davidaulloa/AmericanStories huggingface dataset:
Evening star. [volume] (Washington, D.C.) 1854-1972, 1962-02-04
Correction

The Star is in receipt of
the following letter from Mr..
Clement Greenberg of New
York:
Frank Getlein's article of
December 81, 1861, on page
c. of The Sunday Star, has
been brought to my atten-
ton. The reference to the
painters Morris Louis and
Kenneth holland, and to my
self. in the third paragraph
under the subhead Modern
Art Museum is Tin the light
Of articles appearing in the
Washington Post of Novem-
Der 3 and December 81, 1861
unmistakable.
I'm that paragraph Mr..
Getlein says things that are
not only untrue, but libelous.
I am described as an art
writer and sometimes picture
dealer who greatly admires
the paintings of two Wash
ington artists whom he has
represented from time to
time Mr.. Getlein CHARGE
terizeS my objectivity towards
the work of these two artists
as like that of a press-rela-
tionS officer who is paid to
present his employer in the
best light possible.
IAN art critic who pro-
nounceS on art with inter-
ested, as well as undisclosed,
motives in mind is an i'm
poster and commits a fraud.
Mr.. Getlein asks your readers
to believe that my publicly
professed admiration for the
art Of Louis and holland has
behind it an interested, gain
full motive which it has been
left to him, presumably, to
reveal to the public.
Evening star. [volume] (Washington, D.C.) 1854-1972, 1962-02-04
Phillips Collection

When is a square not
square?
Obviously, dad, when it's
the work of Josef Albers, alb
stractionist, specialist in
squares and influential art
teacher at Black Mountain
College and at Yale.
Behind almost every paint
er today specializing in a sin
gle shape, varying the colors
from work to work, looms the
cheerful form of Josef AL
berS who has been squaring
art with optics for decades.
The significant differences
are that Albers does not take
himself as seriously as his
imitatorS take themselves and
that he follows a fairly rigid
program of exploration.
The Phillips Collection has
just opened an exhibition of
20 paintings by Josef Albers.
OF these II are of his HON.
age to the Square" series.
The other three are slightly
more complex geometrical
constructions called "Fa-
cades" and looking vaguely
like Georgia O'Keeffe adobe
houses.
Square
The square paintings are
simple. They are square.
Within a white border Of
half an inch are painted
three or four squares, one
within another and all just
off center toward the bot
tom. The trick is to select
a new and effective combina-
ton of three or four colors.
These are applied with per-
feet flatness and so modest
is the painter that the back
of each composition board
composition contains the COL
or formula for use by any,
one vino wishes.
Within this narrow field,
the artist achieves some spec
tacular effects and he is
hardly to be held responsible
for his imitators in circles
and stripes. Blues dazzle on
Evening star. [volume] (Washington, D.C.) 1854-1972, 1962-02-04

This is nothing less than
malicious defamation. Except
for five paintings sold from
my personal collection to or
through dealers-everyone of
which had been in my possess
sion for at least seven years,
and none of which was by
Louis or holland - I have
never sold a work of art or
shared in the proceeds from
the sale of one. I have never,
either directly or indirectly,
received money from or
through an artist. Nor have I
ever represented or acted for
an artist. either directly or
indirectly, or entered into a
formal or informal agreement
or arrangement with one.
This covers the fact that
I have never been a picture
dealer and have never rep
resented Morris Louis or
Kenneth holland. 1t also COW
erS the fact that I have never,
directly or indirectly, received
a penny from either Morris
Louis or Kenneth holland, or
from or for their work. And
I have never entered into
any kind of agreement or
understanding with either
artist by which / shall ever
receive a penny, directly or
indirectly. from or for him
or his work"
The statement that Mr..
Greenberg has been a picture
dealer and that he has ever
represented the artists in
question was erroneous. The
Star regrets any implication
that his judgment of the
qualities of the work of these
artists had an interested mo-
tive behind it.
Evening star. [volume] (Washington, D.C.) 1854-1972, 1962-02-04
Pan American Union

One of the stock responses
to modern art for at least
40 years now has been: That's
great linoleum but it amt
art. For "linoleum" you can
also read "drapery" or car
peting." Oddly enough, this
presumably vulgar response
has had its way. 1t began
responding thus to Mondrian
and sure enough, before long
Mondrian found his geomet-
rical paintings transformed
into lineoleum and even into
the gay facades of new apart
ment buildings.
Art and Artifact
This curious relationship
between art and artifa ! may
now be studied at the Pan
American Union, which has
just opened an exhibition of
Evening star. [volume] (Washington, D.C.) 1854-1972, 1962-02-04

red, yellows on browns, greens
on grayS. AS the song says,
there isn't much to it, but
what there is is extremely
effective.
The theory of Albers
sounds at times like the the
ory OF Seurat. He, too, was
concerned with optics and the
sharp juxtaposition of colors.
The difference here is that
Seurat got distracted into
art. Albers has been faithful
to his limited aims,
Evening star. [volume] (Washington, D.C.) 1854-1972, 1962-02-04

to do with man rather than
with parties. 1t is this es-
sence of the poem that Rico
Lebrun has translated so WV
idly into deep black ink
washes pierced by flashes of
white paper.
The ultimate horror in
Dante is not that of later
hells in either literature or
art. Bosch, for example, Gre
ates a fascinating and gro
tesque world of invention in
his various treatments of the
theme; finally, however,
it does not horrify; it may
even amuSe. Horror in the
Inferno comes not from the
ingenuity of the torture pre-
scribed for the various kinds
Of sinner; it comes rather
from the bleak realization,
which we meet again and
again, that the sinner Gre
ates his own punishment in
the very act of SHINING and
that, invariably, the punish
ment takes the form of a
changed and lessened person,
the sinner himself.
The fundamental truth
does not depend on your &C
ceptance of Dante's late me-
dieval theology, The theology
is simply one. fully developed
explanation of the truth. The
truth is made visible by hu-
man observation, of oneself
or of others. The punishment
always does fit the crime be-
cause the punishment, ulti-
mately, is the crime itself and
its effect on the criminal.
This final horror of the hu-
man condition is the real
theme of Dante's Inferno. No
English translation to date
has so compellingly conveyed
this horror as the drawings
OF Rico Lebrun at the Obe-
liSk
Evening star. [volume] (Washington, D.C.) 1854-1972, 1962-02-04

given symbolic form; if by
neither of these, then dis
cipline comes from abstract
considerations, such as the
relations between colors and
shapes in space.
In other words, each of
the prints is an object, some
thing made by the printmak-
er; it is not part of the
printmaker, arbitrarily cut
out of his constant, self-ab-
sorbed activity. With this
latter spirit dominant in
American painting and oc-
casionally creeping into our
prints as we'll, it is a pleas
ure to spend some time with
the traditional objectivity Of
Western art.
Black and White
There are two sequences
within the show. One con-
SiStS of prints by various
hands, including Max Ernst,
Jean Arp and Malta, for the
limited edition book of the
Far West by Gherasim Luca.
Much more powerful as indi-
vldual prints and much more
effective as parts of a Sc
quence are the four large
black and white prints from
Georges Rouault's Mise
rere." This work becomes
more effective year by year.
Increasingly it seems to sum
up a vital part of the ex-
perience of our time.
There is a superb and fun
ny Malta Pianist" and a
Campigli Cathedral" tn a t
seems like a cabinet of draw
erS, each open, each occu-
pied. The classical, European
approach to experimentation
achieves a whimsical monu-
mentality in Johnny Fried
laender's studies of cats and
becomes totally absorbed by
traditional ends in Hans
Ennis rhythmical flow of two
reclining nudes against a
cosmos of Splatter and drip.
Evening star. [volume] (Washington, D.C.) 1854-1972, 1962-02-04

rugs created by Washington
craftSwoman Gloria Finn
from designs by Is abstract
artists of the United States
and Latin America.
The actual designs them
selves-there are a few on
view-look pale and wan by
comparison with the finished
product, but this is as it
should be. The hooked rugs,
made by Mrs. Finn or under
her supervision at Sermo-
meta, Italy, completely over
Whelm the sketches which
were their points of depar-
ture. Yet the departure is not
extreme. In each case the
design is very faithfully fol-
lowed.
The differences come from
elements intrinsic to the
process. The sketches are
small; the rugs are bright
with dyed wool and rich in
texture of the same. The de-
sign by Carlos Merida, of
Guatemala, for example,
looks almost like colored
doodling. Enlarged and en-
rugged, however, it becomes
a vital force, a combination
of Surrealism and pre-Co-
lumbar motifs of snake men.
Outstanding in the show
are rugs from designs by
Washington'S Jose Bermudez,
which suggest a giant fish
swimming past the window
of a tank, and by Cuba'S
Luis Martinez Pedro, whose
cool, hard-edge distractions
seem made for this render
ing.
From the show it is posi-
BILE to conclude that much
abstraction is better as rugs
than it is as painting; or
chat great art can survive
translation; or that tradi-
tional crafts profit from the
touch of modern art. All are
true. 1t is also true that Mrs.
Finn deserves the admira-
ton of the community for
an audacious and beautifully
carried through plan of &C
ton in the arts.
Evening star. [volume] (Washington, D.C.) 1854-1972, 1962-02-04
ART AND ARTISTS
Past Master in the Art of Horror,
Lebrun B|oodcurd|ing at Obe|isk
BY FRANK GETLEIN
Star Art Critic

We like to think that of the present have something
OF monopoly in horror pushed to the ultimate We
Der, with paronzng smile the ghost stories of the 18th
century the Gothic novels of the 18TH Then recall to
selves own times contribution the field
shma Nagasak death by the numbers at Buchenwad the
restoration OF order at Budapest Surely conclude nobody
had it so bad.
Alas for dreams of perverted glory The truth that
has always done the best he could with what he had at
Evening star. [volume] (Washington, D.C.) 1854-1972, 1962-02-04

IldIlu W lldke lie d IlOTTOT.
And one tale of horror, writ
ten six and a half centuries
ago, has yet to be surpassed.
That tale is the In
ferno," the first part of Dan
tie Alighieri's "Commedia,"
afterward called Divine. One
Of Americas g'r test
draughtsmen, Rico Lebrun,
-, has devoted some years to
illustrations for the Inferno.
Many of these are now on
exhibition at the Obelisk Gal
: lery. If you have the heart to
look at things as they are,
you ought to go and see the
show.
A few artists of this CEN
fury, and more often
draughtSmen or printmen
than painters or sculptors,
have devoted time and effort
to the articulation Of a
. theme through many parts.
Kaethe KollwitZ and Georges
Rouault are prominent
among them. So is Rico Lee
brun.
The Crucifixion
The Neopolitan born art
list, long resident in Calitor-
MIA, has done this several
times. A few years ago paint
ings or drawings of his on
the general theme of Buch-
enWald and Dachau were
turning up in national exhi-
billions. Earlier still, a num-
Der of American museums
acquired what might be called
fragments of a Crucifixion,
great dark paintings of GER
tain details from that tradi-
tional scene: The Centurion;
the overwhelmed Virgin held
by St. John; the execution
err hammering away at his
work; the cock Growing from
the arm of the cross. Then
the artist pulled all these
things together in what must
be the outstanding work on
this theme in this time. Rico
Lebrun's complete "Crucifix-
ion" is a monumental work,
now the property of SYRIA
cuse IN. " University, the
gift of a Washington area
collector.
What the artist achieved in
his Crucifixion, he achieves
again in the drawings for
the Inferno. The whole is
greater than the sum of its
parts; and each Of its parts
is somehow invested with the
power of the whole. This is
true although here there is
not, nor is there likely to be,
a single monumental work
incorporating the individual
details Of the Inferno draw
ings. This unity was, of
course, provided originally by
Dante. It has been brilliant
ly translated into the draw
ings. 1t is experienced again
by the spectator going from
view to view of the region
of the damned.
Dante was once studied in
the light of the extremely
complicated Florentine poll
tics of his day. Guelph and
Ghibbeline struggles were
thought to explain the poet
and, contrarywise, the Infer
no and the Purgatorio added
footnotes to political history.
This is doubtless still true,
but the approach misses the
point of the poem which has
Evening star. [volume] (Washington, D.C.) 1854-1972, 1962-02-04
PERMANENT COLLECTION

CORCoRAN GALLERY OF ART, Seven
tenth street and New York avenue
NV. Daily, 10 am. to 4:30 pm;
Saturday. 8 am. to 400 pm; Sun
day and holidays, . to pm; closed
Monday.
DUMBARTON OAKS RESEARCH IL
BRARY AND COLLECTION, 1903
Thirty-second street NV. Daily. .
to 8 pm; closed Monday. Closed
Indefinitely.
FREER GALLERY OF ART, Twelfth
street south Of Constitution avenue.
Daily, 9 am. to 4:30 pm.
NATIONAL COLLECTION OF FINE
ARTS. Constitution avenue at Tenth
street NV. Daily, 8 am. to 4 80
pm.
NATIONAL GALLERY OF ART, Con-
Stitution 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
6 pm; Monday, II am. to 10 pm;
Sunday, 2 to z pm.
Evening star. [volume] (Washington, D.C.) 1854-1972, 1962-02-04
4 BELIEVE

! believe thot q businessmon's
profit depends on the confidence
Of his customers. Thot is why Gus
toner confidence is the most i'm
portont single asset we hove at
Cronson RombIer and we corn this
confidence by always treating our
customers right" OF Cronson ROM
bier in Bethesda, Maryland.
AL CRANSON, President
Evening star. [volume] (Washington, D.C.) 1854-1972, 1962-02-04
Other AM Stations

WINx-16oo Kc.-74-hour operation.
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Monday midnight to 6 an. Tuesday.
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Evening star. [volume] (Washington, D.C.) 1854-1972, 1962-02-04
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Evening star. [volume] (Washington, D.C.) 1854-1972, 1962-02-04
ADVERTISEMENT.
AUTHORS WANTED
BY NY. PUBLISHER

Leading book publisher seeks manu-
scripts Of all types: fiction. non fiction
poetry scholarly and religious works
etc New authors welcomed Send for
free booklet VS., Vantage Press, 1910
Vermont Ave. NV. Wash, D. C
MAIN office: N. "
Evening star. [volume] (Washington, D.C.) 1854-1972, 1962-02-04
ADVERTISEMENT,
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Evening star. [volume] (Washington, D.C.) 1854-1972, 1962-02-04

and eczema with an amazing new scientific
formula called LANACANE. This fast acting
medicated creme kills harmful bacteria germs
while it soothes raw, irritated and infamed
tissue. Stops seratching-so speeds healing.
Don I suffer Get LANACANE at druggists.
Evening star. [volume] (Washington, D.C.) 1854-1972, 1962-10-24

ties TO discuss the issue Of dol in danger whenever there
nestle communism he had foreign crisis and that
raised early in the campaign why California needs Cover
He told the viewers that administration that
terna sbverion always grew know how to fight
Evening star. [volume] (Washington, D.C.) 1854-1972, 1962-10-24

Curious about what makes fine watch tick?
Intrigued by the ingenuity of mans historic efforts
to keep track of time? Thinking about Christmas
watch gifts? Interested in the difference between.
a superlative timepiece and non-ieweled watch?
Get all the answers at Chas. Schwartz & Son
during our Cavalcade of Time Exhibit
See these fascinating exhibits:
Replicas OF Ancient Timekeeping Devices:
Sundial hourglass, tallow clock oil lamp clock and
the first pendulum. (Galileo discovered the prin-
ciple.)
Exhibit of antique watches by the Washington
Chapter of the National Association of Clock and
Watch Collectors.
A model of the incredibly precise Swiss Quartz
Clock, accurate to less than l/1OOO of a second
day.
A collection of historic watches from Patek
Philippe and Rolex including watch of Gar
Evening star. [volume] (Washington, D.C.) 1854-1972, 1962-10-24

WHOSE FAULT? On the
final day of this years Con-
Evening star. [volume] (Washington, D.C.) 1854-1972, 1962-10-24
Fifth Trial
Begins in
Killing Case

Willie Lee Stewart returned
to the familiar surroundings Of
District Court yesterday to be-
gin his fifth trial for the 1858
murder Of Harry Honikman, a
washington grocery store OPP
orator.
Stewart has been convicted
Of the robbery-slaying in three
Of his four previous trials. Each
conviction was reversed by ap-
pellate court either because o.
erroneous jury instructions or
insanity or improper statement
to the jury by the prosecution
His fourth trial last May
ended with the jury unable to
reach a verdict.
In his opening statement to
the jury, defense lawyer Charles
B. Murray described a pattern
Of mental behavior which he
c contend demonstrates that
Stewart was not responsible for
his act.
He said the defense admits
the act, but I'VE deny RESPONSE
bility."
Assistant United States At
torney Alfred Hartman said
the Government would show
that Mr.. Honikman was shot
at his store with a gun which
Stewart had obtained at his
brother -in-law's home.
The trial resumes this morn
ing before Judge Alexander
Holtzoff.
Evening star. [volume] (Washington, D.C.) 1854-1972, 1962-10-24
BY JOSEPH YOUNG
Star Staff Writer

y One Of the biggest Govern
1nent employe unions will send
the officers of its various 10
cals to school to master the
art of abor-management rela-
tons under the Government S
new labor relations program.
The union is the AFL-CIO
United Federation Of Postal
Clerks, one of the two biggest
unions in the Government serv-
fee, with a membership of near
" 10000.
Roy Hallbeck, president of
$he UFPC and chairman of the
AFL CLIO Government EN-
ployes Council, says that the
Governments new labor-man-
agement program giving Off
cial bargaining rights to postal
and Federal employe unions sis
O two-way street"
Postal and other Govern
tnent employe unions have the
same degree Of responsibility
IN seeing that this new program
works as management has," Mr..
Hallbeck said.
> 1.-THE unions can't expect all
the benefits from official bar
gaining procedures and at the
Same time not cooperate in
seeing that the overall result
As good not only for its mem
hers but for the Government
and the American public as
well" he added.
= The most positive contribu-
lion that Government unions
can make in assuring the sue
cess of the labor-management
program is to train its various
local officers throughout the
country in the art of labor
management relations, Mr..
Hallbeck believes.
otherwise there will be end
less delays and chaotic disputes
that could be speedily and
equitably settled otherwise, if
Evening star. [volume] (Washington, D.C.) 1854-1972, 1962-10-24

pledge him our help in what
ever way we can be Of help
$50 far as Cuba and Soviet
Russia are concerned, in the
weeks ahead we cannot be par
tisans. But q united America
need not and should not de-
generate into a conformist, a
silenced America. In our in
ternal affairs, unity should not
become an excuse for compliant
submission by Republicans or
a shield against our valid criti-
cisn Of Democrats
Moreover, our civic duty i'm
pels us to express our honest
convictions, in this campaign
about the complexion Of the
next Congress; about the quail
ity Of leadership we want In
State governments and in oul
home counties and commune
ties.
1.-THE Republic Of the United
States - the Oldest constitu'
tional government among thu
major nations Of the world
has survived war and the peri
of war because the American
people through their elected
Representatives in the Congress
have always been free to ad-
wise and counsel-even to re-
buke and Wharf.-The Executive.
Therein lies the funda-
mental strength Of our system.
Never has catastrophe nor
emergency justified reduction
of the people to a regimented
herd or of their representatives
to blind acceptance of decree
and announcement by Govern
ment."
Evening star. [volume] (Washington, D.C.) 1854-1972, 1962-10-24
BY DAVID 8. BRODER
Star Staff Writer

LOS ANGELES, Oct. "a
California politicians, like
those in other States, are try
ing today to assess the impact
Of the Cuban crisis on the cam
paign.
They agreed that the forced
cancellation Of President Ken
nedy's scheduled stumping for
Gov. Edmund G. (Pat) Brown
and others on the ticket was
| a blow to Democratic prospects.
But they differed on wheth-
er local Democratic candidates
would benefit from the ten
dency Of the people to rally
round the President and his
cause in an hour Of national
crisis.
Stunning Setback
The loss of the Kennedy
presence, though accepted as
inevitable by local Democratic
chieftains, nonetheless Is q
stunning setback to their cam
paign strategy.
Mr.. Kennedy had held off his
big push in this vital State
until the last possible moment
before election, hoping to give
the undramatic Brown cam
paign against Richard M.
Nixon q badly needed shot in
the arm.
Motorcade schedules had
been laid out that would expost
the President, Gov. Brown and
other Democratic aspirants to
about Is million voters in the
San Diego, Los Angeles and bay
area of San Francisco and
Oakland.
Nothing has been substituted
for the Kennedy visit. Instead,
Gov. Brown will spend the time
on Handwriting tours Of the
usual sort, where the crowds
will probably be one-hundredth
of what he otherwise might
have had.
Reactions Vary
There were variations in the
Democrats reaction to the
news the President was not
coming. One official said.
We're disappointed, but it's
not going to cripple U.s."
Another commented, 1.-THE
campaign has become so boring
to people it's painful. The Ken
nedy visit was the only new