davidaulloa/AmericanStories huggingface dataset:
Evening star. [volume] (Washington, D.C.) 1854-1972, 1962-03-04
In Water Color

Marin worked more in
water color than in oil and
he usually painted in oil as
If 1t were water color. The
colors are raw, the strokes
are crude and individual.
Yet at a distance of a few
feet these strokes integrate
themselves into a vibrant
vision of nature as a living
thing. The heartbeat of the
world provides the rhythm
Of the pictures. Close to the
center of Marin's genius was
the ability to make a stroke
Of paint reproduce, in the
manner of its application,
the movement of nature.
Marin painted in and
around New York almost as
much as he painted on the
coast of Maine and there is
a picture of the city that
illustrates perfectly this
ability. When he departed
from the surface look of
things, Marin often called
his paintings fantasies" A
Brooklyn Bridge Fantasy"
of 1884 is done in oil. It
composes a wind-swept ar
rangement of the forms of
the great bridge, the distant
shore and the water. At the
bottom of the picture, almost
as if a footnote pointing out
that the bridge, after all,
does go over a body of water,
there is a series of two or
three blue-green strokes of
Evening star. [volume] (Washington, D.C.) 1854-1972, 1962-03-04
5OForeign
Students Join
u. S. Seminar

Fifty foreign students work.
ing toward graduate and I'M
dergraduate degrees in this
country are attending an in
formal seminar on America
Today-Image and Reality"
this week end at Warrenton,
Va.
The seminar at Airlie House,
educational and research con-
ference center, is sponsored by
George Washington University
with the cooperation of the
State Department.
Senator Sparkman, Democrat
of Alabama. will speak at a
session today on the political
system of the United States
Max Freedman, author and
correspondent for the Man
chester Guardian, will speak
later in the day on 1.-The United
States in an Interdependent
World: Objectives and Com
mitments of the United States
Abroad"
Luther Evans, former Libra
rian of Congress and former
secretary of UNESCO, will
speak on Cultural and Social
Values in American Life"
Group discussions will follow
the talks.
Evening star. [volume] (Washington, D.C.) 1854-1972, 1962-03-04
Retrospective Art

The exhibition amply dem
onstrates his independence.
The earliest work on view is
dated 1888 and already, as
a youth, Marin may be seen
taking his own sweet way
with nature and with art.
The little water color is of
White Lake, in Sullivan
County, N. Y, but it is really
several other things. It is
the immense, although here
latent, energy of nature; it
is the human experience of
nature. especially of the vi
tality Of nature, and it is
a picture made by human
hand.
These three things, and
the unity among them, were
to characterize all of Marin's
work. They may. be seen in
unity in a series of small oils
painted in 1908, the Wee
hawken Sequence" scenes of
the small town across the
Hudson from New York. In
these pictures, too, there
first appears a form that was
to cut through many of the
artists views of the sea, a
sailing ship balancing itself
and thrusting forward
through the tumultuous
forces of wind and wave.
Evening star. [volume] (Washington, D.C.) 1854-1972, 1962-03-04
New PROCESSING
For Color Prints
Is Announced

NEW YORK (AP). - A
process by which amateur
photographers can make
their own color prints at
home in daylight has been
introduced by the Pavelle
Corp.
Company officials demon
strated the process by means
of a machine called the P100
automatic daylight color
printer-processor.
The three-minute process
requires no special skill to
handle because the machine
incorporates electronic de-
vices which make it simple to
control color balance ex-
posure." said President 81
Pavelle.
The printer, which is
about the size of a slide prof.
ector, will be available at an
estimated retail price of be-
tween $3.50 and 5000 before
Christmas, he said.
Color materials widely used
in the United States now re-
quire as many as five chem
ical solutions, four washes
and take more than 40 min
utes to process in a dark
room.
Evening star. [volume] (Washington, D.C.) 1854-1972, 1962-03-04

ample scope to discourse at
length on all kinds of inter-
esting musical topics.
1t is, of course, a COM
pletely fascinating expert
ence to eavesdrop on the
conversation of a genius, and
this is a completely fasci-
mating book. StravinSky's
myriad admirers - and I
number myself among his
most enthusiastic partisans
will find "Expositions and
Developments" just about as
bewitching as the previously
issued Conversations With
Igor Stravinsky" and MEM
cries and Commentaries"
Evening star. [volume] (Washington, D.C.) 1854-1972, 1962-03-04
Ponderous Strength

The painting of Carl Nor
ris relates theoretically but
not usually to that of John
Marin. Mr.. Morris, too,
starts with nature and Gre
ates structures of paint
which satisfactorily translate
the force of the world into a
balance of forces on canvas.
The aspect of nature that in
terests Mr.. Morris, however,
is quite different from the in
tereSts of Marin on the other
end of the continent. Some
of his paintings are con-
cerned with forests, some
with rock patterns. Both sub
jects are seen abstractly and
the point of abstraction is
the crushing power of ma
ture, as distinct from the
leaping up power Marin cele-
brates. In Mr.. Morris work,
up to the last few years, the
impression is given of monu-
mental weights-of rock and
earth-pressing down upon
and thereby changing the
shape of life. He poises large,
calm areas of plum or olive
against one another, the
areas separated by dark lines
and punctuated here and
there by bright dots of orange
or yellow. Very occasionally
these light points can be in
terpreted literally as the
lights of a distant shore.
More often they seem to
have been squeezed out of
life itself by the sheer weight
of dead trees turned into
stone.
This note of ponderous
strength is sustained in the
most impressive picture of
an object in the show, Ma
chine No. 2" of 1851. The
machine is not quite identi-
fled; it is an earth-mover,
a derrick and other things.
too. Basically, though, it is
power in ponderous action.
In earlier pictures, Mr.. Nor
ris got the same feeling in
group pictures of refugees of
various kinds: They, too, were
pressed down upon by great
weights and shaped by ten
sions from without.
In the pictures of the last
three years or so, all this
struggle is transcribed. Alb
Stract simple shapes float in
cheerful seas of yellow or
orange. Yet the experience
of the pressure and the
weights makes possible the
sureness of the new free
dom.
The show faithfully re-
fleets a remarkable artistic
growth.
Evening star. [volume] (Washington, D.C.) 1854-1972, 1962-03-04
81 Pictures on View

Again and again, Marin
does this in the 81 pictures
of the show. The act of paint
ing is never subordinated to
the look of nature; nor is ma
ture ever given short-shrift
for the sake of the act of
painting-Marin rather de-
spised self-expression as an
end of art. Instead the two
things are one. The power of
nature and the power of the
painter are only different
ways Of talking about the
same thing.
There is simmer and
movement and the burst of
life in all the paintings. In
the pictures of New York, the
city itself seems to be a nat
ural phenomenon. The build
ings-particularly the Wool
worth Building and the Mu-
nicipal Building-lift to the
sky from the rock of Man.
haitian as if they were grow
ing things. The sense Of life
here evident in mans work
reminds us that man, too, is
OF nature. The same force
that ripples the waves of the
Atlantic or covers the New
England mountains with au-
tumn red also pushes up
through the hand and mind
of man and shows itself in
Marin'S view Of the city.
Evening star. [volume] (Washington, D.C.) 1854-1972, 1962-03-04
Ponderous Strength

One of the shows is now
at the Jewish Community
Center and you ought to
visit it both to acquaint your
self at first hand with this
late and unexpected result of
the Model T, and to absorb
the fine view it gives of an
excellent American artist,
Carl Morris of Oregon.
Mr.. Morris is a good exam
pie Of what the Ford program
can accomplish. The artist is
now SO years old. He has
been painting for about three
decades. His work is well
known in the Northwest
Pacific region, moderately
known in New York and
hardly known at all in most
of the rest of the country.
This is not good, but it is
the almost inevitable fate of
the non-New York artist in
our day. The Ford financing
and the AFA administering
Of the new program are max
ing at least a small dent in
the situation. The program
circulates nationally work by
artists often chiefly known in
but one or two areas of the
country.
Evening star. [volume] (Washington, D.C.) 1854-1972, 1962-03-04

to painting early in the
new century. He studied at
the Pennsylvania Academy
under Thomas Anshutz,
EakinS' assistant and success
sor, briefly at the Art Stu
dents League and worked in
Europe from 1905 to 1918.
The last note might be ex-
pected to place Marin in the
group of Americans who
linked Paris and New York,
but in fact he seems to have
all but totally ignored the
epochal developments taking
place In Paris art while he
was there. He was busy with
developments of his own.
Evening star. [volume] (Washington, D.C.) 1854-1972, 1962-03-04
Jewish Community
Center

In the last half dozen years
the Ford Foundation has
been contributing a good deal
Of that necessary support for
art which in older societies
than ours is given by society
as a whole through its gov
eminent. One activity the
foundation has been financ-
ing, through the American
Federation of Arts, is a series
of circulating retrospective
exhibitions. Foundation fl
nancing enables the exhibit
tons to go to small institu-
tionS. 1t also produces, for
each show, an excellent
Evening star. [volume] (Washington, D.C.) 1854-1972, 1962-03-04
Maine to Mexico

Around 1880 Marin spent
some months in New Mexico
and it is extremely interest
ing to see his response to this
strange land, ancient and
sun-baked and without the
vibrancy of either the Maine
coast or the great city. The
insistent rhythm of the paint
quietS down as it captures
the sweep Of desert and the
flat planes of adobe houses.
At the same time the light
becomes more intense and
more pure.
1t is more of Maine,
though, that Marin speaks
than he does Of anything else
and the exhibition has a
gratifyingly full run of pic
lures from Maine. Marin
obviously never tired of look
ing at the sea and we never
tire Of his pictures of it. The
water glistenS and races; the
rocks seem themselves about
to melt into movement. Often
the artist deliberately directs
our attention with a hand
full of thin black lines across
the sky or down the edges,
which represent nothing ex-
cept a helpful division of the
scene into adjacent planes.
And often, cutting through
the leaping water, is the thin
form Of a speeding ship I'M
der sail, fragile amid the
gigantic forces around it,
yet maintaining itself and
using those forces for its
own swift journey. BY the
end of the show, when we
have reviewed the fifty
springs and many seas of
John Marin, that slender
ship seems a figure of the
artist himself.
Evening star. [volume] (Washington, D.C.) 1854-1972, 1962-03-04
PERMANENT COLLECTIONS

CoRCORAN GALLERY OF ART,
Seventeenth street and New York
avenue NV, Daily, 10 am. to 4:30
pm; Saturday, 8 am. to 4:3O pm;
Sunday and holidays, 2 to 5 pm:
closed Monday.
DUMBARTON OAKS RESEARCH IL
BRARY AND COLLECTION, 1903
Thirty-Second street NV. Daily, .
70 . Pm closed Monday. Closed
FREER GALLERY OF ART, Twelfth
street and Independence ayenu e
s'W. Daily, o 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, Con-
stitution avenue at Sixth street NV.
DAILY, 10 I'm. to 5 pm Sunday,
pm. to 10 pm.
PHILLIPS COLLECTION, 1912 Twenty
first street NV Daily, II am. to
9 pm, Monday, II am. TO 10 pm:
Sunday, 2 to z pm.
Evening star. [volume] (Washington, D.C.) 1854-1972, 1962-03-04

program will be honored on
March 1916. The bril-
lent Soviet pianist Emil
Gilels, heard here last week
in a controversial perform
ance Of the Tchaikovsky
concerto with the National
Symphony Orchestra, visited
the White House and the
Library of Congress last
Wednesday with his charm
ing wife. The White
House made news in the
musical world with the an
nouncements that the First
Lady would serve as Honor
airy Chairman of the Nation
tiOnal Cultural Center and
that August Heckscher (di-
rector of the Twentieth Gen.
fury FUND.- would serve as
cultural co-ordinator on the
White House staff. 1t has
been reliably reported that
the appointment of Mr..
Heckscher presages. an early
attempt by the Government
to establish national awards
in the arts to rival the Nobel,
Pulitzer, and Lenin Prizes.
A According to informed
Sources, scholarships, sti-
ponds and ultimately the
creation of a Cabinet cultural
post may follow.
Il Il u
NEWS FROM THERE
Baltimore: The first entirely
new American production of
Tristan and Isolde" takes
place at the Lyric Theater
here tomorrow night. Spon-
sored by the Baltimore Opera
Club and the Peabody Con-
ServatOry, the performance
will star Bright Nilsson, Sc
bastian Feiersinger, Blanche
ThebOm, Paul SchOeffler and
Thomas OLeary. LaszIO
HalaSZ will conduct the most
ambitious operate undertake
ing of our neighbor city in
years.
AWARDS AND PRIZES
Washington International
Bach Festival Additions:
$3.50 to piano students be-
tween the ages of II and 81.
Deadline: March 80. Details:
Miss Raissa Tselentis, 1911
Potomac street NV, WASH
ington 7. International Com
petition Alfredo Casella:
100000 lire to a pianist be-
tween the ages of IS and 80;
100000 lire to the composer
of a new piano trio. Dead
line: March 81. Details:
Secretary of the Academia
Musicale Napoletana, S. Pas
quale a Chiaia, g., Naples,
Italy. American University:
$500 piano scholarships for
academic study in 1962-63.
Deadline: April /. Details:
DR.. Gordon Smith, Depart
ment of Music, American
University, Washington Is.
Prince Rainier III of Monaco
Composition Awards: 10000
francs for a new opera; 10000
francs for a symphonic work;
5000 francs for a chamber
music work. Deadline: April
Evening star. [volume] (Washington, D.C.) 1854-1972, 1962-03-04
SAVE THE CAPITOL
MOVEMENT

MOVEMENT
In a last-ditch effort to
save the seemingly doomed
Loew's Capitol Theater for
the performing arts, impre-
sario Patrick Hayes has come
up with a novel and plausible
idea.
The lease between the Ma
tional Press Club and Loew's
expires in September, and
the gap between the two par
ties-$50,000 annually-looks
unbridgeable.
But Mr.. Hayes thinks he
has found a way to bridge it.
He proposes that the D. C.
Commissioners appoint a
quasi-public authority to So
licit financial contributions
from business. labor, founda-
tionS, corporations and pri-
vate individuals "a leaf out
of Secretary Goldberg's
book.
eSum ably both sides
would be willing to compro-
mise a bit in the public in
terest. Mr.. Hayes would have
his authority" step in and
lease the Capitol from the
Press Club for some $160,OOO
($15,000 less than is now be-
ing asked. Loew's would
then sublet it from the "au-
thority" for some $4,000
$4,000 more than it is now
offering).
The authority" would
make up the $25,0O0 differ
ence by retaining the right
to rent the theater for Is
nights each year at $1,000
per night and pocketing the
fee. Since this is one-third
the current daily rate, find
ing customers should be no
problem.
Action is needed quickly,
however, since bookings for
next season are usually COM
pleted by May /. The Ma
tional Cultural Center is not
yet here. and without the
Capitol Theater, Washington
has no stage to accommodate
large opera and ballet COM
panieS.
Those who think the idea
will work are urged ny MIR.
Hayes to write, wire, or tele-
phone Commissioner Tobrin-
er, asking him to take the lead
in calling a meeting to study
the suggestion and negotiate
arrangements.
4 +
NEWS FROM HERE-Due
to a minor injury to one
OF its members, the Buda-
pest String Quartet has can
celled its concerts this week
at the Library of Congress.
Last weeks concerts were also
cancelled - tickets already
distributed for the March IL
Evening star. [volume] (Washington, D.C.) 1854-1972, 1962-03-04
TODAY

frazer, piano. Constitu-
ton Hall. B pm. Three Sonatas.
Scarlatti: Sonata in A Minor. K.
3D., Mozart: Sonata in F. Op. "a.
Beethoven; Nocturne in E Minor. Op.
Op. 90, Chopin; Sonata No. 6, Op.
cH HI sfFTfSkgfie Win AckER, mezzo-so-
prane; Michael PSdOJski; Lutte; Corco-
Pisador.. Milan. Daza. .Dalza. -Vecchf.
Dowland. Willaert. ValeriuS. Clemens
non. Papa. Adrisenssen. Gaultier.
Mo 5SfSi MfaHsEe ssSY!MpHoNY oRcHEs-
IRA, Chester J.. Petranek, conductor.
Soloists: Doris Petranek. violin: Bar
bara Dirks and Joseph Andreano,
flute. Walter johnson High School.
BrandenfburS Concerts FocS No
in G, Bach; SYMPHONY in D. Frank;
Szeeh Suite in D. Dvorak.
WALL, soprano, harp: Roe Yam
B B9;5 sn piano Barker Hall Y " "a
Bright seraphim, Handel: With Thee
Handel; with Verdure Clad, Haydn
R nsdea R chefub Mozart Hn b bTlA Mn TGR
Schubert; Widmung, Schumann; Is
Muss Fin Wunderbares Sein. List;
pv I5i Is y f9lk r S1ngSir oroor w.sh
Boyce: Chorale prelude. Nun Komm
der Heiden Holland, Bach: Concerto
in A Minor. Viyaldi- Bach; Nazard,
Lap 1g,as:: Toccata from symphony
ST. LUKEs CHOIR. willis A. Hines.
SRSreS. i51 rftesn as EP nS,
pm, Hear Ny Prayer. MendelsSohn;
choruses from Elijah, st. Paul. Hymn
of Praise. Mendelssohn.
CANTATA GROUP.
Richard Wei1enmann. conductor. So
loists: Shirley Kostik. contralto:
Frederick Hewitt, tenor; Jovan Por-
terrified, bass; Louis Corey, flute.
First Baptist Church, Sixteenth and
o streets NV, 1880 pm. Cantata
No. 142, For Unto Us a Child Is
Born, Bach, Suite in B Minor for
Flute and Strings, Bach.
ADA KOPETZ-KORF, piano. National
Gallery Of Art. 8 pm; Partita No 8
40. Schubert: Ballade in F Minor.
Mi Hler tmp G02n5R E ysiGR M iSisf
Scherzo Miniature. Miller; Varia-
tons on a Theme by Paganini,
Book l. Brahms.
AN EVENING OF JEWISH MUSIC.
sergt. Harold Hirsch. UsMC, piano
and conductor. Soloists: Cantor
Raphael Edgar, tenor; Sergt. Ben
Sanger, USMC, violin; SerEt. Sey-
mOur Sanger, USA, cello. Jewish
Community Center, Sixteenth and @
NV, $50 pm. Instrumental and
vocal music by 20th-century COM
posers.
Evening star. [volume] (Washington, D.C.) 1854-1972, 1962-03-04
NEWS OF MUSIC
Stroviinsky Book May
Cause Minor Scandal
BY IRVING LOWENS
Star Music Critic

Two days third volume of conversations between
Igor StravinSky and Robert Craft "EXPOSITIONS AND
DEVELOPMENTS" doubleday; $4.95) was released.
Unquestionaby the book will precptate minor scan
dial in the music world.
Stravinskys opinions have always been characters
ticay stimulating whether you happen agree with him
not The volume deals in large part with earlier
years and is full of personal "reminiscences questions
Evening star. [volume] (Washington, D.C.) 1854-1972, 1962-03-04
Barnett Alden Gallery

The Alden Gallery contin-
ues to change. The new di-
rector is Prof. James V. Her
ring, former head of the art
department at Howard Uni
versity and long associated
with Alonzo Alden, the late
director. The first show I'M
der the new director is de-
voted to paintings by the
interim director, David C.
Driskell. who has returned to
his post as head of the art
department at Talladega
College, THllrd. %.
Evening star. [volume] (Washington, D.C.) 1854-1972, 1962-03-04
A Strange Appendix

For some peculiar reason,
however, Stravinsky has
chosen to add a strange ap-
pendix to this volume - a
curious piece entitled Slight
ly More of a Plague on One
of Their Houses"
1t is this short essay that
will raise the ruckus.
Its substance, is a vitriolic
diatribe against two New
York music critics, whose
names are very thinly dis
guised. "AS I cannot go about
immortalizing such people by
naming them" wrote Stra-
whisky, II identify them here
as, respectively, H. P. Lang
weilich and S. w. Deaf (uni-
formity of language is I'M
possible because the name
Taub has already bee n
taken)."
StravinSky is referring to
Paul Henry Lang of the New
York Herald Tribune and
Winthrop Sergeant of the
New Yorker.
He devotes only a few SEN
fences to the latter, pointing
out that "Deaf's giants are
Giannini, Jello Doio %, Clan
Carlo, etc.; his dwarfs are
Schoenberg and myself"
He then turns his atten-
ton to "Langweilich," first
attacking his literary style
c"Langweilich writes so
atrociouSly that the reader is
able to follow him at all only
because he is certain in ad-
vance of the malicious in
tent"), and then attacking
his musicianship.
If the casual reader knew
no more about Langweilich
than what could be learned
from Stravinsky's essay, he
would get the impression that
this critic was no more than
an incompetent penny-a-
liner.
In actual fact, Paul Henry
Lang is a past president of
the International Musicolog-
ical Society, a full professor
OF music at Columbia Univer-
sity, the editor of the Musical
Quarterly Gan internationally
respected journal of musical
scholarship, and the author
OF one of the best English
language general music his
tories. available, Music in
Western Civilization"
His attachments are con-
siderably greater than that
Of the average American
music critic. Perhaps he was
singled out for attention for
this very reason? Perhaps
he drew Stravinsky's ire be-
cause he is not so enthusiastic
a StravinSkyophile as some,
Of the rest of us? Surely the
Evening star. [volume] (Washington, D.C.) 1854-1972, 1962-03-04
TODAY'S GOOD
MUSIC DIAL

$3.50, WMAL-FM (107.3 Mc.)-
Divertimento. Vivaldi's Con-
certo in G Minor for flute,
oboe and bassoon.
900, WASH-FM 1911 Mc.)-
MasterWorks of Music.
Bruckner's Symphony No. 3
in D Minor.
$3.50, WGMS AM-FM $50 Kc.
and 1925 Me- - Masters
Violin. Grieg's Violin Sonata
No. 2 in G, Opus 10.
1905, WGMS AMIN $50 Kc.
and 1875 Me- Sunday
Morning Symphony. Mo-
zart's Symphony No. Is in
G Minor.
1880, WASH-FM 1911 Mc.)-
Music of Distinction. Hon
egger's JEANNE dare au
Butcher.
1900, WMAL-FM (1O7.3 Mc.)-
Recital Stage. Violinist Jo-
seph Fuchs performs works
by Schubert and COPELAND.
100, WMAL-FM (1O7.3 Mc.)-
Matinee Concert. Wagner's
Lohengrin: Prelude to Act I.
2:05, WGMS AMIN $50 Kc.
and 1885 Me- Boston
Symphony Orchestra. Rich
ard Burgin, conductor; Flor
ence Kopleff, contralto;
Chorus Pro Musica. Works
by Stravinsky and Mailer.
800. WMAL-FM (1O7.3 Mc.)-
Vienna State Opera Orches-
ira. Handel'S Oboe Concerto
in G Minor; Sibelius Raka-
Stava, Opus IA and Mahler's
Symphony No. 2 in c Minor,
Resurrection"
4:3O, WHFS-FM (102.3 Mc.)-
Great Sacred Music. Bach's
Prelude and Fugue in G
Minor.
$3.50, WASH-FM 1911 Mc.)-
Masterworks from France.
Music by Bonnet, Planson,
Gautier, Claude leJeune and
Guedron.
700, WAMU-FM 1885 Mc.)-
Philadelphia Oratorio Choir.
Walton's Belshazzar's Feast.
500, WGMS AMEN 1850 Kc.
and 1888 Me- National
Gallery of Art Concert. Ada
Kopetz, pianist. Works by
Bach, Schubert, Chopin,
Jacques Miller and Brahms.
sos, WTOP-New York Phil
harmonic. Guest Conductor
Leopold Stokowski eads
Robert Kurka's Julius Cae-
sar";; Vaughan Williams
Fantasia" and scenes from
Wagner's "Parsifal."
$3.50, WGTS-FM (91.9 Mc.)-
Festival of Music. Sibelius'
Violin Concerto in D Minor
with Jascha Heifetz; lyric
songs by Bright Nilsson and
Nordic songs and ballads by
just Bjoerling.
$3.50, WHFS-FM (102.3 Mc.)-
Box Seat. Wagner's Iris
tan Und Isolde" Bright
Nilsson.
1000, WMAL-FM (107.3 Me-
Portraits in Sound. Violin
ist JaScha Heifetz performs.
1880, WRC-Symphony for a
Sunday evening. Works by
Tschaikowsky, Saint-Saens,
DebuSsy and Rimsky-Kor-
Sakov.
1901, WWDC - Music Til
Dawn. Prokofiev's Chout
C"The Buffoon") Ballet
Suite.