davidaulloa/AmericanStories huggingface dataset:
Evening star., 1962-11-11
ObeIisk

1t is a pleasure to report
that even in the absence
from the country Of its pro-
prietress, Janet Rubin, the
Obelisk Gallery continues to
serve the city well in show
ing artists of national and
international repute in sub
stantial exhibitions.
Substantially exhibited
there right now is Jimmy
Ernst. The show amply re-
pays a visit and the indi-
vidual pictures not only re-
pay but demand close at
tention.
The son of the famed sur
realist, the all-too-imitable
Max, Jimmy Ernst bears in
his art no relation to his ia
ther nor to any of the sur
realist artists. Nevertheless,
in the broad spectrum of
American abstraction, in
which he is usually placed,
he is clearly European on
two main counts.
One is the sheer care with
which the pictures are
painted; the other is the
strong organization of all
elements.
The elements to be or
ganized are mainly two: An
everything grid of lines, US
ually in black, white or red
and usually consisting Of arcs
more than straight lines, and
soft space beneath this grid,
usually patterned in very
subtly modulated color. Be
hind the grid, space appears
as mist but the mist changes
in color, gathering itself up
into a glowing center of red
in one place, green in
another, now blue, now Law
ender, now simply a more in
tense gray. Each of these
color centers fades into gray
at the edges, then, as your
eye transverses the painting,
the space takes on a diff
ferent hue which gradually
strengthens. Sometimes the
space beneath the grid is not
mist but rather a web of
scales as if from some rock
formation.
The grid itself is not an
overall covering, but is US
ually organized into at least
two centers, which sometimes
appear as free and floating
structures but are more often
Joined together in interviewer
arcs and straight lines.
So described, this sounds
simple enough, but the pic
lures produce extraordinary
effects of space and color
perception. Jimmy Ernst
works with some of the in
terests of both Piet Mondrian
and Mark Rothko but he is a
more complex. more profi-
cient and more rewarding
painter than either one.
Evening star., 1962-11-11

row at $3.50 pm. was one Of
two American finalistS in the
TchaikOvsky Piano COmpeti-
tiOn held last spring in Mos
COW, a contest where Van Gil
burn won fame in 1858.
Though he missed the big
apple, the judges designated
him an Official Laureate
Winner.
The 1962-63 Membership
Concert series at COrcOran
Gallery begins on Thursday
at $40 pm. with a recital by
violinist David Maiden. 1t
will be his first Washington
appearance Rise Stevens,
Metropolitan Opera soprano,
will share billing with come
dian Red Buttons next Sum
day at the Starlight Ball, to
be held at the Sheraton-Park
Hotel as a benefit for the
Hebrew Home for the Aged.
4 Il
NEWS FROM THERE
Baltimore: Otto Klemperer
will repeat on Wednesday the
all-Beethoven program with
the Philadelphia Orchestra
that is scheduled here Tues
day in Constitution Hall. i.
Roanoke, Va: Ralph VOtapek,
recent winner of the First
Van Cliburn International
Quadrennial Piano COmpeti-
ton in Fort Worth, Tex,
will be soloist with the ROa-
nOke Symphony Orchestra
tomorrow, playing two con-
certiABeethoven No. 4 and
Prokofieff No. 3. Both were
contest pieces in Fort Worth.
Evening star., 1962-11-11
EXPLAINING THE
CULTURAL CENTER

No, the TV show scheduled
for this afternoon at 4:30
pm. over the NBC network
locally, WRC-TV, Channel
~ is not a preview of "An
American Pageant Of the
Arts" the closed-circuit TV
show which is to kick off the
drive for the National Cul-
tural Center on November 20.
Despite the impressive ar
ray of talent to appear dur
ing the hour, which will in
clude the Boston Symphony
Orchestra, Robert Frost, Ma
halia Jackson, the Mormon
Tabernacle Choir and the
Bolshoi Ballet (among
others, the purpose of the
show is to explain to the
country what the center is
all about and how it will be
used by the performing
arts.
Hence the title-"A Stage
for Excellence"
The different segmentS
were filmed by NBC in diff
ferent places as examples of
the sort of performance that
might be presented in the
cultural center.
They will be introduced by
Evening star., 1962-11-11
SUNDAY, NOVEMBER 1s

tFor further details. consult next
SUNDAYS listings)
LENINGRAD PHILHARMONIC Or
CHESTRA, Gennadi RoEhdestvensky,
conductor. Constitution Hall, 8 pm,
WASHINGTON AND CATHEDRAL So
CIETIEs CATHEDRAL CHOIR.
COMBINED GLEE CLUBS OF CA
THEDRAL SCHOOLS. Washington
Cathedral, 3 pm.
FRIDAY MORNING MUSIC CLUB.
Powell Auditorium, Cosmos Club.
pm.
MONTGOMERY SYMPHONY oRcHES-
IRA, Chester ]. Petranek, conductor.
Soloist: Linda Chen, piano. Bethes-
da-Chevy Chase High School. pm.
ORFEON CHOIR. OF Coimbra, Portugal
Manuel RapOsO Marques. director.
National Shrine Of Immaculate Con-
ception. Catholic University, pm.
RONALD C. RICE organ. Washington
Cathedral, 5 pm.
WARREN THEW. plano. National Gal
lery Of Art. 8 pm.
HELMUT BRAUNLICH violin; Neil
Tilkens, piano. Columbia Union Col
lege, Takoma Park. $50 pm.
Evening star., 1962-11-11
WEDNESDAY

1EoRoE WASHINGTON UNIVERSITY
BAROQUE ENSEMBLE, George
steiner, director. Participants: julie
Zabawa, baritone; Earnest Harrison,
oboe; Robert Paris. harpsichord;
violins; Donna Armstrong, viola;
Erwin Kllnkon. cello. Lisner Audi
torium, $50 pm. Sonata detta Ia
moderna, Rossi; Wedding Of the Hen
and the Cuckoo, Uccellini; Erhore
Mich, Schuetz; Nun Komm' der
Heiden Holland, Bach; Jesu, Meme
Freude, Bach; Wer Nur den Lieben
Gott laszt Walten, Bach; Consort for
strings. Locke; Sonata for
strings, Telemann; Ich Habe Genug,
Bach, Trio Sonata, Handel.
UNITED STATES NAVY BAND, 1t.
Anthony A. Mitchell, conductor. So
loists Ronald Barnett, percussion;
Kenneth Duca, accordion, Sail Loft,
Bldg. l12. Navy Yard, $40 pm.
Of the Bells. Anderson; Romeo and
Juliet, Tchaikovsky; Canticle to
Peace, Pfautsch; GYPSY Overture,
Styne; the Worried Drummer,
Navy, Sousa; Concerto for Accordion,
Galla-Rini; Victory at Sea Suite,
ROdRefS-FOrte
Evening star., 1962-11-11
Jewish Center

The Jewish Community
Center has opened its new
exhibition season with a
first-class show Of recent
Autographs by Jack PERL
mutter, a Washington artist
with an international record
of exhibitions, prizes and
purchases for public collec-
tions. His prints are owned
by art museums in Europe,
Japan and many American
cities. The 27 new litho-
graphs on view at the center
easily show why.
AS background to the new
work, the exhibition has 16
of his older prints and a
couple of paintings. The
evolution of his present is
the focus of the show, but his
prints both old and new are
well worth looking at.
AS a printman. Jack PERL
mutter hasn't really evolved
in the usual art-Darwinian
sense. He has, rather. con-
sistently extended his mas
terry of method and at the
same time deepened the per-
sonal, American vision Of
private people in public
places that he started out
with. In the present series
of 27 Autographs, the two
things are indissoluably one.
Print Forms
Technically, he has per-
formed the considerable feat
of finding an authentic lith-
ographic feel and incorpo-
rating it into his work. The
older print forms have each
their distinctive feel-the
hard edge of woodcut, the
fine line of engraving, the
bitten line of etching, the
dappled ground of aquatint.
The distinguishing note
about lithography has been
that it looks like anything at
all. Invented in 1893, as a
cheap way of printing music
and plays, the form has most
often resembled drawing and
on occasion has mimicked
Evening star., 1962-11-11
ART AND ARTISTS
Show at Phillips Offers Major
Challenge in Art Appreciation

water color and gouache
painting.
Jack Perlmutter, in his
new Autographs, has created
a photographic look based on
the only logical source for
such a thing, the treatment
of the printing surfacing in
the fixing process. This
process, often totally ignored
by artist lithographers,
chemically gets the image
into the stone, or zinc. Jack
Perlmutter, by systematic
exploration of this stage of
lithography has in effect
brought the printing surface
into full existence in the
prints. In looking at his new
Autographs, we are aware of
the plate. The surface is
present. The figures or OBJ
jects exist in space, but they
also exist against the weight
and the texture of a printing
surface.
Restraint in Color
This approach contrasts
completely with the more
usual one in which, too often,
lithography means simply
the accurate reproduction of
large numbers of an original
drawing.
This effect is enhanced by
the artists restraint in color.
Almost returning to the
effects of early chiaroscuro,
he favors olive, beige, yellow
or blue. The black figures
of normal lithography are
given an added dimension
through such use of color,
but the power of black is not
diminished at all.
Through these technical
devices, Jack Perlmutter pre-
sents scenes from our life.
People line up for a bus or
for a political rally. They
stand in little groups in an
observation tower, framed by
the windows. They are seen,
dimly, among the shadows of
a fishing pier.
Places also exist by them
selves, particularly the sea-
shore. There's one lovely,
spare print of sea birds in
the air against the simplest
arrangement of shore, sea
and sky. BY texturing his
surface, the artist catches
the stirring of the tide at it's
change. He poses a forest of
small-boat masts against a
background of pilings: You
feel the roll of one. the sta
bility of the other.
Everything is done with
immense economy; the weight
of things comes through more
strongly than their outlines.
The texture of the zinc is
also the texture of times and
places.
4 4
Evening star., 1962-11-11
Buder Gallery

Washington Artist Richard
Dempsey is having his first
one-man show in several
years at the Bader Gallery
now. The heart of the ex-
hibition is a Jamaica series
of large, loose water colors
executed during a recent stay
on the Caribbean island.
The water colors show total
freedom and total command.
Color is splashed on the paper
and washed across it and
from this violence emerges
the felt sense of a tropical
isle. The free handling of the
color corresponds with the
thrust of life at every level
in those sunny latitudes.
The oils on view are less
exuberant, but there is great
satisfaction within their
closer control. Mountains in
Mexico" builds beautifully of
white villages all but lost in
the folds of looming red
mountains. "The Citadel,
Haiti" is abstract arrange
ment of Haitian details rather
as they might be experienced
by a visitor climbing to the
high fortress.
Several older works on view
record the artists former
practice Of a kind Of alb
stract expressionism, but the
main Importance Of these
pictures is that Mr.. Dempsey
has now returned from these
exercises to the expression of
meaning about the world,
Especially to be noted in this
connection is Burst of
Yellow" in which very free
brushwork is controlled to
create the experience of see
ing distant sunlight from
within a green dark swamp.
Evening star., 1962-11-11
PERMANENT COLLECTIONS

CoRCoRAN GALLERY OF ART,
Seventeenth street and New York
avenue NV Daily, 10 am. to 4:30
pm; Saturday, 9 am. to 4:30 pm;
Sunday and holidays, 2 to 5 pm;
closed Monday.
DUMBARTON OAKS RESEARCH
LIBRARY AND COLLECTION. 1900
Thirty-second street NV. Closed
indefinitely.
FREER GALLERY OF ART, Twelfth
street and jefferson drive S.W
Daily. 8 am. to 4:30 pm.
NATIONAL COLLECTION OF FINE
ARTS, Constitution avenue at Tenth
street NV. Daily, 8 am. to 4:3O
pm.
NATIONAL GALLERY OF ART,
Constitution avenue at Sixth street
NV Daily, 10 am. to pm;
Sunday, , pm. to 10 pm.
PHILLIPS COLLECTION, 1912 Twenty
first street NV. Daily. IL am. to
Q pm: Monday, IL am. to 10 pm:
Sunday. TO z pm.
WASHINGTON GALLERY OF MOD
FRN ART, 1903 Twenty-first street
NV. Tuesday through Saturday, IL
am. to 9 p.m.; Sunday. 2 to 5 pm;
closed Monday. Admission so cents.
Evening star., 1962-11-11

NEW YORK: There will be
a special TOscanini Memorial
program of the American
Italy Society on Wednesday
at the Ferris Booth Hall Of
Columbia University. Samuel
ChOtzinOff, whose long friend
ship with the great conductor
antedated the formation Of
the NBC Symphony in 1887,
will be the principal speaker.
His Ntalk will be illustrated
with film clips and recordings
of performances and re-
hearsals featuring Toscanini.
:. POznan, Poland: Charles
Treger, violinist, who is well
known to Washington audi
ences from his tour of duty
here with the Navy Band, is
representing the United
States in the Henryk VIE
niawski violin competition
which closes next Sunday.
# y %&
BITS AND PIECES-As a
salute and a contribution to
the National Cultural Center
projected in Washington, the
Rinat Choir of Israel will
begin an American tour on
November %. The group con-
siStS of 40 mixed voices led
by Gary Bertini It is
often dangerous to mention
corn in connection with
music, but an Illinois agrono-
mist named George E. Smith,
after exhaustive research.
found that corn subjected to
music yielded more bushels
per acre than corn without
sound.
Evening star., 1962-11-11
PROGRAMS OF THE WEEK

from Partita II for violin alone,
Bach; Sonata in D, Op. IL No. Q,
Hindemith: Zapateado. Sarasate;
Largo, Veracini; ScherZo- -Tarantelle,
Wieniawski
RUBOTTOM, piano. Arts
Club Of Washington, 2017 Eye st.
NV, S:45 pm. Four Sonatas, Scar
Theme Of Handel, Brahms, Sonata,
Op. l, Berg; Ondine, from GaSpard
de ia Mutt, Ravel; Mephisto Waltz
Liszt.
Evening star., 1962-11-11

ira Association, "a firm book
ing schedule which takes into
account your requirements
will be developed with your
organization. In this con-
nection, we are banking
heavily in our prospectus
given to foundations and
others, on the fact that the
National Symphony will be
able to expand its present
program. especially since the
new center will be air-con-
ditioned for year-round use"
The letters to the Opera
Society and the Ballet Guild
are almost identically
phrased, and the Importance
of this statement to those
organizations who have been
supplying us with music in
the past and who will con-
tinue to do so in years to
come is quite plain.
Perhaps even more start
ling are Mr.. Stevens subse-
quent words:
after firming your sched-
ule into our booking arrange
ments we will arrange for the
use of the symphony hall by
other performing groups in
this country and from over
seas in order that the SYM
phony hall play its part with
other facilities Of the center
in establishing a truly ma
tional center for the per-
forming arts in our Capital"
A most significant decision
is embodied in this sentence
Washington groups are in
vited to come in on the
ground floor, and other
groups will be booked only
after events by the local Or
ganizations have been def
nitely set.
1t is evident that the NSO,
the Opera Society, and the
Ballet Guild Gas well as
others to Gomez are being
asked to ally themselves with
the National Cultural Center
and to link their future with
the center's-a natural, de-
sirable, and indeed essential
state of affairs.
To my mind, the proffered
handshake should be enthu-
siastically accepted. We
should all buckle down to the
serious business Of making
sure that the country gets a
National Cultural Center
and Washington gets its
much needed facilities for
the performing arts.
Evening star., 1962-11-11
FRIDAY

FRIDAY MORNING MUSIC CLUB IN
STRUMENTAL ENSEMBLE, George
Steiner conductor, Barker Hall,
YWCA. 18th 70 K NV, 1880
am. Variations on q Theme by
Frescobaldi; Tansman; For an Un-
known. Soldier, johnson; Symphony
No. "a, X, 1872, Mozart; Adagietto
from symphony No. 5, Mailer; Por-
trait Of City, Balogh.
lEW YORK CHAMBER SoLOISTs
adele Addison, soprano; Charles
Bressler, tenor; John S0lum. flute I:
Melvin Ksplan, oboe; Allen Martin,
Gerald Tarrack, violins, Ynez Lynch,
viola; Alexander Cougelle, cello:
Julius Levine. bass; Albert Fuller,
harpsichord; James Levine, piano) =.
Library Of Congress, $3.50 pm. La
Bergere Fidele,. Rameau; Sonata for
violins, cello a. bass, Rossini
Cantata No ., Aitkin; ouatre
poemes de Catulle. Milhaud; Quar-
YET Sonata In. D, Handel; duets for
soprano and tenor by Schubert and
Schumann.
Evening star., 1962-11-11
NEWS OF MUSIC
November 70 q Date
To Remember Here
BY IRVING LOWENS
Star Music Critic

Circle November 20 in red your calendar; this is
date of the official opening of the Embarrassing campaign
for the National Cultural Center
more crucial date in Washngtons cultural history
would be difficult to imagine.
For make mistake about it-more than the fate Of
the National Cultural Center hinges upon the success
failure of the drive The future development of the perform
ing arts in the city in which live will profoundly a
fected by it.
Washington's cultural growth and the ultimate destiny
Evening star., 1962-11-11
BY FRANK GETLEIN

Years the British critic, Eric Newton posed the
problem of beauty in the example Of confronted
with field full of glttering white yellow spots which
he takes to be daisies and amreS He walks Closer the
daisies turn out to be old cigarette packages similar dis
cards. he turns in disgust Is beauty in the
beholder in his mind? In what he in what
knows?
Good questions and they cut right down the middle
some 40 by Kurt Schwitters German big
Evening star., 1962-11-11

of the National Cultural Cen
ter are inextricably inter-
twined, for better or for
worse-and as a natural con-
sequence, we have a much
more impelling reason for
leading the parade than citi-
zens of other cities.
But the close interrelation-
ship has been a troublesome
problem, even though every
body has been anxious to CO.
operate. The center is a ma
tional symbol, yet it must
exist on the local level. Al
though many wrestled with
the problem, nobody really
came up with a good answer
to the nagging question of
just how local performing
groups were going to fit into
the national picture.
A CIear-Cut Policy
The result was that a good
deal of local inertia was un-
Willingly generated, despite
the best will in the world.
What was needed TO dis
sipate the fog and get the
show on the road was a clear
cut policy statement from
center officials.
Happily, this mas at long
last been promulgated.
Roger L. Stevens, chairman
of the center's board of
trustees, today made public
letters he had sent to the Ma
tional Symphony Orchestra,
the Opera Society of Wash
ington and the Washington
Ballet Guild, in which he for
mally issued invitations to
those organizations ito use
the facilities of the center to
the fullest extent"
Similar letters 70 other
local groups are expected
shortly.
"At the appropriate time"
wrote Mr.. Stevens to Milton
S. King, president of the
National Symphony Orches-
Evening star., 1962-11-11
TOMORROW

ROY BoGAs. piano. The Phillips Col
Bach; ondine. from osspsrd de Ia
Mutt, Ravel; Sonata 1855, Bloch;
La Cathedrale Engloutie, pebussy;
Feux d'Artifice, Debussy; Prelude in
C-Sharp Minor, Op. Posth. Chopin;
Rallade in @ Minor, Op. 90, Chopin
Evening star., 1962-11-11
SATURDAY

MUSIC FOR A NOVEMBER EVENING.
Of Maryland. $3.50 pm. Roger Will
liams and his ensemble: Chris Con-
nors and her group; The Highway
quartet.
Evening star., 1962-11-11
TUESDAY

ORCHESTRA, Otto
k1empereI, conductor, Constitution
Hail, $50 pm. symphony No. In
T, Op. IS, Beethoven; Symphony No.
in E-Flat, Op. b5. Beethoven.
Evening star., 1962-11-11


who invented one form of
college. A large exhibition of
his work is now on view at
the Phillips Collection.
Newton's yellow -and-white
spots might have been con-
sidered beautiful in them
selves, as an abstract pattern
of color. They might have
been considered beautiful as
wild flowers. Apparently they
could not be considered beau
tiful as old tin foil and
printed scraps of paper.
Gutter Collage
Schwitters made beauty
out Of scraps of printed
paper. An aesthetic gutter
Snipe and scavenger, all his
life he retrieved cast off
tickets, receipts, cigarette
packages, chewing gum wrap
pers, and the like, cut them
into pieces and assembled
the pieces into distractions
with glue.
There are two basic ways
Of appreciating such gutter
collage: With or without con-
SciouSneSs of the origins of
the materials. SchwitterS asks
us to do both all the time
and simultaneously. On the
back of a collage of 1885, he
wrote, "The waste of the
world becomes my art" Both
waste and art are present in
all Of the 40 or so collages
now at the Phillips. The ar
rangements Of shapes are
precise and poetic, striking
balances among forms, sizes
and colorS. But another po-
etry comes through in the
materials themselves. You
read the words, which are
mostly in German or English,
and you recall both the
soiled streets on which the
fragments were found, and
the occasions. A play, a ferry
boat ride, a smoke, a special
delivery letter, fashionable
ladies dress of the First
World War.
Daisies or Litter
Schwitters asks us to look
at Newton's field first with
out regard to whether the
colored spots are daisies, and
secondly with close regard to
the fact that the daisies are
really the litter of the street.
Schwitters was a profess
sional portrait painter all his
life, working in sound, aca-
demic style. His collage &C
tivity was separate, though
it was certainly based struc-
turally on academic princi-
pies. He called his collage art
"merz," from the second syl-
liable of "Kommerz," the
name of a German bank
whose paper appeared in an
early example. Much has
been made recently of his
supposed salvaging of the
human soul from the throw
aways of our commercial
civilization, but the theme
can be overworked.
1t is most nauseatingly
overworked when poor
Schwitters is made the pa
tron saint of every nut who
becomes fashions darling for
a season by flinging to-
gether the contents of dumps
and attics and calling him
self an existentialist. There
are profound differences.
Price or Fashion
One is price: Schwitters
sold his merz pictures at 20
marks a crack, take your
choice. They were art for
everyone, made from every
ones daily life. Another is
fashion: Schwitters invented
merz pictures when it cost
somethlng TO depart so
wildly from the accepted
forms of art. His alleged ar
tistic descendants make their
revolutionary self sacrifice
when museums, art-propa-
ganda magazines and inten-
sively Kommerzial art deal
ers are eager to exhibit, ex-
plain and exploit anything
with any pretense at all of
originality.
Pretense is the biggest diff
ference Of all: Schwitters
didn't have any.
Evening star., 1962-11-11

"A real plum for every col.
lector." RCA Victor vault re.
cordings dating from 1907.
13 Caruso selections. 8
never before on Up. In
cludes many of his famous
operate roles. MonauraI
only. LM.2639
Many of these famous GigII
selections have been out of
print for years. Fourteen
selections. Seven operate
arias and seven songs all
recorded with full orchestra.
Monaural only. lM.262&
Reissue recordings Of two
of the greatest WagneTian
singers of all time. These
original recordings were cut
in the late 1905. MonauraI
only. lM.261S
Evening star., 1962-11-11

"Some of the rarest treasures from
RCA Wctors vaults" Highly priced
collectors items include Kreisler re.
cordings with Efrem ZimbaIist Rach.
maninoff, Geraldine Fanar, John
Mccormack. 16-page book with rare
photos. MonauraI only. LM.6099