert. Yet the
visitor is left wondering what
the point OF it all is. The
paintings are beautifully ex-
ecuted exercises, drawing
upon a lifetime's correct
painting habits. Now in aca-
demic art, or in representa-
tional art generally, a life
times correct painting habits
will often endow a picture
with a certain amount of
merit. particularly if the sub
ject is of some interest and
the painters approach to his
subject is of value. If, as here,
the subject is paint itself,
much more is required. The
much more, unfortunately, is
lacking in Mr.. Wiedemann's
work. The show is middle
range, middle European alb
stract expressionism. than
which, in contemporary
painting, very little is less
interesting,
Evening star. [volume] (Washington, D.C.) 1854-1972, 1961-11-19
Buder Gallery

Washington Artist job n
Chapman Lewis is showing
some recent paintings at Ba-
der's now and the work is
very good indeed. Mr.. Lewis
has achieved a personal stop
ping point somewhere be-
tween the faithful reproduce
ton Of natures look and the
total independence Of con-
temporary abstraction.
The pictures do not, at
first glance, suggest much Of
anything in the visual world.
They are relaxed compost
tons of rather blocky forms
floating in a colored fog, an
effect produced by the ar
lists use Of glazes. Within
the glaze there is a certain
amount of depth: some forms
seem more distant than 9TH
ers. All together the rough
blocks in a given painting
make a pleasant arrange
ment of equity, with size, COL
or, weight and distance all
held in loose balance.
On being tipped off by the
Evening star. [volume] (Washington, D.C.) 1854-1972, 1961-11-19
The Great Berlin

From Angel comes another
record by Herbert Won Kari
alan and the Berlin Philhar-
monte. which again graces
the Constitution Hall stage
this afternoon. Their lat
est recording is a beauty:
Bartok's Music for Strings.
Percussion and Celesta and
Hindemith's Mathis der Ma
Ter
Both of these masterpieces.
grow in stature and popu-
larity. Well they should.
with this kind of perform
ance. Bartok's marvel is Just
what the Berlin orchestra
needs to glorify its stunning
strings. The Hindemith SYM
phonic suite gets the full
treatment of Karajan's way
with orchestral colors and
shades. One everyone should
have,
Evening star. [volume] (Washington, D.C.) 1854-1972, 1961-11-19
Pan American Union

Down the street from the
Corcoran, the Pan American
Union, still with some of it's
spotlightS hitting the upper
wall instead of the pictures,
is showing oils and water col
ors by Guillermo Wiedemann
of Colombia.
The artist, now Sc, is one
Of the oldest painters to be
shown at the Pan American
in a long time. Born and
raised in Germany, he has
lived in Colombia since 1899.
Despite the 81 years resi-
dence in his adopted country,
Mr.. Wiedemann, like most of
us, was essentially formed
before he was 30. The pic
lures on view at the Pan
American are clearly Ger
man, relating ultimately to
German expressionism, more
directly to the Munich art of
Kandinsky and to the post
war German developments of
Evening star. [volume] (Washington, D.C.) 1854-1972, 1961-11-19
Mr.. Rostropovieh

While on the Russian kick.
don't overlook something
special. namely, two pieces
spotlighting Mstislav Rostro-
povich. the Russian cellist,
who also happens to be the
husband of the aforemen-.
toned Soprano Vishnevskaya.
The Deutsche Grammophon
disk also is with the Lenin-
grad orchestra, Gennadi
Rozhdestvensky conducting.
The cellist plays Robert
Schuman's concerto and
here he is Standardization
sky's Variations on a Rocco
Theme. What playing! The
warmest, richest, cello tone
imaginable, in two of the
most romantic kinds Of inter-
pretations. Exquisite for those
who like their music lyrical.
Evening star. [volume] (Washington, D.C.) 1854-1972, 1961-11-19
Library of Congress

The new show at the Lii
grary of Congress ground
floor exhibition hall is a Sc
lection of contemporary Jap
anese posters from the Ii
brary'S permanent collection.
1t is almost impossible not
to have mixed feelings about
posters as an art form. De-
fine it how you will. a poster
as poster exists to get you to
do something, usually involv-
ing the expenditure of funds:
define 1t how you will, art
exists to get you to stop
right where you are and look,
really look, at what is there.
The two things are not mu-
tually contradictory, but they
do work against each other.
The same antagonism be-
tween art and commerce is
apparent when the modern
equivalent of the witch doc
tor, the motivation research
man, reports that the most
effective television CONNER
Gals are precisely the ones
that drive us out of our
minds.
The Japanese posters have
the advantage Chesterton
sighed for when he saw
Times Square at night: How
beautiful for someone who
couldn't read" Most of us do
not read Japanese and the
posters, despite an occasional
line or two of English, can
be regarded as things in
themselves. just like art.
Regarded so, they have the
delicate beauty we more or
less expect of the japanese
when they're not building a
co-prosperity sphere. Forms
are simple and precisely
placed. Colors are mostly
muted; when. for example, a
bang-red turns up, it gains
from being isolated in white.
The use of white space to
great advantage character
ICES the whole show. The
Japanese, apparently, always
ask whether a proposed color
or form will be as effective
as the empty space it will
have to occupy. The result
is that the posters are quiet
and forceful, a refreshing OBJ
ject lesson in the power of
restraint.
Evening star. [volume] (Washington, D.C.) 1854-1972, 1961-11-19
Art Notes

The National Gallery Of
Art. to accommodate the un-
usually large crowds coming
to see the Egyptian treas
ures exhibition. will be open
today from 10 am. to 10 pm,
four hours more than its
normal Sunday schedule.
Opening today, 2 to 4:30
pm. in the National Collec-
ton of Fine Arts, Smith
sonian Institution, is the oath
Metropolitan Art Exhibition
sponsored by the American
Art League.
New exhibitions: at Asso-
ciated Artists Gallery, recent
paintings by Pietro Lazzari.
At the Corcoran Gallery of
Art. opening Tuesday, recent
works by painter and print
maker Jack Perlmutter: at
the Corcoran School, paint
ings and drawings by Alex
ander Russo. At the Gallery
of Art, Howard University,
sculpture by Walter A. Han
nula. At the Collectors CAL
lery, paintings by Lewis H.
Lederer.
The oath exhibition of the
Society of Washington Print
makers will be held at the
Smithsonian starting Janu-
airy 10. Prints may be sent
prepaid to the United States
National Museum before
January 3 or delivered by
hand on January 6, $50 am.
to 4 pm. There is an entry
fee Of So. Up to three prints
may be submitted in block
printing, intaglio, lithography
or serigraphy. For prospectus
and entry card. write: Miss
Grace Oehser, corresponding
secretary, Route 2, Box 1896,
Mclean, Va. All entries are
subject to a jury composed
Of members of the society.
Three purchase awards will
be made: for the Library of
Congress, for the Smithso-
MAN and for George Wash
ington University, the last in
honor of Miss Florence Ber-
ryman, retired art critic Of
The Star. In addition, selec-
tons from the show will be
considered for purchase for
the Pennell Fund collection
of the Labrary of Congress.
A rs per cent commission will
be charged on all sales from
the exhibition. Artists ac-
copied for exhibition may
subsequently apply for mem
bership in the society.
Evening star. [volume] (Washington, D.C.) 1854-1972, 1961-11-19
PERMANENT COLLECTIONS

CORCORAN GALLERY OF ART, Seven.
tenth street and New York avenue
NV. Daily 10 Am. 10 4:3O pm
Saturday, = an. to 4:30 pm; Sun
Day end holidays, to pm: closed
Monday.
DUMBARTON OAKS RESEARCH IL
BRARY AND COLLECTION, lT0g
Thirty-seeond street NV Daily. 2
TO pm; closed Monday. Closed
indefinitely.
FREER GALLERY OF ART, Twelfth
street and Jefferson drive s.W
Daily, am. to 4:30 pm.
NATIONAL COLLECTION OF FINE
ARTS, Constitution avenue at Tenth
street NV. Daily, am. to 1880
pm.
NATIONAL GALLERY OF ART, Con-
stitution avenue ct Sixth street NV.
Daily; 10 am. to 5 pm; Sunday,
> TO 10 pm.
PHILLIPS COLLECTION, 1921 Twenty
second street NV Daily, IL am.
TO pm; Monday, IL am. to 10
pm; sunday, TO z. pm.
Evening star. [volume] (Washington, D.C.) 1854-1972, 1961-11-19
NEW FRAGoNARD CONES HERE
National Gallery
Collection Enhanced

The beautiful Fragonard acquired auction Wednesday
night by the National Gallery Of Art adds significant
dimension to the work Of the 18th century French master
as exhibited in the Gallery. The painting purchased the
sale Of the Alfred w. Erickson collection at New Yorks
PsrkeBee auction house went to the Gallery
the second highest price paid for single picture in
public sale The new high also established Wednesday
Night is S23 Million paid by the Metropolitan Museum for
Rembrandts Aristotle Contemplating the Bust of Homer
Tine Fragonard painting Of girl reading La Liseuse"
Evening star. [volume] (Washington, D.C.) 1854-1972, 1961-11-19

dress and this color, modu-
lating into a golden light,
prevails throughout. All the
grace and charm of Frago-
nard at his best are present
in the picture, with none of
the erotic element sometimes
found with those qualities in
his work.
Brilliant Career
Honore Fragonard, born
in 1882, had a brilliant ca
reer painting precisely to the
taste Of the brilliant If de-
cadent French aristocracy of
the old regime. Following the
French Revolution, in 1888,
Fragonard was never able to
adjust to the new official
taste Of the republic and the
empire. He died in poverty
in 1905, aged seventy-four.
IF. G.
Evening star. [volume] (Washington, D.C.) 1854-1972, 1961-11-19
Another Russian

This brings us to Galina
Vishnevskaya, the Bolshoi
Operas leading soprano, who
sings at Constitution Hall
next Sunday. Everyone who
hears her land everyone
should will want RCA Vic
tors record of her songs by
Rachmaninoff. Shostakovich,
Prokofiev, Tckaikovsky and
Glinka.
Few voices of the light,
lustrous texture of this sing
er's pack so much dramatic
impact. Hers is perfection
Evening star. [volume] (Washington, D.C.) 1854-1972, 1961-11-19
Beechum LoIIipops

This is Volume II of the
late Sir Thomas Beecham's
delightful little pieces he did
with such relish. Angel
proudly presents them, we
happily recommend them, in
svelte performances by the
Royal Philharmonic. On this
record are succulent lollipops
from Berlioz, Debussy, Saint
Saens, Tchaikovsky (again)
Mozart and Gounod and Ber-
lioz
Among h e m Trojans
March the salty old Britisher
loved so much. Real great.
Evening star. [volume] (Washington, D.C.) 1854-1972, 1961-11-19

exhibition proves about Ho-
mer is that it's a very good
thing he survived the war to
paint the great sea pictures
and the water colors of the
woods. Several Of his paint
ings in the show reveal an
artistic competence far above
the general level, but as a
whole his contribution is a
somewhat better version of
the overall tone Of the
show: on-the-Spot reporting.
The single artist in the ex-
hibition who gives the i'm
preston that he has been
mistakenly moderated is Ed
win Forbes, an artist-reporter
for Leslie's magazine.
A Stiffness for Brady
In some ways the anna
teurs and journalists of the
exhibition give a more i'm
mediate and effective view of
the war than the well-known
work Of the Photographic
corps Of Matthew Brady.
Brady and his men are not
represented in the show. The
artist at the time could do
things the camera had yet
to catch up with. The most
enduring images of Brady's
war for most of us are the
rows of dead in the trenches.
The reason for the choice of
subject was obvious: the dead
would lie still and Brady's
equipment required stiffness.
The artist, on the other
hand, sketching from life or
from memory, could at least
try to capture the move
ment, the epic sweep Of the
war.
The focus Of the exhibit
ton is, for a change, away
from strategic and political
considerations. 1t is, at the
Corcoran, the peoples war,
from the first recruiting
through the exhausted re-
turn to civil life. The life OF
the common soldier and the
common civilian are thor
oughly covered. the larger
issues" touched upon only
glancingly. We see the for
nation Of armies, the heat
and the dust of long marches,
the wearing quality of camp
life. the excitement and con-
fusion of battle. We look in
upon the military prisons of
both North and South. We
see escaping slaves being
hunted down in the Swamps.
We watch the quiet patience
Of the families at home and
the military occupation Of
the conquered land. The
show ends with an eloquent
Homer solitary reaper, The
Veteran in a New Field"
In the past few years there
Evening star. [volume] (Washington, D.C.) 1854-1972, 1961-11-19

every picture and we read it
as if we've been doing so for
years. The other difference
is color. He is a beautiful
colorist. scrumbling one tone
over another, juxtaposing
purple with yellow, shading
up and down with the same
elan he uses in making his
linear shorthand.
You owe it to yourself to
see the show. New hours at
the Barnett Alden are; week.
days. 4:30 to 7 pm; Sat-
urday and Sunday. 9 to $50
pm,
Evening star. [volume] (Washington, D.C.) 1854-1972, 1961-11-19

But assembled in q rational
order = not Chronological
and accompanied by con-
temporary texts drawn from
a wide variety Of sources. the
pictures compel your fasci-
mated attention to the story
they tell.
The celebration of the
Civil War Centennial has
been going on since only last
April, but it now seems for
ever. Confronted with the
troops Of junior Confederates
struggling around the en-
envy capitals monuments, as
saulted in toy department
and bookstore alike by regi-
ments of reinforcements, the
strongest heart quailS at the
thought that this is only the
first Of four full years. In
spite Of that considerable
handicap. Corcoran Director
Herman Warner williams,
jr., has put together a Civil
War exhibition of penetra-
ton and insight and sus-
tanned interest.
Faint Art
One school Of thought has
1t that the present re-staging
Of the war is secretly spon-
sored by the Old Slaveown-
ers Society in the hope that
the ending will be different
this time. One welcome diff
ference would be an improve
rnent in the art. Yet it may
be that the very weakness of
the individual pieces has
contributed to the overall
effect Of the exhibition as a
whole. Rarely. in going
through the show, is the Wis
itor compelled to stop long
before any given painting be-
cause Of its compelling art
istry. The interest is docu-
mentary. .
OF the 236 items in the
show, only a few are the
work Of professional artists
and fewer still of artists
whose fame has survived.
George Caleb Bingham, Will
liam Morris Hunt, David
Blythe, Eastman johnson,
William Morris Hunt and
Albert Bierstadt are among
the prominent 18th century
names represented in the
show. Thomas Mast, later to
be one of the Nations most
memorable cartoonists, is
seen in a sketch of a willard
Hotel parlor and another OF
the Army in the South.
WinSlOw Homer
The great artistic name
associated with the Civil War,
Of course. is Winslow Homer,
who was a working newspa-
perman covering the war for
Harper's Weekly and later as
a free-lance. The thing the
Evening star. [volume] (Washington, D.C.) 1854-1972, 1961-11-19
Burnett Alden Gallery

The best epitaph for the
late Alonzo Alden is the fact
that his gallery, to which he
devoted his life, is continu-
ing. Its first exhibition of the
season is the last one ar
ranged by Mr.. Alden, paint
ingS by Albert Sangiamo of
Baltimore. A great deal of
the point of the gallery, as
established and operated by
Mr.. Alden was to bring to a
wider Washington public a
wider acquaintance with this
areas artists and others than
was easily available when
the gallery began Is years
ago. That purpose is being
admirably served by the new
exhibition.
Mr.. Sangiamo is a young
artist. This is his first one
man show in Washington.
The work shows a thorough
command of his methods and
materials, a joyous spirit and
the happy union of meth
DDS. spirit and subject that
always results in pleaSlrable
art.
The subjects, in fact, are
the completely traditional
ones of nude, Landscape and
still life. 1t is the painting
itself that lmbues them all
with new life. The single
nude among the IS paintings
is, Olympia" exhibited here
last spring in a group show.
The painting is a key to Mr..
Sangiamo's methods. The
classic reclining nude is seen
from the back. Her head is
a tumble of strokes of red
dish paint. Her body is white,
defined by thick, swift black
lines. The eye follows the
lines conscious at once of
the sweep of a brush, of the
sweep of a hip or a bullock
and of the mild impudence
so to translate human flesh
into curved strokes of paint.
Like all impudence, this is
justified by it's style and by
its grace. Mr.. Sangiamo
brings the same witty irrev-
erence to trees and houses,
to bottles and fruit, that he
does to the nude.
In one landscape, the
trees are put in with cross
Matching. In several of
the still lifes, half the fun
is comprehending simultane-
ouSly the ceramic forms
transcribed and the jaunty
manner of their transcript
ton. Flick, flick: Two strokes
and vase is there where none
was before. In a way the
technique resembles that of
the chalk talk artist or the
shorthand sketcher, who puts
down a line and has a body,
adds a circle and makes a
head. The difference is that
Mr.. Sangiamo is not work.
ing from formula. He makes
up his shorthand new for
Evening star. [volume] (Washington, D.C.) 1854-1972, 1961-11-19

in control from lowest to
highest registers, and the
ability to move from a for
tissimo to a pianissimo in a
thrilling instant. The songs
OF her recorded program give
her a chance to probe deeply
into her native folklore.
Evening star. [volume] (Washington, D.C.) 1854-1972, 1961-11-19

the interest of most American
record fanciers, a great ma
jority Of whom have a predi-
lection for the soaring mel
odies of the Russian COM
poser.
To complete the circle, the
conductor is Leningrad-born
Jewgenij. the orchestra's
principal director, who prob
ably will be heard in Wash
ington next year with the
touring players.
On Three Records
DGG offers these forces IN
Tchaikovsky's Fourth, Fifth
and Sixth symphonies on
three disks, marketed sepa-
rately. They must rank
sonically and technically with
the best records of Russian
performers, and come in both
SteI'eo and mono versions.
They are a revelation of
the Russian approach to
these famed works. Much OF
it sounds like one of our own
great orchestral interpreta-
tions. But there is the leaner,
brisker sound such as was
noted notslong ago when Igor
Markevitch conducted the
Philadelphia Orchestra here.
Some Fast TempOs
And Mrawinskij has his
peculiarities, such as a rather
orthodox Fourth symphony
for three movements, con-
cluded with a perfectly whirl-
wind final movement.
Rapid tempos also are
heard in the march of the
Sixth CPathetique) and the
finale of the Fifth.
In the touching adagio con-
Guiding the Sixth, the Rus
sian conductor builds to a
couple Of surprisingly big
climaxes whereas most others
allow the lament to die to a
whisper.
The Leningrad plays like
a first-rate orchestra, and
the records succeed in illum-
mating the fine balance of
the various sections. But
while it is better than many
Russian based performances,
the recorded sound still is a
bit smoky.
Evening star. [volume] (Washington, D.C.) 1854-1972, 1961-11-19

will join nine other Frago-
nards in the National GAL
lery. The new acquisition is
Small-3224 inches by 251a
inches compared to the two
best known Fragonards in
the Gallery. These are The
Swing" and "Blindman's
Buff" each over seven feet
high. Painted as decoration
for a Paris town house and
possibly as one painting
about Is feet wide, the pair
was presented to the Gallery
by the Samuel Kress Founda-
ton.
Early Examples
Ostensibly dealing with
ariStocratic diversions in the
country, the two paintings
are also vast landscapes and
skyscapes, comprising what
is perhaps the first and is
certainly a very early ex-
ample Of Romantic Nature,
which was to play an impor-
tant part in the literature
and painting of the follow
ing century.
other games are recorded
in the other Fragonards, as
are family scenes, the like
ness Of a fellow artist, and
one Of the favorite subjects
Of the time, Love as Folly"
and Love as Conqueror."
La Liseuse" thus reveals
a more tender and intimate
side to the popular painter
for the French aristocracy.
The girl is intent on her
book and her figure COM
pletely dominates the can
vas. She wears a yellow
Evening star. [volume] (Washington, D.C.) 1854-1972, 1961-11-19

title cards. however, the Wis
itor can readily perceive the
natural sources of most of
the pictures and that percep-
ton adds to the appreciation
of the pictures, whether it
ought to or not. Golden
Shore" is a rich arrangement
of glowing yellows and hon.
ey-browns, for example, that
means a little more when
you grasp the landscape it
contains.
Evening star. [volume] (Washington, D.C.) 1854-1972, 1961-11-19
ART AND ARTISTS
. Civil War Art Show
. Full of Surprises
BY FRANK GETLEIN
star Art Critic

If, despite scientific demonstrations you still
heve you can't make silk purse of sows ear drop in
at the Corcoran Gallery of Art for its Civil War
and have your mind changed.
The exhibition is tremendously successful taking on an
ambitious program and executing it with skill and spirit
Yet substantial neutrality-suspicious. four hs-of the works
OF art making up the show Secondrate best Pre-
sented by themselves presented purely as works of art
Evening star. [volume] (Washington, D.C.) 1854-1972, 1961-11-19
THE SUNDAY STAR
Washington, D. c.
November 10, 1861
RECORD REVIEW
Did the Russians
Invent Tschoikovsky?
BY HERMAN SCHADEN
Star Record Critic

Presumably on the premise that the Russians should know
something about Pior Iytch Tchaikovsky West German
company known as Deutsche Grammophon eseschat has
recorded his three major symphonies played by the Ienn
grad Philharmonic.
That combination should be intriguing enough to whet
Evening star. [volume] (Washington, D.C.) 1854-1972, 1961-11-19

has developed what may as
well be known as the Cor
cora1 style of art exhibitions.
This consists chiefly of Gre
ating a historical epoch by
inspired matching of words
and pictures from the time
considered. Visitors will re-
call the tremendous impact
the style made in The
American Muse" a few years
ago, an impact preserved in
the recently published book
Of that exhibition. The Civil
War: The Artists Record"
follows the style. In some
ways it breaks new ground.
THE American Muse" while
1t reflected the life of the
Nation, was primarily con-
cerned with the development
OF the Nations art. Here the
concern is with the life as
reflected in the art and writ
ingS.
AS in the earlier show.
there has obviously been a
great deal of research and
once again the results more
than justify both the effort
and the somewhat unortho-
dox view Of the values Of art.
Since about the time of the
first World War we have all
been overeducated to the i'm
portance of the values of art
existing within the work,
with ever decreasing atten-
ton to anything existing out
side the work. The attitude,
in its extreme, is manifestly
nonsense. The high achieve
ment of The American
Muse" and, now, THE Civil
War: The Artists Record"
demonstrates that history it.
self can be the materials of
art for an art exhibition
which we experience very
much as we experience a work
of art.
Evening star. [volume] (Washington, D.C.) 1854-1972, 1961-11-19
A Superb Look

Mr.. Williams contributes
an informative commentary
that runs through the book
length catalogue of the show,
but he himself would be the
first to agree that the out
standing prose in the show is
that gathered from contem-
porary Civil War sources:
I letters from the front, books
of eyewitness memoirs, even
official war orders.
The total effect is to sum-
mon UP the war from the
point of view of those who
bore the heaviest part of the
burden, the combat soldiers,
the slaves, those waiting at
home. Any old soldier will
recognize the authentic look
and thought of life i'm the
field; any American will be
grateful for a superb look at
the great watershed of our
history.