reached by Kissinger on a
trip to Peking in February.

Bruce, 75, has served as

will lift a 0.3 per cent tariff
on imported beef in an ef-
fort to force down soaring

involved and the annu-
ments were expected short-
ly.

$120,000 for O'Keeffe painting

NEW YORK (UPI) — A
painting by 84-year-old
Georgia O'Keeffe sold last
night for $120,000, setting a
world record auction price
for a work by a living
American artist.

An unidentified Florida
collector was the
successful bidder for Miss
O'Keeffe's giant flower
study, "Poppies", painted in
1950 at the artist's home in
Abiquiu, N.M.

One of 89

The painting was one of
89 sold at Sotheby Parke
Bernet Galleries at the first
session of a two-part sale of
the collection of late New

York dealer Edith Halpert.

The first session brought
$3.1 million, about $600,000
more than gallery experts
had estimated.

A world record auction
price also was set for an
American sculpture —
$130,000 for Elie
Nadelman's wood
sculpture, "Tango". It was
bought by the Dannenberg
Gallery of New York.

Japanese Active

Japanese collectors and
dealers, a new force in the
American art market,
bought heavily.

An unidentified Japanese
bidder bought Kuniyoshi's
"Circus Girl" for $160,000.

Georgia O'Keeffe

ng new!

ers of The Tribune —
ays.

M.D., will join the im-
columnists featured in

dely read medical col-
column that gives an-
at concern to readers.

Lamb's column both
e. It will start March
y through Friday, in

e Tribune

ant Newspaper

Sego blasts governor

JUMBLE®

-that scrambled word game
BY HENRI ARNOLD and BOB LEE

Unscramble these six Jumbles,
one letter to each square,
to form six ordinary words.

WHAT THE THIEF GOT

Now arrange the circled letters
to form the surprise answer, as
suggested by the above cartoon.

Print the SURPRISE
ANSWER here

(Answers appear on Page 50)

Courtesy Inland Steel Company

The Shelton with Sunspots

447 ART

None of this is important to the Sun Prairie, Wis., girl who was studying with John Vanderpoel at the Art Institute at the turn of the century and went on to become both client and wife of the photographer and gallery operator, Alfred Stieglitz, in the avant-garde New York City art world of the teens and '20s. As she said at the time of that first Chicago exhibit: "I couldn't live where I wanted to. I couldn't even say what I wanted to. But I decided early that I was a very stupid fool not to at least paint as I want to." And she has.

TWELVE MONTHS

What the thief got? -

HEARTH WIDEST CELERY
AVENUE DOMINO TAUGHT

JUMBLE
ANSWER

(JUMBLE appears on Page 50)

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To do this he used a pain reliever that's easy on your stomach, a decongestant that helps drain your sinus cavities and an antihistamine.

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50

Why
Miami Beach
is changing:

For decades we've had a great thing going. With sunshine, warm sand and a hundred things to do a day.

But now Miami Beach is changing. For one reason. Because people are changing.

There's a new breed who don't remember Sophie Tucker. Tuned into new sounds, new lifestyles, new clothes, new values.

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With titanic discotheques to turn on every rock generation from bubblegum to underground. Even one with a plastic mountain to climb. Because the fox trot doesn't let much soul hang out.

With scores of great restaurants and clubs where you'll feel just as comfortable in bells and Blass as the old grey bib and tucker.

There's still a lot of the Miami Beach that always was. For our longtime friends who like it that way.

There's still the excitement of the great horses and greyhounds racing and jai alai and Broadway/South theatre and the big revues.

But this year begins the new Miami Beach. With a lifestyle all its own that's somewhere between New York's campiest First Avenue boite and the great joy of old Havana.

Try on the new Miami Beach. It fits.

**The New Miami Beach**

January 10, 1971

49

O'Keeffe
honored

BRYN MAWR, Pa—
Hannah Arendt, the political
philosopher, and Georgia
O'Keeffe, the American artist,
will recive the M. Carey
Thomas Award, one of the
most prestigious awards in the
nation, at Bryn Mawr College
Thursday evening.
evening.

The award carries a stipend
of $5,000 for each recipient. It
was established in 1922 by the
Alumnae Association of Bryn
Mawr in honor of M. Carey
Thomas, the college's first
dean and later president, and
is given at unspecified inter-
vals to American women in
recognition of eminent
achievement.

This is the first time the
award has been given to an
artist and a philosopher.
Former recipients have been
largely in the fields of educa-
tion, public affairs and litera-
ture, including Jane Addams,
Eleanor Roosevelt, Anna Lord
Strauss, Marianne Moore and
Eudor Welty. It was also
given to Katharine E.
McBride, president emeritus
of Bryn Mawr upon the
anniversary of her 25 years in
office.

Miss O'Keeffe's work was
shown recently in the United
States in three major museum
retrospectives at the Whitney
Museum of Art in New York,
the Art Institute of Chicago
and the San Francisco
Museum of Art. In 1970 she
received the National Institute
of Arts and Letters gold medal
for painting.

The artist makes her home
in Abiquiu, N.M.

PAGE 31

# Art

## Flowers, Bones and the Blue

By Alfred Frankenstein

THE painters of Alfred Stieglitz's circle were not the only pioneers of modern art in America, but they were the prime movers of the modern direction in this country when it started. Try to think of the development of American painting in our century without John Marin, Arthur Dove, Marsden Hartley, Charles Demuth, and Georgia O'Keeffe. It is an unimaginable deprivation. And yet it has taken far too long for these artists to be seen in rightful perspective.

Their role in preparing the way for the modernists of the Fifties has been generally ignored, and a careful critic like Irving Santler can bring out a book like his recent "Triumph of American Painting" wherein all the earlier American modernists are overlooked and Arshile Gorky is credited with being "the first American to paint pictures that did not look like provincial adaptations of European styles." Still and all, we did have the big Marin show here last fall, a big Demuth show will be here in November, and Hartley had his innings not too long ago at USC. Comes now the largest and most inclusive of retrospective exhibitions for Georgia O'Keeffe, opening Thursday at the San Francisco Museum of Art.

### A Different Fate

MISS O'Keeffe has had a different fate from the other American painters whom her husband, Stieglitz, placed before the public in his various New York galleries. She not only pioneered modern art in America but survived it. The Gorkys and the Pollocks and the Klines arose when she was in mid-career, and she is still going strong long after their deaths. At 83, she remains one of the most prolific and dynamic forces in American art.

She is closer to Dove than to any of the other painters of the Stieglitz group. Like Dove, but to an even greater and more remarkable extent, she turns — and for 50 years has habitually turned — from realism to abstraction without the slightest change in

style. Underlying both her realism and her abstraction is something that dictates both: a feeling for nature in terms of what Bernard Shaw called the life force and Henri Bergson the *elan vital*.

This can be carried back to Thomas Cole and the Hudson River painters of the 1830s, in whom there is an inspired, mystical feeling about the powers of na-

ture which arose from the fact that, unlike European landscapists, they were not seeking new light on familiar scenes but were exploring an immense new wilderness which no man had previously attempted to encompass. But there is a difference between a Cole and a Durand on the one hand and a Dove and an O'Keeffe on the other. Those old boys saw God

behind the powers of nature.

Dove and O'Keeffe see the powers of nature behind God. This is not a mere play on words. Go take a look at one of O'Keeffe's cow-skulls, nailed to a cross like the body of Christ on an altar, and you will see at once what I mean.

It is not surprising that all this started, so

far as O'Keeffe is concerned, in the panhandle of Texas. She had been born in Wisconsin, had been brought up in Virginia, and had studied in New York, but it was the plains around Amarillo, where she taught for four years, that cured her of her education and started her on her way. "This is the only place that I really be-

See Page 32

GEORGIA O'KEEFFE: 'DEER'S SKULL WITH PEDERNAL'

This World, Sunday, March 14, 1971

PAGE 32

# Georgia O'Keeffe's World of Space

*Continued from Page 31*

longed, that I really felt at
home." she wrote in 1919.
"This is my country — ter-
rible winds and wonderful
emptiness."

Now, and for many years
past, Miss O'Keeffe has

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lived in the not dissimilar
desert country of New
Mexico, where the life
force manifests itself in
somewhat more varied and
colorful fashion than in the
Texas Panhandle. Many of
her generation felt the pull
of the Southwest. Marin
and Hartley both did some
of their finest work there,
D. H. Lawrence was in the
neighborhood, and a whole
society of creative people
whose history has never
been properly told took the
place of the Stieglitz circle
for its brief moment quite
literally in the sun. But
none of the painters ever
approached the world of
New Mexico with the pow-
er and perception that Miss
O'Keeffe has brought to it.
This, however, gets us a
 ahead of the story.

## In the Sun

Love of the life force is
likely to express itself in
procreative terms, and it is
difficult not to see Miss
O'Keeffe's immensely mag-
nified, wide-open flowers
as an expression of that
kind. This, of course, is the
great O'Keeffian cliche: in
itself it is an overworked
subject, but I bring it up in
order to cite the artist's
own Gertrude Stein-like re-
marks about it as quoted
by Lloyd Goodrich in his
introduction to the superb
catalogue of the current
show.

"A flower is relatively
small. Everyone has many
associations with a flower
— the idea of flowers. You
can put out your hand to
touch the flower — lean
forward to smell it — may-
be touch it with your lips
almost without thinking —
or give it to someone to
please them. Still — in a
way — nobody sees a flow-
er — really — it is so small
— we haven't time — and
to see takes time like to
have a friend takes time. If
I could paint the flower ex-
actly as I see it no one
would see what I see be-
cause I would paint it
small like the flower is
small. So, I said to myself
— I'll paint what I see —
what the flower is to me
but I'll paint it big and
they will be surprised into
taking time to look at it—
I will make even busy New
Yorkers take time to see
what I see of flowers."

A short time later she
added, "Well — I made
you take time to look at
what I saw and when you
took time to really notice
my flower you hung all
your own associations with
flowers on my flower and
you write about my flower
as if I think and see what
you think and see of the
flower — and I don't."

THE FLOWERS are one
chapter of O'Keeffe.
Another chapter is her pre-

O'Keeffe 'THE WHITE TRUMPET FLOWER'

cisionistic studies of New
York skyscrapers, done in
the Twenties when the
"proud and soaring" build-
ings, as Louis Sullivan
called them, were trans-
forming the metropolitan
scene in America and art-
ists as diverse as Marin
and the composer, Edgar
Varese, were responding
with appropriate excite-
ment.

O'Keeffe's skyscrapers
are not temperamentally
distorted like those of Ma-
rin; they are a little closer
to those of Charles Sheeler,
but she is closest to Sheeler
in her studies of gleaming
white old barns, which set
forth another phase of her
fascination with the *elan
vital*. Sheeler himself
celebrated rural America
long before he discovered
machinery, industry, or the
urban scene.

## Things of the Past

The flowers, it would ap-
pear, are things of the past
for Georgia O'Keeffe. So
are skyscrapers and old
barns. When she went to
New Mexico in the Thirties
she found herself fascinat-
ed with the horned skulls
and the perforated pelvic
bones of dead animals
which one finds in profu-
sion on the desert, and
these objects — resistant to
the flux of the life cycle
and therefore especially
telling as symbols of it —
have been persistent
themes of her work ever
since. She has discussed
this aspect of her achieve-
ment as follows:

"I have picked flowers
where I found them—

"Have picked up sea
shells and rocks and pieces
of wood where there were
sea shells and rocks and

pieces of wood that I
liked—

"When I found the beau-
tiful white bones on the
desert I picked them up
and took them home too—

"I have used these things
to say what is to me the
wideness and wonder of the
world as I live in it—"

"A pelvis bone has al-
ways been useful to any
animal that has it — quite
as useful as a head I sup-
pose. For years in the
country the pelvis bones
lay about the house indoors
and out — always under-
foot — seen and not seen
as such things can be —
seen in many different

ways. I do not remember
picking up the first one but
I remember from when I
first noticed them always
knowing I would one day
be painting them. A partic-
ularly beautiful one that I
found on the mountain
where I went fishing this
summer started me work-
ing on them—

"I was the sort of child
that ate around the raisin
on the cookie and ate
around the hole in the
doughnut saving either the
raisin or the hole for the
last and best—

"So probably — not hav-
ing changed much — when
I started painting the pel-
vis bones I was most inter-
ested in the holes in the
bones — what I saw

through them — particu-
larly the Blue from holding
them up in the sun against
the sky as one is apt to do
when one seems to have
more sky than earth in
one's world —

"They were most won-
derful against the Blue —
that Blue that will always
be there as it is now after
all man's destruction is fin-
ished—

"I have tried to paint the
Bones and the Blue."

"More sky than earth in
one's world." This is really
the clue to what people
have been calling
O'Keeffe's abstraction. The
desert sky reveals all man-
ner of dimensions —
fourth, fifth, sixth; you can
go as far as you like. And
in the art of Georgia
O'Keeffe the polar opposites
are not realism versus ab-
straction but the naturalis-
tic versus the imaginative
use of space. She is by no
means averse to the natur-
alistic rendering, but her
rivers and clouds, her ter-
restrial and sublunar
swirls, and her less readily
identifiable forms tell us
that there are more
perspectives than the spirit
than there are to the eye.
"From the Faraway Near-
by" is one of the most sig-
nificant of her titles.

In recent years Miss
O'Keeffe has been taking
to the air quite literally.
She has been traveling,
and the new world of space
revealed by flight has fur-
ther enriched her vocabu-
lary of space. This is most
dramatically shown in an
immense, mural-sized can-
vas which takes us serene-
ly over stylized clouds to
infinite distance. Herewith
we plead that they bring
her along on the next Apol-
lo mission to the moon.

S. F. Sunday Examiner & Chronicle

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you want to

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# GIVE ME BACK MY RAGS

by Vasko Popa

*Translated From Serbo-Croat by Anne Pennington*

Just come to my mind
And my thoughts will scratch out your face

Just come into my sight
And my eyes will start snarling at you

Just open your mouth
And my silence will smash your jaws

Just remind me of you
And my remembering will paw up the ground under your feet

That's what it's come to between us

## 1.

Give me back my rags

My rags of pure dreaming
Of silken smiling of striped foreboding
Of my cloth of lace

My rags of spotted hope
Of burnished desire of mottled glances
Of skin from my face

Give me back my rags
Give me when I ask you nicely

## 2.

Listen you monster
Take off that white scarf
We know each other

Since we were so high
Guzzled from the same bowl

Slept in the same bed
With you evil-eyed knife

Roamed the crooked world
With you snake in the grass

Do you hear dissembler
Take off that white scarf
Why lie to each other

## 3.

I won't take you a pick-a-back
I won't carry you wherever you say

I won't not even shod with gold
Nor harnessed to the wind's three-wheeled chariot
Nor bridled with the rainbow's bridle

Don't try to buy me

I won't not even with my feet in my pocket
Nor threaded through a needle nor tied in a knot
Nor reduced to a simple rod

Don't try to scare me

118

©1971, THE JOS. GARNEAU CO., NEW YORK, N.Y.

## In 1777, Washington and Lafayette may well have planned strategies over a glass of Martell.

Autumn was drawing near; so, too,
was the battle of Brandywine.

The Commander-in-Chief of
the Continental Army would
discuss battle tactics with his new
Major-General.

In turn, the young Frenchman

may indeed have introduced fine
cognac from the House of Martell
to the man who was to become
his lifelong friend.

For even then, men of
distinction knew that making fine
cognac, to the Martell family,

was more an art than a business.

It still is.

Which is probably the reason
Martell cognacs are the
largest-selling in the world.

Martell. Taste history.

SINCE 1715

MOUNT
HOLYOKE

"... Far from being outmoded, a women's college is needed today perhaps more than ever before. The society in which we live does indeed make inappropriate distinctions on the basis of sex, and it takes special efforts to counteract them. Our task is to reexamine the overall program of the College—social as well as academic—and to determine, with feminine concerns in mind, how it may be strengthened. ..."

Joan E. Ciruti
Dean of Studies

WINTER 1972

ALUMNAE
QUARTERLY

Notable people from the world of art and architecture, and several hundred alumnae, students, faculty, and friends, gathered on campus on Founder's Day weekend, November 5, 6, and 7, to attend an art conference and the dedication of the College's new art building.

The conference program included three panel discussions, the first of which was "Women Artists in the Contemporary Scene." Its participants were: Lucy Lipard, art critic; Louise Bourgeois, sculptor; Natalie Kampen, instructor of art at the University of Rhode Island; Patsy Norvell, sculptor; Adrian Piper, painter; and Marcia Tucker, associate curator at the Whitney Museum of American Art.

The second panel considered "Art History Today." For it, Peter Murray, Visiting Professor of Art on the Amy M. Sacker Memorial Lectureship at Mount Holyoke and Professor of Art at Birkbeck College, University of London, was joined by Phyllis Williams Lehmann, the Jessie Wells Post Professor of Art at Smith College and Advisory Director of the Archaeological Research Fund, Excavation in Samothrace, New York University, and Phoebe Baroody Stanton, William R. Kenan, Jr. Professor of Art and Chairman of the Department of Art History at Johns Hopkins University.

The third panel, "The Museum Today," had as its participants: John R. Spencer, Director of the Allen Memorial Art Museum at Oberlin College; James Elliott, Director of the Wadsworth Atheneum in Hartford; Ada Louise Huxtable, architecture critic for *The New York Times*; Charles Parkhurst, Assistant Director of the National Gallery of Art in Washington, D. C.; and Joshua C. Taylor, Director of the National Collection of Fine Arts, Washington, D. C.

Speakers at the formal dedication of the art building were President David B. Truman; John L. Cooper, chairman of the board of trustees; Hugh Stubbins, architect for the new building; and Richard S. Zeisler, chairman of the Art Advisory Committee.

Jean Sutherland Boggs, Director of The National Gallery of Canada, spoke at the Founder's Day ceremony held in Abbey Memorial Chapel. On this occasion President Truman awarded honorary degrees to Miss Boggs, Mrs. Huxtable, Mrs. Lehmann, Mrs. Stanton, and to painter Georgia O'Keeffe. ■

art
building
dedication

november 5-7, 1971

213

NEW LIFE FOR FINE OBJECTS

by

Dorothy M. Cogswell

■ The richness, aesthetic beauty, and historical value of Mount Holyoke's art collection come as something of a revelation to all who have visited the new museum. Alumnae and friends attending the dedication of the building were impressed by the four large, dramatically lighted galleries for permanent displays. Surprisingly, three of these galleries could not have been anticipated in their present wealth of acquisitions twenty or even ten years ago. Originally Mount Holyoke's art department emphasized the study of ancient art and was primarily known for its classical collection. Now it is distinguished for the Caroline R. Hill Medieval and Renaissance Gallery, the Norah McCarter Warbeke Gallery of Asian Art and the Rodney L. White Print Room. The entrance foyer brilliantly reflects the contemporary art world with huge abstract canvases of Paul Jenkins and Edward Avedesian plus the more feminine prints of Helen Frankenthaler, all very recent gifts from the William S. Rubin Foundation. (Mr. Rubin is the curator of painting at the Museum of Modern Art in New York and the husband of Beryl Sharrar '56.)

From the foyer one steps into the large John and Norah Warbeke Gallery where there is an open vista at one side out to the sculpture garden. For the inaugural installation of the collection, the long gallery was divided into intimate smaller areas, in a time-space sequence, reflecting the historical background of the department.

Mount Holyoke's art museum had its beginning in old Williston Hall where an art gallery and classrooms occupied the third floor. For the opening ceremony in 1876, the wives of two trustees made the initial gift of a large Albert Bierstadt landscape painting "Hetch

Hetchie Canyon." For years the brilliant light and realistic detail of this canvas made it a favorite with all visitors to Williston and later Dwight Art Memorial, but, alas, styles in art change and after fifty years our first masterpiece became old fashioned in the eyes of many observers. Re-evaluation to its former status came in 1950 when it was featured at the Chicago Art Institute. This coming summer it is to be shown at the National Collection of Fine Arts in Washington.

The effect of a charming 19th-century room has been created with the Bierstadt, an Inness landscape, two choice Harnett still lifes, a Rogers group "Coming to the Parson" and New England furniture including a "Hadley" chest. Of especial historical interest are the two Joseph Goodhue Chandler portraits of our first major donors, John and Nancy Everett Dwight with their first-born Malatiah, painted in 1842 and given to the College in 1969 by the legatees of Mrs. Katharine Dwight Berry '04 who in 1912 suggested that the Dwight family endow the Dwight Art Memorial with a purchase fund of $12,000. By today's standards this fund is very small, but its interest has realized a substantial sum for the purchase of over 700 objects with a value in today's art prices of between $100,000 and $200,000. For the 50th anniversary of this fund a catalogue was printed illustrating the major purchases of Greek vases and classical sculpture as well as paintings by the American impressionists Robinson, Glackens, and Prendergast.

The smaller Hollingsworth fund was given in 1916 accompanied by the gift of a number of 17th- and 19th-century paintings. The depression and World War II years were not fruitful for building a collection, but in the 1950's, primarily through the program of the

215

Friends of Art, private collections were lent for exhibition and subsequently many fine works of art were presented to the College. Mr. and Mrs. Roy Neuberger, parents of Ann Neuberger '56, invited members of the department to select paintings from their American collection when it was on exhibit at the Whitney Museum and, over the years, 18 paintings were given including an Avery, Henri, Marin and Sheeler, Holty and Walkowitz.

In order to present old masters as well as modern works of art, loans were sought from neighboring museums. Through the helpful suggestion of the director of the Springfield Museum, Frederick B. Robinson, who was also a long-time member of the executive committee of the Friends of Art, sixteen 14th- and 15th-century panel paintings including a Duccio, a Giovanni di Paolo and a Guariento were placed on loan to the Friends of Art and then indefinite loan to the College through the generous consent of the owner, Mrs. Caroline R. Hill. Although a Wellesley alumna and a resident of Paris, Mrs. Hill visited Mount Holyoke several times and followed with great interest the student research into old master techniques and styles. As a result, between 1955 and her final bequest of 1965, she gave over 60 objects including Pompeian frescoes, Romanesque sculpture, medieval manuscripts as well as paintings and drawings from the 17th to 19th century.

In the 19th century many gifts were brought from the Orient by returning alumnae such as Japanese lacquer and Tibetan bronzes, more as curios than art objects destined for the academic study accorded the artifacts of classical culture. However, in 1940 Mount Holyoke was the first of the area colleges to introduce a course in Oriental art and in 1960 the John Martyn Warbeke fund of $50,000 was established as the first purchase fund for Far Eastern art in any American college. Under the guidance of Professor Wen Fong, chairman of the art department of Princeton and a member of our Art Advisory Committee, the department has purchased Chinese masterpieces from the 16th to 18th century including paintings by the well-known artists Wu Wei, Wen Cheng-Ming, Lu Chih and Hua Yen. Fine examples of Japanese scroll paintings, and a Hiroshige drawing and many prints are the gift of James B. Austin, a trustee. The Norah McCarter Warbeke Gallery of Asian Art has been installed with fine taste by Richard Hsiao, lecturer in Chinese art.

The College's preeminence in ancient art is well known from 1897 when Miss Louise Fitz-Randolph 1872 introduced a course in Egyptian archaeology. Subsequently Miss Caroline M. Galt established a strong archaeology major in Greek and Roman art. She was primarily responsible for building Mount Holyoke's distinguished collection of Greek vases. Several of the

216

artists such as Forain, Pissarro, Gauguin, Corinth, Kan-
dinsky, Bellows and ten Raphael Soyers, plus a strong
representation of English artists beginning with two
Hogarths.

Apart from a fine Piranesi portfolio and the Kingsley
print collection for which a room was reserved in
Dwight Art Memorial accompanied by a catalogue
printed in 1901, there were only half a dozen miscel-
laneous etchings and a lone lithograph by Rockwell
Kent. Due to a policy formulated in the 1940's for
using the department's limited funds for the purchase
of relatively inexpensive prints and drawings in rela-
tion to costly paintings, it has been possible to acquire
works by major masters. Thanks to many small pur-
chase funds and gifts, our print collection now fills
most of the cabinets that line the walls of the Rodney
L. White Print Room which is spacious enough for
seminars. Its exhibition area has been doubled by the
inclusion of a balcony. Here the art history and studio
students may study style and technique from originals
by such outstanding printmakers as Dürer (7), Golt-
zuis (2), Rembrandt (3), Callot (19), Rouault (3),
and Picasso (8), and from a large number of con-
temporary prints, including the recent purchase of a
portfolio of Anuzkiewicz Op art serigraphs.

In 1953 when the department purchased its first
small Dürer engraving with a $20 gift from an alumna,
we did not anticipate that later we would have six large
Dürers through gifts and purchase, now of several hun-
dred dollars value. But the value is more than monetary
for the first exhibition in our new large gallery last
spring celebrated the 500th anniversary of Dürer's
birth. It was assembled by Mrs. Martin Cohn (Marjorie
Benedict '60) who is a specialist in the restoration of
prints at the Fogg Art Museum and who prepared a
scholarly catalogue of the exhibition.

In the 1960's the greatest acceleration of gift giving
occurred in connection with the Fund for the Future,
and as a result we have a strong collection of contempo-
rary art, featured in the college halls as well as the new
art building. A by-product of interest in modern art has
been one of its sources of inspiration—primitive art.
Here our missionary background has furnished rare ex-
amples of authentic North and South American Indian
pottery, in some cases dating back a thousand years.
Recent wood carvings from Africa and the South Seas
represent substantial gifts from various donors.

The current exhibition is strongly oriented toward
contemporary American work including black artists.
Romare Bearden, often designated as our leading black
painter, had long been represented in the collection by
a gift from the Neubergers. An Alvin Smith painting
was purchased in 1969 from the exhibition "Ten Afro-
American Artists" and in 1970 the College was given

a Raymond Saunders, the gift of the Academy of Arts
and Letters' Childe Hassam Fund.

The strength of sculpture both in the art world and
Mount Holyoke's curriculum is reflected in the sculp-
ture garden given by Mrs. Richard E. Marcus in mem-
ory of Henry Rox. Mount Holyoke's professor of
sculpture, Leonard DeLonga, shows in his teaching
and professional work the contemporary emphasis on
exploring the potentials of various media. His welded
steel "Warriors" has a coloristic effect through the
brazen shields and is daily admired by hundreds of stu-
dents who pass by it in the corridor leading to the Sid-
ney D. Gamble Auditorium. Just recently a six-foot-tall
bronze by Dame Barbara Hepworth, England's fore-
most sculptress, has been given to the College.

Although the mention of casts is anathema to many,
Mount Holyoke has retained the best of her remarkable
collection for the teaching of art history by placing the
three-dimensional classical and renaissance pieces in a
small second floor cast gallery available for student
study. The reliefs effectively decorate the four levels of
the two stair wells affording unusual perspectives for
viewing the Parthenon frieze and metopes.

Leaf from a manuscript of Nizami's Khamsa. Persian,
School of Shiraz, around 1560. "The Visit of Berham
Gur to the Daughter of the Emperor of Khwarasm."
Purchased from the Susan and Bernard Schilling Fund,
1967.

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Hanging scroll, Chinese, Ching Dynasty, 18th century.
Hua Yen, "Watching a Horse Being Washed." Purchased from the John Martyn Warbeke Fund, 1963, and exhibited in the Norah McCarter Warbeke Gallery of Asian Art.

The retention of traditional values is exemplified in the positioning of the heroic-scaled "Victory of Samothrace" under the great cantilevered mass of the east front of the building, thereby producing a humanistic complement to the purely functional appearance of the structure.

A large measure of the credit for our new building and its greatly expanded collection is due to Marian Hayes '25 who was influential in the establishment of the Art Advisory Committee in 1963. Under the chairmanship of Richard Zeisler, meetings alternated between South Hadley and New York where after one dinner meeting, an informative evening was spent behind the scenes at the Whitney Museum. The members have been most generous with professional advice, gifts of time and money, and above all works of art. The new chairman, Susan Schilling '32, is a member of the Rochester Museum staff and has established with her husband the Susan and Bernard Schilling Fund for the purchase of works of art.

All credit for the installation of the collection is due to the department chairman, Jean Harris, who performed the Herculean task of moving the collection out of the nooks and crannies of Dwight and into the still unfinished new art building in 1970. With the aid of a restorer she created minor miracles in preparing the collection for our exhibition. Two dedicated students, Aimee Garn '71 and Carolyn Brown '73, devoted two summers to this arduous work. With the aid of Mr. and Mrs. Oliver Allyn of the theater department, the installation became a creative act to achieve the right emotional response by light and color as in the softly illuminated Hill Gallery which is reminiscent of a chapel. A swift change of mood occurs as one passes into the brightly lighted White Print Room or the large classical gallery with its hundred or more objects skillfully arranged in wall or free-standing cases. In the final hectic days prior to the dedication all the members of the department participated in sharing the excitement, frustration, and above all the creativity of seeing a unified and comprehensive whole emerge in which each exhibit would be enhanced without destroying the total effect of the galleries.

After years of teaching in Dwight, where the galleries and their collections were something of deprived stepchildren without proper care and installation, it is a joy to see our fine objects come to new life in a suitable setting. The greatest pleasure, however, is to be found in the reaction of the students who are literally starry eyed walking around the galleries and discovering that South Hadley can offer the aesthetic pleasure and intellectual stimulus they expect to find only in museums in New York and Europe. ■

220

# THE DANCING MUSES

by

Jean Sutherland Boggs
Director, National Gallery of Canada

*In her speech at the Founder's Day ceremony, Jean Sutherland Boggs summarized superbly the concepts and ideas that were expressed throughout the art conference. This article has been extracted from her speech.*

■ We are told that the word "museum" originally meant a place where the muses meet. When Edgar Degas grew old and crotchety and would be asked for sage statements about his art, he would answer, "When the muses meet, they do not talk—they dance." I am not sure that they are so mute today. And if they do dance within a museum's walls, that dance could seem frenetic, indecisive, uncertain, as the muses are bombarded by demands, suggestions, warnings from the world outside the museum's walls. For what is happening to art museums in 1971 is surely a reflection of what is happening to all our traditional values.

The museum in Mount Holyoke's new art building, as Miss Jean Harris pointed out, has a significant role in bringing together the students of art and the students of the history of art as they confront, and even discuss, the objects the museum displays. It is a meeting place, even a forum, as well as a gallery for individual contemplation.

As we have heard during the conference sessions, a museum is traditionally devoted to the collecting, preserving, exhibiting, and interpreting of objects which are considered works of art. But one of the questions to be asked from outside a museum's walls, or even of the art historian in defending his discipline, is whether works of art are worth protection or the kind of disciplined intellectual concentration represented on the panel on Art History Today. To those of us who love art and have always loved art it is difficult to understand the need to justify our conviction that generations of members of the art department at Mount Holyoke will continue to treasure and study the small bronze athlete which was produced in Greece about 475 B.C.

Concerning our devotion to such an object there are two criticisms that are important to remember. One is that it can be said to arouse a superficial admiration as a thing of beauty and that our response is neither intellectually profound nor socially responsible. The second is that the object was created for an elite and can be claimed to be appreciated only by an elite. Only recently I was attacked by an anthropologist colleague because my museum collects what he calls "expensive old masters and daring moderns," whereas his museum collects the kinds of objects men can easily make themselves with their hands. He also implied that because the purposes of the objects in his museum are so rudimentary they have a more democratic appeal. It is easy to ridicule these over-simplified charges of superficiality and elitism but I am convinced they are serious both for the art museum and the historian of art and must be met with words, and perhaps more effectively with actions. We are the bridge between the public and its experiences of both traditional art and the very new. We must show how works of art in a concentrated form can give us the essence of time—both of the world in which we live and the world in which the work of art—say Mount Holyoke's bronze athlete—was created.

Even if it can be agreed that works of art can be accepted as among the most meaningful expressions of mankind, there is still the need to justify collecting. Usually the collecting of the work of living artists is considered a desirable principle even though there is never any unanimity about the virtues of individual acquisitions.

As became clear in the panel on Women Artists in the Contemporary Scene, there is now a strong lobby for at least equal consideration for women artists in acquiring contemporary art. There is also an obligation to look seriously and sympathetically at the work of black artists. In Canada there is a compulsion to give equal attention to those who speak English and those

222

who speak French, to romanticize the art of the Indian
and Eskimo, and to give grudging attention to the work
of the other ethnic minorities who, I feel, would much
prefer being considered simply Canadians. These pres-
sures, indeed these obligations, are so real that a mu-
seum which did not make an effort to see and to under-
stand the work of these groups would be completely out
of phase with our times. Hopefully, the decision to
acquire will still be based upon the potency of the work
of art rather than upon the racial, ethnic or cultural
background from which an artist comes. While the sex
or ethnic derivation of the artist may have some bearing
upon the work itself, it should not have bearing upon
the quality. Museums, as upholders of excellence if
not, we pray, as makers of taste, must somehow be pre-
pared to be sympathetic and responsive, but also firm
in their conviction that the selection of contemporary
work must be disinterested.

Collecting can pose a serious moral dilemma for a
museum, whether it buys an expensive early masterpiece
from the past or spends equivalent sums on the work
of living artists. Often, because of the nature of gifts
or bequests, such alternatives are not available, but
still the awkward ethical question remains. There are
museum collections which have reached what seems to
be an optimum size, but there are many others, includ-
ing those of Mount Holyoke and the National Gallery
of Canada, which would seem more satisfying and
would be more stimulating to the average visitor if
there were more works from the past and from civiliza-
tions other than our own. I may be by instinct a com-
promiser, although I hope not, but I feel that we should
buy or accept things of both the past and the present.
Our involvement in the work being produced today
gives us a healthy perspective from which to judge the
work of the past. And, as all historians know, the avail-
ability of earlier work can be a stimulus to present-day
artists.

Another ethical problem in collecting is the delicate
problem of plundering or illegally exporting works of
art from other nations of the world. Only in the last
two years have such venerable institutions as the
Metropolitan Museum and Harvard University taken a
purist stand about such acquisitions. And it must be
admitted that the change has been wrought by pressure
groups concerned about what was happening in Guate-
mala.

Moving from collecting to preserving, we come to
still another ethical problem. It concerns those people
who are convinced that works of art should be shared
as widely as possible, through mobile vans, circulating
exhibitions, extended loans, and the redistribution of
collections, even at the cost of their deterioration. Like
the Metropolitan Museum, the National Collection of

Fine Arts, and other American institutions, the Na-
tional Gallery of Canada sends out circulating exhibi-
tions (and has since 1916). We put works of art on
extended loans, and even circulate masterpieces like
our El Greco *Saint Francis* which is touring now. But
the demands do not cease.

In 1970 in Canada, at a conference on the arts,
there was a demand for the redistribution or constant
circulation of the National Gallery's collection. One
professor was so disturbed by the prospect that he
wrote to the chairman, "A moment's reflection should
be enough to convince anyone that works of art, which
are always physically very fragile, can simply be worn
out by frequent moving and handling. Obviously any
decision to increase the circulation of the National
Gallery's collections would be a decision to accelerate
their destruction. Of course, it could be said that logic
compels the further conclusion that no art treasure
should ever be moved. No one would want to go that
far, but neither should anyone take seriously the sugges-
tion of a kind of lending library of art masterpieces, or
another notion that I have heard, that we should put
the national collection in a ceaselessly circulating trans-
continental train." Finally he goes on to suspect that
the suggestion had been made with the intention "of

*The "small bronze athlete"—*
*produced in Greece about 475 B.C.*

223

deliberately frightening us with the spectre of a tat-
tered national collection chugging around the country."
But it won't be the last time such a suggestion is made.

I was very much captivated by Mrs. Stanton's analy-
sis of the effects of the study of the history of art upon
art, and of art upon the history of art, but this still is
only a small, self-absorbed circle in the larger spectre
of mankind. Outside it there are many people who
want to look forward and never backward and do not
want to be faced with the problems the past represents.
They are fundamentally anti-historical. Even artists
contribute to this, although I have never known one to
be indifferent to the condition of something he has
made. They are producing works with a sense of a
built-in obsolescence, which is close to the attitude of
the manufacturers of motor cars or the builders of
mass housing, or they are producing works that exist
in the mind or in actions and cannot be preserved. The
art museum has to be prepared to answer, at least, the
suggestions that in collecting, preserving and, in par-
ticular, exhibiting and interpreting, the emphasis should
be on the present and not on the past.

Exhibitions are, of course, a form of interpretation. When three works of art are placed together on a wall an interaction takes place which can enlighten the museum visitor. A single work of art can speak on its own if it is given a sympathetic environment. I was delighted, for example, to see how much greater the impact is of Mount Holyoke's large Inness as it hangs in the new gallery. We must make certain that our museums remain asylums even as we respond to the challenge of interpreting the works of art within them.

I have questioned the validity of continuing costly
exhibition programs—the expensive, time-consuming,
three-ring circuses—in which most art museums are

involved and which, I confess, most of us enjoy. They
frequently have scholarly merit; sometimes they give
the public enormous satisfaction; but far too often
there seems to be too little relation between their effect
and their expense. (I am not talking about exhibiting
contemporary work which is an obligation as well as a
source of continuous fascination.) I wonder whether
there aren't more effective ways of working with the
public, of educating (without prerequisites or examina-
tions) both inside and outside the museum walls. I
suspect this may be the crux to our solution of the
museum problem. If imaginatively conceived and pre-
sented, a museum program could both educate and de-
light those who have foresworn formal education, those
who are supplementing it, and those who have finished
with it. It should be a way of making the work of art
accessible to any people who wish to understand it
without sacrificing the quality of the work of art itself.

The person who must do this job is the art historian.
Someone asked during this weekend about Lord Clark's
Civilisation series, and was told that it was a delight
but not the history of art. Still, it was an art historian
speaking and making works of art objects of wonder,
and even better, of curiosity. He also gave a sense of
breadth of civilization that produced the works of art
which the panel on Art History Today felt were impor-
tant ingredients in our discipline. Art historians can
be eloquent about works of art in a way that can per-
suade the public of their meaning and significance.
Such insights must be communicated to the public
through publications, radio, and television. I am cer-
tain that if we face the realities of the criticism of art
museums, and are eloquent, the public will understand,
and the muses within our museums will dance in
greater tranquility. ■

Honorary degree recipients Jean Sutherland Boggs and Georgia O'Keeffe with Professors of Art Dorothy Cogswell and Jean Harris.

224

## honorary degrees conferred

Jean Sutherland Boggs, distinguished student of nineteenth-century French painting and accomplished teacher, your insight and judgment have brought a new vitality and significance to the National Gallery of Canada. We note, without astonishment, that you are the first woman to be appointed as director of an internationally important museum of art. Your sympathetic understanding of the artist combines with your imaginative discernment and your capacity for leadership to assure the creative influence that a national institution can bring to bear upon the life of a great nation. By the authority vested in me by the trustees of Mount Holyoke College, I confer upon you the degree of Doctor of Letters, *honoris causa*, together with the rights and privileges associated with it.

■ Jean Sutherland Boggs was appointed director of the National Gallery of Canada in 1966. A graduate of the University of Ontario, she received her M.A. and Ph.D. degrees from Radcliffe. A distinguished art historian, she has taught at Skidmore, Mount Holyoke, and the University of California, and in 1964 was appointed Steinberg Professor of History of Art at Washington University in St. Louis. Former curator of the Art Gallery of Toronto, she is the author of a book and of numerous articles and reviews. Two series of twelve broadcasts entitled "Listening to Pictures" were presented by her and published by the Canadian Broadcasting Corporation. She is a member of the board of *Art Quarterly*, and in 1969 was appointed to the Council of the American Association of Museums.

Georgia O'Keeffe, the poetry of your brush has brought challenge and excitement to your grateful admirers since the first public showing of your work nearly sixty years ago. Although you have had and have richly deserved no less than six "retrospective" exhibitions, your creative power continually promises as rich an achievement prospectively. Belonging to no school but your own constantly developing one, spurred by a penetrating poetic curiosity, you have remained committed to the mandate of an inspiring teacher "to fill a space in a beautiful way." Mount Holyoke College is proud to salute a master. By the authority vested in me by the trustees, I confer upon you the degree of Doctor of Letters, *honoris causa*, together with all its rights and privileges.

■ Born in Sun Prairie, Wisconsin in 1887, Georgia O'Keeffe began her study of painting at the Art Institute of Chicago and later at the Art Students' League in New York. In violent reaction to the slick academism and draftsmanship which she was being taught, she resolved to quit painting and to pursue a teaching career in Amarillo, Texas. At Teachers College of Columbia University which she attended from 1914-16 she began to reevaluate her past work and to discover the style which has been her trademark ever since. While she was head of the art department of West Texas State Normal College her work came to the attention of Alfred Stieglitz, a pioneer in photography and in exhibiting modes art. Her paintings were first exhibited by him in 1916, and her subsequent shows under his sponsorship brought her universal acclaim as a pioneer of modern art in America. She and Stieglitz were married in 1924. She is represented in the permanent collections of the Metropolitan Museum of Art, the Museum of Modern Art, the Whitney Museum of American Art, the Art Institute of Chicago, and over 40 other American museums.

225

Ada Louise Huxtable, in your unrelenting commitment to the fundamental force of good urban design and your equally unrelenting and discerning hostility to its all-too-pervasive opposite, you have become the conscience of a time given to indifference and expediency. Clear-mindedly and passionately concerned about the man-made environment long before such attention became fashionable, you have brought criticism of the urban environment to a high and eloquent level. A champion of human dignity, you can praise generously when your cause is well served and you can scorch with witty indignation when, more often, it is betrayed. We welcome you among us today with grateful admiration. By the authority vested in me by the trustees of Mount Holyoke College, I confer upon you the degree of Doctor of Letters, *honoris causa*, together with all its appropriate rights and privileges.

■ Ada Louise Huxtable is a magna cum laude graduate of Hunter College who pursued graduate work in architectural history at New York University Institute of Fine Arts. In 1950 she was awarded a Fulbright Fellowship to study contemporary Italian architecture and design, and in 1958 was granted a Guggenheim Fellowship for research in design and technique in American architecture. From the time of her marriage to industrial designer L. Garth Huxtable in 1946 until 1950 she was assistant curator of architecture at the Museum of Modern Art. For thirteen years she was a contributing editor to various art and architecture magazines, and in 1963 was appointed the first full-time architecture critic in the United States by The New York Times. In 1970 she was awarded a Pulitzer Prize for distinguished criticism. The author of several books, Mrs. Huxtable's chief aim is the betterment of modern man's environment. She has shown great concern over the current trend toward thoughtless destruction of old buildings to make room for the new, and contends that "demolition of the past goes beyond the destruction of history and acts to the impoverishment of the environment . . ."

Phyllis Williams Lehmann, your good fortune as an archaeologist is more than equalled by your mastery of the varied skills without which a gift of fate cannot be realized. Your many grateful students have learned from you the meaning of scholarship and intellectual integrity, the values of a classical heritage that you have helped to bring back to life, and the tender compassion of the true teacher. As the similarly grateful inhabitants of Samothrace have made you an honorary citizen, so your students applaud each tribute to your accomplishments. Your professional colleagues, proud of your contributions to architectural history symbolized in The Hieron, joined in the praise that major work has received. And your host of friends, unable to claim the privilege of your students or the professional pride of your fellow archaeologists, are not astonished by the gratitude, the respect, and the affection felt by these others. Mount Holyoke College is proud to call you across the Connecticut to pay you honor. By the authority vested in me by the trustees, I confer upon you the degree of Doctor of Letters, honoris causa, with all its associated rights and privileges.

■ Since 1938, when, as a graduate student at New York University, Phyllis Williams traveled to Samothrace with Dr. Carl Lehmann's group to do some exploratory work on the island, she has returned annually except for the years of World War II to continue excavations of the temples in the "Sanctuary of the Great Gods." In 1944 she married her professor, and became his assistant field director when they returned to the excavations in 1948. Mrs. Lehmann has been a member of the faculty at Smith College since 1946. She became professor of art in 1955 and in 1967 was named Jessie Wells Post Professor of Art. Between 1965 and 1970 she was dean of the college. A graduate of Wellesley, she received her doctorate from New York University. For the past eleven years she has been editor of the Bollingen Series LX *Samothrace, Excavations Conducted by the Institute of Fine Arts, New York University*. After the death of her husband in 1960 she became acting director of the Archaeological Research Fund, Excavations on Samothrace until 1965 when she was named advisory director. She holds an adjunct professorship at the Institute of Fine Arts at New York University and is a member of the board of trustees of the Archaeological Institute of America.

226

**Phoebe Baroody Stanton**, graduate of Mount Holyoke in the centennial class, your life and career are a model for those women in today's classes who seek meaning and purpose for their talents. Earning advanced degrees from Radcliffe and from the University of London, you have combined the creative role of mother with equally creative achievements as teacher and scholar. Distinguished student of nineteenth-century British and American architecture, your intelligence, integrity, and warm humor have won the admiration and regard of both colleagues and students. In June of this year The Johns Hopkins University recognized your achievements by naming you as its first William R. Kenan, Jr., Professor. Today Mount Holyoke College proudly calls you back to receive an honorary degree. By the authority granted to me by the trustees, I confer upon you the degree of Doctor of Letters, with all the rights and privileges thereto pertaining.

■ Phoebe Baroody Stanton, who graduated magna cum laude in 1937 from Mount Holyoke, received her M.A. degree from Radcliffe and her Ph.D. from the Courtauld Institute of the University of London. In 1941 she married the late Daniel J. Stanton; they have one son who is a sculpture student at Antioch College. She has managed to divide her time between her family and her teaching career which has included positions at Stanford, Reed, Bryn Mawr, and Goucher. She has been a member of the faculty at Johns Hopkins since 1955, and is now chairman of the art history department. From 1951-53 she was assistant cultural officer at the United States Embassy in London. The recipient of numerous fellowships and grants, she has recently been awarded a Senior Fellowship by the National Endowment for the Humanities for research in England. She is the author of two books and editor of the Johns Hopkins Studies in Nineteenth Century Architecture. She is the only woman member of the board of directors of the Society of Architectural History of Great Britain.

Ada Louise Huxtable (right) and her husband with Anne Edmonds, college librarian

Phyllis Williams Lehmann with President Truman

Phoebe Baroody Stanton with Dean McFeely

227

THE JOB BEGUN BY MARY

■ The trustee decision on education for women repre-
sents the beginning of a crucial phase in the life of
Mount Holyoke. Far from being outmoded, a women's
college is needed today perhaps more than ever before.
The society in which we live does indeed make inap-
propriate distinctions on the basis of sex, and it takes
special efforts to counteract them. Our task is to re-
examine the overall program of the College—social as
well as academic—and to determine, with feminine
concerns in mind, how it may be strengthened. With
our students we must raise questions and explore atti-
tudes about their roles as women in a society that has
tended to be dominated by men. In many instances we
must raise their expectations as to what they can rea-
sonably hope to achieve in their lives after college. Al-
ways we must keep in mind that we are dealing with
young women and that, while the content of the educa-
tion we offer may not differ appreciably from that pro-
vided young men, the approach may well have to be
different. Our culture fosters a certain aggressiveness
and openness to challenges among males, but expects
just the opposite behavior from females. And yet a well-
directed aggressiveness does not at all detract from
femininity, and is a necessary antecedent to creative
achievement. It is this kind of drive that we must instill
or strengthen in our students, at the same time giving
them the knowledge and disciplinary tools they need to
realize their full potential in the world they will inhabit
and help to shape for the next several decades.

JOAN E. CIRUTI

Professor of Spanish and
Dean of Studies

■ In my first year or two or even five at Mount Hol-
yoke I would probably have supported a move towards
coeducation at the College. Now, in my tenth, I ap-
plaud the trustees' decision that Mount Holyoke shall
stay a women's college. My reversal is due more to a
shift in focus than to a change in attitude. Ten years
ago as I viewed undergraduates (mostly freshmen), I
asked myself questions such as whether the "mixer"
was not a form of cruel and unnatural punishment that

ought to be abolished at any cost. My answer then was
"yes," and remains so, except that I seldom ask these
questions any more. In part this may be because there
now seem to be more opportunities for relaxed and cas-
ual acquaintanceships and less pressure to pair off like
book ends at the earliest possible moment. The chief
reason, however, is that my attention has been drawn
away from whatever social deprivations may be imag-
ined or engendered at a women's college and towards
the academic and personal advantages afforded. By now
I have the perspective not only of a generation of under-
graduates but of a generation and a half of graduates as
well, and what I see time after time are women whose
"unnatural" separation from men has made them un-
naturally independent, intelligent, dissatisfied, deter-
mined, attractive, and mature. Treated at Mount Hol-
yoke with the expectation and assumption that they
were full-share inheritors of human learning and ac-
complishment, they have gone on to graduate programs,
careers, marriages, and lives as integral persons and
personalities—not as Adam's ribs.

The crucial difference between a course of study at
Mount Holyoke and at a coeducational liberal arts col-
lege is that here a woman knows that it is *her* education
and cannot possibly be one that she is being allowed to
share with men for whom it was designed. For four
years she has not—I hope—thought of herself as an
appendage, an adjunct, a cheerleader jumping up and
down at the side of the playing field, and she is not
likely to submit to such a position thereafter. Had
women's colleges done all they could and should have
done in the last hundred years there might be no fur-
ther need for them now, but the job begun by Mary
Lyon is not yet finished. Mount Holyoke needs to con-
tinue as a women's college for the sake of men's libera-
tion; that is, it must be a place where respect for intel-
lectual and creative and administrative achievement
genuinely knows no sexual distinction, so that notions
of male superiority and exclusiveness are exposed for
the wasteful follies they are. When a comparable coedu-
cational institution can boast of a faculty and adminis-
tration as equally composed of men and women as is

228

"All you need is a toboggan, an old parachute
and you're ready to break your neck,
Scandinavian style."

6 FEES & 0.0. IMPORTED IN BOTTLE FROM CANADA BY HIRAM WALKER WINES INC. DETROIT, MICH. 48-8 PROOF. BLENDED CANADIAN WHISKY. © 1973.

"Driving the Indy 500
blindfolded is the

closest thing I can
think of to para-tobogganing

on windswept Mt. Vidrangane in
Norway. With the chute
full-blown in front of us...

BY APPOINTMENT
TO MIER MAJESTY QUEEN ELIZABETH II
SUPPLIERS OF CANADIAN WINES
HIRAM WALKER & SONS LIMITED
WALKERVILLE, CANADA

"...Sue and I hit the curves like a roller coaster, miraculously avoiding rocks, crevices...and spills. Otherwise, you'd have seen the biggest snowball ever rolled.

"Later, we celebrated our adventure with Canadian Club at Fleischer's Hotel in Voss." Wherever you go, C.C. welcomes you. More people appreciate its incomparable taste. A taste that never stops pleasing. It's the whisky that's perfect company all evening long. Canadian Club—"The Best In The House"* in 87 lands.

Canadian Club
Imported in bottle from Canada.

THE NEW YORKER

we killed him. It looked to
me like he was partly catch-
ing on.

When night came, the sun went down right where it was supposed to go, so we better cut a little, we were headed straight for King. Bogue County is below King, across Fornika Creek, and if we went through King I'd have a dozen friends to stop and tell. It got to sitting on my mind that we were up to a mighty unusual thing, but the base of it was right if we could hold the rest. We slept that night leaning up against trees and found a nice trickle of water to drink from just before we went to sleep and again when we woke up. Then we did a powerful lot of travelling before the sun got high.

I knew that this was
Monday, and by the time
we finally got to Bogue
and to the special company,
it was on the hour of clos-
ing.

We could hear the lock
clicking right in our faces while we were
knocking under the sign that told the
company name. My boy was knocking
a mite too hard, I thought, and then be-
fore any more could happen a car that
turned out to be the Sheriff's drove up
right by our curb and two men hopped
out and grabbed my boy and threw him
in the back and drove off with him.
This after all that walk and him not
having anything to eat for over a whole
day. I tried my best to climb in with
them so's to explain about our business,
but the police pushed me away and
drove off with the fire alarm turned on.
I hoped they couldn't hurt him for
hard knocking.

Stood there a minute, guessed I better turn around and walk back to the hospital, but it was a powerful long way and my legs were given out. I was so tired, and grieving too about my boy, when a kind looking old gentleman opened the door and told me I was late. They closed at five sharp, he said, but he wanted me to come in and tell him what was going on, who that boy was trying to knock his door down, and why the police got him. I was lucky to have a hair left on my head, the old gentleman said, running around with such.

I excused the fact that his first ques-
tion seemed like he knew the answer to

it, because at least I would have the
luck now to tell him about the natural
yellow wood, and how they didn't un-
derstand the box that they had marked
in when they put their sign on. He
did so know who the boy was, because
he went and got a file and opened it
on his desk. I must of mixed things up,
he said, by getting myself so tired. He
was a very nice man—religious too,
because he had pictures of the Holy
Family hanging everywhere, and Jesus
on the Mount dividing up the fishes.
He took a spell of staring at the ceiling,
and he said his problem was trying to
be fair to everyone. He could see what
I was driving at, but he would have to
start from scratch to learn me any busi-
ness and with his supper ready and his
wife as old as he was he would have
to make it short. And he straightened
out his hands inside his cuffs.

You couldn't force people to have
plenty of money, he said. Some people
wouldn't no matter how you tried.
The Bible pointed that out, he said—
the poor are always with us. Now he
was a dedicated Christian person, try-
ing to do all he could right at this desk
giving people money to get started.
They had every right to go out and
pay off their debts and make more with
what was left instead of burying their
talent like the lazy servant had. But
instead of doing this they gave way to

everything under the sun they didn't
need, just like this yellow furniture in
the file—four hundred eighty dollars—
and he had to try to get his loan money
back before the next fellow came along
in a bigger mess than they were. This
boy was a good example, he threatened
to kill because the law of the land had
worked. It was terrible, he said, but
there it was, and he gave me credit for
understanding both sides of the matter
and seeing all the problems.

Well, I thanked him for the chair
rest (he gave me a writing pen with
the company's name on it) but I was
way out on the street again and start-
ing for the hospital (got a ride all the
way, thanks to the Good Lord, and
made it back that night) before I un-
derstood that in spite of his good knowl-
edge—the finance-company man—he
hadn't ever known he had the chance.

—BERRY MORGAN

"I'll be up in a minute, hon. I'm topping off my tank with Jim Jensen."

He bakes the fish 50 minutes in oiled
paper, sprinkling the whole with dry
Chablis in which a bouquet garni and
chopped shallots have been briefly cooked.
Once out of the oven, Mr. Bolard cuts
the top off the paper and coats the bass
in a "polonaise"—fresh bread crumbs
lightly colored in butter... The fish is
then sprinkled with Cognac and flamed
at the table.—The Times.

By the perspiring Mr. Bolard.

62

There is a splendid hotel on a marvelous corner of Park Avenue where everything's coming up roses and crystal and gilt.

Loews Drake

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Park Avenue at 5th Street, New York, N.Y. 10022 (212) 421-0900.

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If you long for the good life, come to Austria, the most European country. In this jewel of a vacationland, two thirds the size of New York State, you can find all the marvelous experiences you came to Europe for.

There is history. Austria has more castles and palaces to visit than any comparable area in Europe.

There are ballets, operas and concerts—a cultural season that goes full tilt 12 months a year.

There is scenery. Snow-covered Alps. Mountain lakes. Lush forests and medieval cities—citadels of the arts.

There is good eating. Austria's gracious restaurants are known the world over. The elegant and the rustic. Come to Austria. Mozart, Beethoven and Johann Strauss lived there and loved it. You will too.

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dian. "When I first moved here, the children had nowhere to go when it got dark," she told me. "They'd play out in the street in front of the cantina until sundown and then sometimes they would come in here to see me. After a time, I took to sending them in my car when they had games with other schools. Once a week, I sent them to the movies in Espanola. The boys used to talk a lot about having a gymnasium, and eventually I had a gymnasium built. Now those same boys are grown up and have children of their own." A man who knows and likes O'Keeffe and who lives in another Spanish-American village some distance away, insisted years ago on giving her two large and aggressive blue chows for protection. She came to adore the dogs but has never felt any need for their protective qualities. "I find the Spanish-American people very gentle and immensely polite," she says.

The sitting room at Abiquiu is fairly luxurious by O'Keeffe's standards. There are three comfortable chairs, a built-in adobe bench with cushions, and a glass-topped table, which she likes because, as she says, "it looks as though it almost didn't exist." The end window faces the garden, and its wide sill holds some of the choicest rocks from her collection. On a low table against the wall are art books and a small oil by Arthur Dove—an abstraction called “Golden Sunlight.” Her own “Sky Above Clouds,” one of the series that grew out of her travels by jet plane, fills the wall at the far end. A delicate black Calder mobile hangs near the fireplace. It is a cool night— cool enough for a fire in the rounded, hivelike little fireplace, where the piñon logs stand up on end and are ignited by piñon shavings.

"I think Dove came to abstraction quite naturally," O'Keeffe says, reflectively. "It was his way of thinking. Kandinsky was very show about it, but Dove had an earthy, simple quality that led directly to abstraction. His things are very special. I always wish I'd bought more of them. And all the people Dove influenced, who are better known now than he is! The Museum of Modern Art never gave him a really important show—I don't know why. Dove used to paint a lot of small pictures, little landscapes, that didn't look particularly distinguished at first, but in them he would get the feel of a particular place so completely that you'd know you'd been there."

O'Keeffe has often said that she does not much like pictures. When she

63

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To begin with, Dorado del Mar is a beautiful resort village in Dorado, Puerto Rico; complete with hotel, villas, sandy beach washed by an emerald ocean, elegant dining, and a new, government-supervised casino for action. Plus a challenging 18 hole golf course (considered by many the best in Puerto Rico), tennis courts, and 2 large swimming pools. With historic old San Juan just half an hour away.

Our rates are commensurate with the luxury... and on a par with other resorts in the Dorado beaches area. But there's one important difference: if you like Dorado del Mar enough to return... we're sure you will... you can actually buy the hotel room, instead of just spending enough to buy it.

It's a new concept. We call it a CondoHotel... and Dorado del Mar is the first CondoHotel in Puerto Rico.

As in any condominium purchase, you make a down payment and pay closing costs (less than you'd imagine). Here's the difference: you may use your room up to 7 weeks a year; the rest of the year, it goes into a rental pool. Of all rents collected, a percentage goes to you.

Write for complete information. And maybe next time you visit the islands... you'll keep the room you spend enough money to buy.

This is neither an offer to sell nor a solicitation for an offer to buy. Such an offer may be made only by Prospectus and at Dorado, Puerto Rico. Not available to residents of any State where prohibited by law.

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man Bement gave me some very good advice. He told me things to see and do, and he was very helpful. But if I'd really done in painting what he wanted me to do, nobody would ever have thought anything about me.

"The truth is I've been very lucky. Stieglitz was the most interesting center of energy in the art world just when I was trying to find my way. To have him get interested in me was a very good thing. My going to Texas was lucky, and, of course, my finding this place. And then, somehow, what I painted happened to fit into the emotional life of my time—does that sound right to you? Often, I've had the feeling that I could have been a much better painter and had far less recognition. It's just that what I do seems to move people today, in a way that I don't understand. And all the rest, and then when I get an idea for a picture, I think, How ordinary. Why paint that old rock? Why not go for a walk instead? But then I realize that to someone else it may not seem ordinary."

O'Keeffe was silent for a time, gazing at the bare adobe wall beyond the fireplace. "I just think that some people are very lucky," she said.

—CALVIN TOMKINS

### THERE'LL ALWAYS BE AN ENGLAND

[From the London Times]

A girl aged 16 is to appear at Duns Sheriff Court, Berwickshire, in March accused of ill-treating prawns, a charge brought under the Protection of Animals (Scotland) Act, 1912.

Eleanor Donoghie, a fish worker, of Springdale, Tweedmouth, Northumberland, is alleged to have ill-treated prawns by putting them on a hotplate at a factory and watching them jump about before they died.

Entering a plea of not guilty at the court today Mr. Robert Mackay, her solicitor, challenged the relevance of the case on two grounds. He claimed that to be relevant the charge must refer to animals. Under section 13 an animal was classed as any domestic or captive animal.

Prawns were not mentioned. Under another section the Act refers to birds, fish and reptiles in captivity. If a prawn was a fish he believed the word "captivity" meant being kept alive in an aquarium. After referring to the *Stand-ard Natural Book* he was convinced a prawn was not a fish but an insect.

Sheriff James Paterson said if this were so, the prosecution could have grave difficulties. Mr. Hamish Stirling, curator fiscal, said the charge referred to the cruel ill-treating and torturing of animals. The question might be whether a prawn was an animal.

Sheriff Paterson said he would want to hear expert evidence from a zoologist. He fixed the trial for March 8.

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File: Clippings

ALBUQUERQUE NEW Mexico JOURNAL

(T. M. PEPPERDAY, publisher, 1926-1956 H. P. PICKRELL, editor 1926-1964)

(C. THOMPSON LANG, publisher, 1956-1971)

T. H. LANG, Publisher

*An Independent Newspaper*

published At Seventh St. and Silver Ave. SW, Albuquerque, New Mexico
By The Journal Publishing Co.

Robert A. Brown, Editor

A-4

Tuesday, Oct. 8, 1974

Where Honor Is Due

It is appropriate that New Mexico should extend official and demonstrable recognition to its most talented citizens, for the world has recognized most of them and it would be an adverse reflection on the state if they were without honor "in their own country."

So it was gratifying that the first Governor's Awards were conferred on potter Maria Martinez, architect John Gaw Meem, photographer Laura Gilpin, symphony conductor Grace Thompson Edmister, painter Georgia O'Keeffe and anthropologist-art historian E. Boyd, who died only a few days before the presentation.

It is to be noted that six different specialties in both the visual and the performing arts were represented. Conspicuously missing from the list were Paul Horgan, Pulitzer prize-winning author, and his neighbor, painter Peter Hurd.

However, it is significant that Horgan's name was added only two days earlier to a distinguished list of those honored with awards of excellence from the Presbyterian Hospital Center Foundation — a list which already included Hurd's name.

New Mexico's artists and distinguished writers have, perhaps, brought more positive notoriety to the state than all its resources and industries, and indeed their works constitute one of the state's most reputable exports.

Official recognition by the state is a mere token in return for the recognition the recipients themselves have accorded their state. Most of them have chosen to live humbly in the earthy surroundings of New Mexico, and from these surroundings they have drawn the inspiration that has won them national and international acclaim.

9

one of
mong
both
bough
not
sake
en

THE CHRISTIAN SCIENCE MONITOR Wednesday, June 4, 1975

27

books

MacLeish's 100 percent American play

The first
Dutton
Animal
Book Award
winner
in five years

A U.S. Fish and Wildlife Service plane on an observation flight to the Northwest Territories crashes in a storm, but the crusty old pilot and a 13-year-old stowaway survive. Young David finally decides to make his way out of the wilderness accompanied by another kind of survivor — a whooping crane named Rusty. The story of their journey north through the woods is an adventure young and old will find equally gripping.

"A charming book....he certainly knows his cranes."

—DANIEL MANNIX

"Excellent. Highly readable and well written. It has that aura of truth about it which is so rare."

—MARGARET CRAVEN, author
I Heard the Owl Call My Name

"A warm, wonderful book....Likely to become a classic in its field."

—NIVEN BUSCH

$7.95 at booksellers

The Great American Fourth of July Parade, by Archibald MacLeish. Pittsburgh: University of Pittsburgh Press. $4.95.

By Victor Howes

Archibald MacLeish is something of the Grand Old Man of American letters. His poems, from "Ars Poetica" to "Conquistador," are known to more than one generation of readers. His verse plays, from "J. B." to "Herakles," are justly celebrated. The man himself has served as Librarian of Congress, director of the Office of Facts and Figures, and as chairman of the first UNESCO Conference in Paris.

It is not surprising, therefore, that he was commissioned by the International Poetry Forum to write a play for Bicentennial production. What he has brought forth is a work that is short, suitable for use either as a radio drama or an outdoor pageant (complete with band and bandstand) and a poem that is homespun, 100 percent American wool, no synthetics.

"The Great American Fourth of July Parade" boils down essentially to a dialog between John Adams and Thomas Jefferson, a dialog held on the 200th anniversary of their signing of the Declaration of Independence. Adams is skeptical about America's future, "Even the greatest of nations of mankind have fallen," he opines from beyond the grave, and now, America's servants have become its masters: "those who govern govern for themselves," palace guards and all.

Jefferson, on the other hand, clings to his ancient faith: "A sovereign people never will despair," he answers, and against Adams's skeptical, almost defeatist attitude, he counters his optimistic reading of the future. The truth contained in the Declaration becomes "a matchstick, a kindling in the winter hay... a signal arousing men to burst their chains..."

With such words the "beloved adversaries" and "cantaloukerous friends" of the pageant renew their lifelong, great debate. Besides Jefferson and Adams, the play contains a Fourth of July orator who perceives America only in jingoistic military-industrial slogans, and there is a crowd of contemporaries whose modern voices pit doubt in democracy against democratic faith.

MacLeish's play is no mere propaganda poster. It sets two alternate readings of history squarely against one another, and strikes its sparks from the anvil of that confrontation. In a time of doubt it can be read as a renewal of assurance. In a time of assurance it can be read as a renewal of doubt.

"The Great American Fourth of July Parade" is drama ideas at its most elementary. Psychology is suppressed in favor of position-statements. But its fundamental meanings are as alive today as they were when Jefferson and Adams set their names to their documents, and signed the bright air with their honor, 200 years ago.

Victor Howes is a poet, essayist, and novelist who teaches English at North Eastern University.

Unthreading a new Emma Lathen mystery

By Hook or By Crook, by Emma Lathen. New York: Simon and Schuster. $6.95.

In the mystery-detective-suspense story, as much as in any branch of contemporary writing, literary light-years distinguish the handful of very good books from the wagonloads of acrobatically poor ones.

Outstanding among the volumes in the small but select first category are Harry Kemelman's stories of Rabbi David Small, Robert L. Fish's of Ze da Silva of Rio de Janeiro, Nicholas Freeling's about van der Velde of Amsterdam, and Emma Lathen's tales of John Putnam Thatcher of New York City's Sloan Guaranty Trust.

These books are distinguished, not alone by ingenuity or complexity of plot, but by a high order of literate writing, and psychology, strong character drawing, trustworthiness of background, and in most cases live but subtle humor. Volume after volume, they are consistently good.

C. P. Snow calls Emma Lathen (there are rumors that this is a two-person effort) "probably the best living American writer of detective stories." This reviewer would drop the

"probably." Those who have never read one of the 15 books starring Thatcher have an enviable treat in store. If one believes that Wall Street, high finance, and big business do not make for first-class mystery, here is the way to be pleasantly undeceived. With gentlemanly, probity-prone John Putnam Thatcher, business brooks no bunkum and finance no finaling, and evidencing is undone with all the single-mindedness of the Protestant work ethic. It is the Racquet Club against the rackets.

In this latest book the Sloan's senior vice-president is drawn into the maelstroming world of the Armenian rug-trade, where he soon finds he must weave his way through the warped ambitions of two rival branches of the Parajian family. With shrewdness honed through innumerable encounters on the world's monumentalest money mart, Thatcher unthreads the mystery and unknots the murder. Even those who have been bent too many times with inferior suspense stories can sit down with this one in the expectation of having found a superior story.

— Joseph G. Harrison

Some folks plan without Washington blueprint

Vital Signs, U.S.A., by John Fischer. New York: Harper & Row. $8.95.

"Quite a lot of good planning is going on right now — far more than ever before in (United States) history," reports John Fischer. "It is not very visible, because it is being done piecemeal, by many people and agencies, official and unofficial, all the way from Washington to Puget Sound."

This, Mr. Fischer finds, is encouraging, because he doesn't expect either Congress or the White House to come up with a blueprint for American development. And he believes planning is essential if the population growth is not to produce more problems like those already burdening the nation in the fields of transportation, housing, and employment.

Mr. Fischer, an associate editor of Harper's, began reporting on grass-roots planning in columns in that magazine. As a visiting fellow at Yale University, and with the aid of a Carnegie Corporation grant, he did the additional travel and research needed to flesh out these occasional reports into a book-length summary.

The author's enthusiasm, supported by a readable journalistic style, draws the reader easily through the regional or metropolitan self-help tales that dominate the book.

Mr. Fischer dips into several geographical territories for the encouraging "vital signs" of his title: Minnesota, Appalachia, Connecticut, to name a few.

— Frederick H. Guidry

LIVING TOGETHER

(simplified)

BY GRACE WALKER

new low price—

$1.25

3 or more

$1.10 each

Rhymes and Dotted Lines

86 ROCKVIEW STREET, BOSTON, MA 02130

6277 MUIRFIELD DRIVE, GOLETA, CA 93017

BOOKS ON THE BIBLE

by Thomas L. Leishman

The Interrelation of the Old and New Testaments (text of Lecture Course) 5.95

Our Ageless Bible 3.25

The Bible Handbook with A.T. Lewis (includes 12 maps) 4.95

Also 1972 Reprinting of

Why I am a Christian Scientist English (paperback) 2.00
German (hard cover) 4.00

Mailing charge: 1st book 50¢, each additional 15¢ — Conn. add 6% sales tax

Thomas L. Leishman

P.O. Box 143

Southbury, CT 06488

dutton

201 Park Ave. South, N.Y., N.Y. 10003

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CONTRIBUTING PHOTOGRAPHERS: Harry Benson, Alfred Eisenstaedt, Bill Eppridge, Henry Groskinsky, Henry Grossman, Jill Krementz, Michael Mauney, John Olson, Co Rentmeester, Arthur Schatz, Stanley Tretick

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PEOPLE WEEKLY is published weekly, except one issue at year end. $22 per year, by Time Inc. 541 N. Fairbanks Court, Chicago, Ill. 60611, Principal office: Rockefeller Center, New York, N.Y. 10020. James R. Shepley, President; Edward T. Lenahan, Treasurer; Charles B. Bear, Secretary. Second-class postage paid at Chicago, Ill. and at additional mailing offices. Authorized as second-class mail by the Post Office Dept., Ottawa, Canada and for payment of postage in cash. Direct subscription inquiries to PEOPLE WEEKLY, Time & Life Building, Chicago, Illinois 60611. Send all other mail to PEOPLE WEEKLY, Time & Life Building, Rockefeller Center, New York, N.Y. 10020. The editors assume no responsibility for unsolicited photographs and manuscripts, which must be accompanied by a self-addressed, stamped envelope if the material is to be returned. © 1975 Time Inc. All rights reserved. Reproduction in whole or in part without written permission is prohibited.

People
weekly
December 15, 1975 Vol 4. No. 24

4 **Mail**

10 **Up Front**

When hoods squeal on the mob, John Partington keeps them safe—Gymnast Olga Korbut no longer jumps for joy—General Giap, North Vietnam's mystery man, takes an unusual public stroll—Gov. Hugh Carey steps out with Anne Ford Uzielli

23 **For a Song**

Away from all the Daltreymania, Roger's a rural lodger

31 **Sequel**

Betty Anick celebrates her seventh year with a borrowed heart

32 **Bio**

Gossip guru Rona Barrett is still climbing "Mt. Somewhere"

40 **Teacher**

Let us now praise famous women, says historian Linda De Pauw

45 **In Style**

The world's most domesticated pet is Gary Dahl's rock-in-a-box

46 **In Trouble**

Uncertified baby—Cheeky bandsman—Hollywood goes mapless—Bennington hubbub—Navigator in the flesh

49 **Happy**

Debbie Andrew and her dog-and-pony show

50 **Jocks**

Basketballer Ann Meyers stirs hoopla at UCLA

52 **Lookout**

Ballerina Muriel Aasen—Author David Bradley

57 **Out of the Pages**

The Ginger Man author J. P. Donleavy is now a ribald Emily Post

63 **People Puzzle**

64 **Arts**

Painter Georgia O'Keeffe, a desert legend, turns to ceramics

68 **In His Own Words**

Joe Namath's doctor has some advice for weekend athletes

72 **Star Tracks**

Mamie Eisenhower—Richard Burton—Radie Harris—Linda Blair and rock's Jim Dandy—The Duke of Leinster

74 **On the Move**

A tiny Japanese-born impresario is a music-biz whiz

79 **Couples**

A congressman, a TV newswoman, and a capital romance

82 **Chatter**

3

that brought Juan, himself a frustrated pilgrim trying to meet O'Keeffe, to her door when she needed help. "I nearly sent him away like all the others," she recalls. "But I remembered that I needed some paintings wrapped for shipping." Occasionally affected by troubled sight, O'Keeffe has seized on Juan's more tactile medium. "I have to be making something," she explains. "I'm not one of those people who sits around looking out the window." Pottery, she discovered, is a difficult craft to master. "It took me awhile," she confesses, "before I finally made one that I felt had something."

For O'Keeffe, there is great affinity between the new clay surfaces and the river stones she has come to cherish. On occasion she has been known to sit for hours feeling the shape and texture of a particular rock. Now she has extended this sensitivity to clay and it has brought new joy into her life.

Juan is also helping O'Keeffe on a vast book project dealing with her artistic works and convictions, to be published next year. It gives her occasion to reflect on her varied and fortunate life. Born in Wisconsin, she decided to become an artist at the age of 10. While still an art teacher in Texas, she was given her first one-woman show by her future husband, the great photographer Alfred Stieglitz. In 1929 Mabel Dodge Luhan, leader of the Taos art community, first invited O'Keeffe to visit New Mexico. It has been O'Keeffe's home now for more than a quarter century.

"I guess I've just been lucky," says O'Keeffe, enjoying a dinner of her own garden-fresh vegetables. Her eyes twinkle: "I've stopped telling friends that I would live to 100 . . . now I say 125, that way I'm sure to make 100."

DAN BUDNIK

During a midmorning rest, O'Keeffe worries about high-tension poles marching across the desert and pollution from Four Corners power plant, 125 miles away.

67

IN HIS OWN
WORDS

THE PROS' DOCTOR TELLS
WEEKEND JOCKS AND THEIR KIDS
HOW TO CUT DOWN INJURIES

Nicholas takes a pre-game look at Joe Na-
math's battered and braced knees; he has
operated on each twice.

Dr. James A. Nicholas uses the skeleton
in research at his Institute for Sports Med-
icine at Lenox Hill Hospital in New York.

Dr. James A. Nicholas, 54, is one of the pioneers in the new field of sports medicine. An orthopedist, he began practicing in 1952 and in 1954 was a member of the surgical team which operated on the war-damaged spine of then Sen. John F. Kennedy. In 1960 one of his patients, who was also owner of the New York Titans of the young American Football League, asked him to become the team's physician. Nicholas has been with the team ever since, through a name change

—they're now the Jets—four celebrat-
ed knee operations on quarterback Joe
Namath, one Super Bowl (he wears a
championship ring) and a broken nose
in 1961 when a Buffalo player hit him
as he rushed to treat a fallen Titan.

Nicholas is also team physician for the
New York Knicks, Rangers and Yan-
kees and since 1973 has been founding
director of the Institute for Sports Med-
icine and Athletic Trauma, a research
organization. Married and the father of
three, Nicholas himself plays tennis,
runs, golfs and lifts weights. Recently
he talked with Ralph Novak of PEOPLE.

68

PHOTOGRAPHY
NEW YORK, N.Y.

SUMMER 1976

Newsbits:

In Robert Taft's book, *Photography and the American Scene*, there is a paragraph about cabinet photographs made by Sarony between 1869 and 1876. His gallery space is vividly pictured and described as "a dumping ground of the dealers in unsalable idols, tattered tapestry and indignant crocodiles." It is this anecdotal side of photography that enhanced the spirit of artists in the late 19th Century, and continues to captivate our imagination wherever known personalities of our own medium are concerned. Rumors, legends and allusions illuminate photography, often stimulating energy and diversity in our media-mixed environment.

Here is a marvelous story about Harry Callahan overheard from Hollis Frampton who took a course with him at the Art Institute of Chicago in the late 50s.

Every semester, when Harry Callahan walked into his first class, he told his students that he wasn't going to keep them long because he knew they had things to do (books and materials to buy, registration to complete, etc). But before dismissing them, he wanted to give them this first lesson in photography. So he paced around the room a bit, not speaking, then quietly fished around his pocket for a long time. Finally, and rather sorrowfully, he took out a 20 dollar bill, folded it into a paper airplane and tossed it out the window. Then he

looked at his students again and said: "That's your first lesson in photography."

Harold Jones heads the University of Arizona's Center for Creative Photography. The center has acquired significant papers and letters from Alfred Stieglitz, Ansel Adams, John Marin, D. H. Lawrence, Marcel Duchamp, Georgia O'Keeffe, and Aaron Copland. The UA facility also includes acquisitions from Ansel Adams, Wynn Bullock, Harry Callahan, Aaron Siskind and Frederick Sommer. Some other interesting facts: 45 of Edward Weston's early platinum prints were assembled with the cooperation of Neil Weston. The center was also successful in obtaining 110 letters written between Edward Weston and his friend Johan Hagemeyer between the years 1915 and 1935. We also learned that Paul Strand has an interesting habit of mounting one print on the back of another poorer print. When he found out later that MOMA succeeded in pulling two prints apart, he was truly upset. He also kept notebooks of everything that ever appeared in print about his work. Surely these are valuable facts for future historians and photographers everywhere.

Bob Reynolds, a photographer living in Allentown, Pa., remembers a

time when he and a friend stopped by for a chat with Emmet Gowin and got their lesson in photography. They were sitting around the dinner table talking about their latest technical hangups, when Emmet suddenly seemed to remember something very important. They watched him with halted breath as he got up, took out an original Walker Evans print from its frame, placed it on the table, pulled an empty dish from the rack, added some water and two drops of Spotone and proceeded to brush it gently and consistently on the light area of the print. When he was satisfied with the results he put the photograph back into the frame, adjusted it carefully on the wall and said: "You know, that's something I've been meaning to do for a long time. Don't you think it looks a lot better now?"

From Minneapolis, and far away places, where photographers tell their tales, perhaps there is nothing more poignant than the scrap of paper, resting in a glass showcase at the French Cultural Services exhibition here in New York City. It reads as follows: July 23, 1931: 1-man exhibit-Julien Levy Gallery New York City 1932. Received 35 original photographs on commission from André Kertész to be sold at a minimum price of $20 each with a commission of 33-1/3 to the gallery, signed: Julien Levy.

It seems that photography has come

a long way since then, and in a recent show "André Kertész and France," our eyes span the realism of Kertész' camera between the years 1925-1975. Still, it's curious that Kertész never quite detached himself from the early years of his career. Just as our eyes hold on to the fragmentary scenes of Kertész' Europe, his autobiographical recollections reverberate with nostalgia and pathos. Sitting behind his oak desk in the study of his New York City apartment, he was facing me solemnly, his eyes looking inward: "You know, I had a fantastic reception in Arles last summer. They haven't forgotten me there." When he revises about France, his voice cracks with emotion. "Back in 1936, they wanted to give me the French Citizenship for artistic merit. But within a week I had to leave for New York, and I never went back." He talked about his alienation from the city, its general gimmicky spirit, which he feels characterizes so much of the photography we see these days. In redirecting our conversation to cameras and lenses, the daily hardware of our medium, and his eyes lit up. "I still use my Leica a great deal," he said, "and lately my Canon, too. You know, I like playing with new cameras and experimenting with different equipment." I looked over some of the children's artifacts he has collected over the years: a wooden doll, an Austrian bird name of bronze, and on the wall right above it, some of his

latest photographs of birds winging
their way through Southern France.

It became apparent that his study is
his Mecca, enshrined with mementos
of a rich and colorful life. Glass
sculptures of every size and shape were
reflecting the light of the late
afternoon sun. He seemed comfortable
in his apartment. He has been living
here for over 30 years, and he can
point out through any one of his
windows and tell you about the
changing skyline, or show you exactly
where the flea market took place in
the Village of the 50s. At one point, I
found myself glancing into Washington
Square Park, wondering how many
photos were viewed by Kertész from
the same exact spot.

Later, I couldn't help but wonder
about some of the sadness, even a bit
of the scorn Kertész expressed about
our changing photographic concerns.
There is perhaps a spirit of abandon on
the loose among the photographic
community that we should do away
with. It reflects itself in the increased
number of gallery thefts and arrogant
attitudes expressed at openings, which
have forced some leading galleries to
hold closed receptions for their artists
and cut down on mailing lists. Let's
solidify some of our energies so the
audience out there respects our work
and our spirit. Let's continue to kick
photography at the edges, expand our
range and extend our vision! And
remember also our modest beginnings.

—Ruth Breil

OCT 29 1976

By Janet Lowe

Woman's World
# Feminine Artist View Different?

By Janet Lowe

A friend recently stopped by on her way to a showing of feminist art. "What is feminist art?" I asked. "I don't know," she replied, "that's why I'm going."

The very concept that there should be feminist art as something apart, such as African art or Indian art, intrigued me.

What would female art be like? There is a general assumption that women's art is mostly a lot of flowers and landscapes done in pastels. I suspect that when women incorporate their own experience into art, it isn't all soft and pink, any more than women's choreography has been all ballet.

Georgia O'Keefe, who moved to the southwest many years ago, has spent her life exploring and painting that natural, spiritual terrain. She works in bold, vivid shapes and colors.

Maureen Connor does shadow paintings by hanging nets and ribbons from the ceiling and letting you look at the reflections on the wall. Pat Mainardi paints "junkyard landscapes" and seems preoccupied with abandoned cars.

My favorite contemporary landscapes are by Cynthia Mailman, who surrounds all her paintings with an automobile window...complete with rearview mirror. I can understand that. I've seen most of my landscapes the same way.

If there is a feminist bond among today's women painters, it surely must be their daring, experimental natures.

I went back a little further in time and reviewed the paintings of Mary Cassatt, one of the great impressionists, who is known for her paintings of mothers and children.

Her style resembles that of

the male impressionists, with subtle differences. In "The Interior" the tension between the man and woman is transmitted so electrically that many critics have renamed it "The Rape."

I was surprised to learn that many great paintings which have been accredited to men were actually painted by women.

"The Jolly Toper," which hangs in the Rijksmuseum in Amsterdam, was attributed to Frans Hals until it was discovered that Judith Leyster painted it. The "Portrait of Marco dei Vescovi and Grandson," which belongs to a Venice-museum, was long accredited to her father Jacopo, but is now accepted as the work of Marietta Tintoretto.

Perhaps the greatest picture known to be painted by a woman, the "Portrait of Charlotte du val d'Ognes," by Constance-Marie Charpentier, was considered for years to have been painted by Jacques-Louis David. That portrait now hangs in the Metropolitan museum.

These pictures couldn't possi-

bly show a difference in male and female painting or else they could never have been passed off as men's work.

We can see differences in the way women painters view events, yet I'm reluctant to believe there is such a thing as feminist art. Any person, artist or otherwise, sees the world through his or her own eyes, reflected in personal experience.

The woman artist, more than ever, has an important role in helping to expand and balance our perspective of the world.

ART

O'Keeffe Country

Coming upon Georgia O'Keeffe sitting in the desert in front of her low adobe house is like coming upon an image of one of her paintings. Now 89, she sits en route in the New Mexico sun, here eyes closed. Against the blue sky and the flat horizon, she forms a precise outline. There is no mistaking who this is, as there is no mistake about the giant flowers, shells and rocks that hang expectantly on the front plane of her paintings, as if they were about to fall into the real world. The hills and mountains that sprawl across the

book. Four years ago my secretary nagged me again, and I finished it." In her preface she says: "I am often amazed at the spoken and written word telling me what I have painted. I make this effort because no one else can know how my paintings happen."

Georgia O'Keeffe may look and live the life of a serene mistress of the desert, a triumphant survivor of the embattled American modernist revolution of the 1920s and '30s, but underneath she is seething, working, thinking. She points

Juan Hamilton

O'Keeffe at 89: Exploring 'the wideness and wonder of the world'

desert north of Santa Fe are almost ludi-
crously picturesque. They are etched
with forms that look man-made or organ-
ic—boxes and cubes drawn in the moun-
tains, cliffs shaped like fingertips. "It
looks painted, doesn't it?" says O'Keeffe
when I sit down next to her. "I came out
here because of the earth colors—the
ochers and the reds. They are the same
colors that are on my palette."

She came first in the late 1920s, but
not until 1949 did she leave New York
for good. From time to time she has
been interviewed—always in a way that
bolsters her reputation as a recluse. In
fact, she is anything but that, as is
proved by the publication of her spirit-
ed, sumptuously illustrated autobiogra-
phy, "Georgia O'Keeffe" (Viking, 108
color plates, $75). "I got tired of all the
sexy things they were writing about my
paintings," she says, hardly stopping for
breath. "I complained about these
Freudian interpretations of my flowers
and a friend said, 'Why don't you do the
writing?' He nagged after me and I
started. I wrote the early part of the

to the low, U-shaped adobe house in
which she lives in spartan rooms and says,
"I've lived here longer than any place. It's
quiet and alone. I'm a lone person." But
inside, the young potter and sculptor Juan
Hamilton, who doubles as her assistant, is
arguing on the phone about an air-freight
delivery from the East. Correspondence
is piled high. She is plagued not only with
endless details concerning the pub-
lication of her book but with overseeing
exhibition plans for the archives left by
her late husband, Alfred Stieglitz, the
great photographer-dealer who fought for
the new American art early in this century
and who discovered O'Keeffe.

**Pottery:** She sighs. "It can be like a New York office building here at times. But I wake early every morning and begin painting. I have just finished a new painting I want you to see." She has lately taken up pottery, inspired by Hamilton. "Clay is a new medium," she says. "I can't make it do what he can. I haven't made it speak yet." Hamilton points out that pottery demands great strength. But O'Keeffe, who is in perfect health except

for the lingering effects of a dislocated
left shoulder she suffered two years ago,
only repeats: "I must learn to make the
clay speak."

She is a woman of immense will power. A museum director once said, "Georgia is easy to get along with—as long as you do exactly what she wants." Her progress from a girlhood in rural Wisconsin to a central position in the New York avant-garde in the '20s to her present eminence is remarkable. "In those days women were the lowest minority," she says. Her book is girded by a forceful, justifiable pride in what she has done. It is filled with sustained, lyrical descriptions of her paintings and how they came to be. Not once does she defer to or even acknowledge her Freudian critics (and supporters). Her flowers—like the passionate "Red Poppy" (color pages)—are re-creations of reality, she claims. "Everyone," she writes, "has associations with a flower—the idea of flowers. . . . I'll paint what I see but I'll paint it big." Similarly, her shells, rocks and vistas are simply excuses "to say what is to me the wideness and wonder of the world as I live it."

**Bones:** Again and again, O'Keeffe insists that she selects her images from the world in pure innocence, then transforms them in painting. About the ominous cattle skulls that have loomed in her work since the '30s, she writes disinglingly: "When I found the beautiful white bones on the desert I picked them up and took them home." I show her a reproduction of her famous "Black Abstraction" and trace the sensuous line that crosses its plane—a leg, perhaps? "No," she insists, "that is my hand as I saw it when I was going under anesthetic on the operating table. The tiny dot is the operating light above me. Now come see the new painting. I finished it a few days ago."

Her studio looks out on Pedernal Peak. Her easel is empty now and order prevails. Nearby is a burnt-orange, ocheryellow and blue canvas almost 6 feet long that closely resembles one of her purest abstract paintings, "White Patio With Red Door" (1960). "It's the door again," she says. "The door in the patio wall in my other house in the village. It has always had great meaning for me. I don't know why."

Suddenly she changes ground. "But it's a painting, you know. That's what I mean it to be seen as, not a door." Here is another key to the continuing fascination of O'Keeffe's work. She is at once realist and modernist, a recluse and sophisticate. It is impossible to believe that she is unaware of the sexual implications of such images as "Jack-in-the-Pulpit IV" (1930) or that she regrets the confusion it engenders in her critics. As I leave she tells me yet another confounding fact. Inspired by the large-scale outdoor sculpture she saw on a recent trip to Milwaukee, she is planning a large 10-foot work of sculpture, her first. "It's a dream," she says, "but I think we can do it. I have a lot of unfinished business."

—DOUGLAS DAVIS in Santa Fe, N.M.

76

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LIFE & CASUALTY

Page 3 THE SANTA FE REPORTER September 16, 1976

# O'Keeffe Museum Considered

By FRANK CLIFFORD

A proposal now under consideration by officials of the Smithsonian Institution in Washington D.C. could result in the creation in Santa Fe of a museum honoring celebrated American painter Georgia O'Keeffe, a long-time New Mexico resident.

The proposal, advanced earlier this summer by friends and admirers of Ms. O'Keeffe, suggests that the Smithsonian do a feasibility study to determine the amount of work and expense that would be involved in building, staffing and endowing a Georgia O'Keeffe Museum in Santa Fe.

Ms. O'Keeffe's assistant, Juan Hamilton, confirmed Monday that the proposal for the museum is under consideration. Hamilton was contacted at the artist's home in Abiquiu.

"Ms. O'Keeffe would be willing and interested in giving a large body of her work to the museum, work from her private collection," Hamilton said. Ms. O'Keeffe was not available for comment.

Hamilton also said that John Crosby, general director of the Santa Fe Opera, has offered to donate a piece of his own land adjacent to the Opera property as a site for the museum. Hamilton said that no decision has been made on the offer.

He added that much of the impetus for the museum came from "people associated with the New Mexico Opera Association."

Contacted in New York on Monday, Crosby said he was aware of the proposal for a museum; but on the subject of his reported offer of land, he would say only: "No one has talked to me specifically about that."

[Continued on page 7]

## O'Keeffe's Place

Georgia O'Keeffe was one of America's first acclaimed modern artists. In 1916 her work was displayed in the same New York City gallery with dramatic early paintings by European artists including Picasso and Matisse.

Like that of the Europeans, Ms. O'Keeffe's work then was often abstract. But it was not considered either derivative or imitative. From the beginning, her art was praised as original.

In 1924, Ms. O'Keeffe married Alfred Stieglitz, one of America's great pioneer photographers. A few years later, she visited New Mexico for the first time. In 1946, after her husband's death, she moved to the state permanently, to an adobe house in Abiquiu.

Nature always has been a primary inspiration for Ms. O'Keeffe. And since coming to New Mexico, her work has reflected a fascination with southwestern landscape, with mountains, wild flowers and the weathered bones of desert creatures.

Her style too, has continued to defy categorization, to remain original. "Her work is marked by a wide range of artistic language from precise realism to abstraction," wrote one critic in a 1970 book.

Approaching her 89th birthday, Ms. O'Keeffe is said to be in fine health and high spirits. She still lives in Abiquiu, surrounded by desert and rugged red brown hills, a landscape which, like herself, is most noted for its incomparability. "You have no associations with those hills—our waste land—I think our most beautiful country," she once wrote.

Cow's Skull, 1931

The Metropolitan Museum of Art

Georgia
O'Keeffe:
Her art
and her
lifestyle

By Robert Taylor
Globe Staff

On Tuesday, Georgia O'Keeffe, one of America's foremost painters, will celebrate her 90th birthday. To mark the occasion, Channel 2 is airing an hour-long special from 8-9 p.m., "Georgia O'Keeffe," produced by Perry Miller Adato under a grant from Xerox, the Corporation for Public Broadcasting and the National Endowment for the Arts.

The documentary is the first ever devoted to O'Keeffe — a fact which in itself speaks volumes about the place of women artists in our culture — and the first of a seven-part series which Adato is doing (the others look at Mary Cassatt, Louise Nevelson, Helen Frankenthaler and Alice Neel, with three more painters to be selected) under the title, "The Originals: Women in Art."

Adato, who also directed the film, screened it at the Boston Museum of Fine Arts last week and afterward talked about her "long courting period" of her subject.

O'Keeffe is, of course, independent in a manner that virtually seems to have vanished from the earth, and, despite the lack of a film about her, was by no means eager to participate in one merely for the sake of vital statistics. Characteristically, however, once committed, she sought to make the enterprise memorable.

And, to a large extent, she suc-

ceeded: "Georgia O'Keeffe" is a wonderful film about an artist's personality, and a good one — allowing for the limitations of an hour format — about her art.

It opens with footage of O'Keeffe's present lifestyle in the adobe house she has occupied in Abiquiu, N.M., since 1945. She walks two to three hours a day, grows her own food and exemplifies the virtues of temperate exercise and organic farming.

Her young assistant and companion, Juan Hamilton, is a potter; O'Keeffe, too, recently has undertaken pottery, and at first was dissatisfied with the results, but Juan 'said to me, 'Keep on, keep on — you have to work at it — the clay has a mind of its own.' He helped me with this and that and I finally have several pots that are not too bad, but I cannot yet make the clay speak — so I must keep on.'

Then the film flashes back, incorporating rare memorabilia from the Archives of American Art; a view of the wheat farm near Sun Prairie, Wisc., where O'Keeffe was reared; her decision to become an artist made when she was 10, symbolized by classroom sketches of her teachers (exceptional in her work — as she freely admits, she finds people in general "too difficult" and prefers the complexities of landscape); still

O'KEEFFE, Page E24

Ford Cites 21 To Get Medals

VAIL, Colo. (UPI) — President Ford said Saturday he will give Medal of Freedom awards to Lady Bird Johnson, Vice President Nelson Rockefeller, former baseball great Joe DiMaggio, songwriter Irving Berlin and 17 other Americans Jan. 10.

Others receiving the highest civilian award will include General of the Army Omar Bradley, labor leader I. W. Abel, historians Will and Ariel Durant, poet Archibald MacLeish, artist Norman Rockwell, broadcaster Lowell Thomas and author James Michener.

The awards also will go to artist
Georgia O'Keeffe, Nobel Prize physicist
John Bardeen, Nobel Prize agriculture
scientist Norman Borlaug, former Chief
of Naval Operations Arleigh Burke, the

late sculptor and artist Alexander Calder,
Civil War Historian Bruce Catton, J.S.
Circuit Court of Appeals Henry Friendly
of New York, Joulett Shouse who donated
the funds for the Wolf Trap +ark for the
Performing Arts near Washington, D.C.,
and Nobel Prize scientist and educator
James Watson of Cold Spring Harbor,
N.Y.

This will be the fifth presentation of
the medals. The list of stars of American
life to be honored is comparable to the
honors list issued annually by Queen
Elizabeth of England.

The award to Lady Bird Johnson,
widow of the late President Lyndon B.
Johnson, marked the first time a presi-
dent had given the Medal of Freedom to a
predecessor's wife.

ARCHIVAL SECURITY NEWSLETTER

O'Keeffe Wins Appeal for Return of Paintings

Artist Georgia O'Keeffe has been trying since 1976 to recover three of her paintings stolen from a New York art gallery in 1946. The paintings were kept from public view until 1976 when they were sold to a New Jersey art dealer. When she learned of their whereabouts, O'Keeffe filed suit to get the paintings back, believing that they were rightfully hers all along. In 1978, a New Jersey judge ruled against O'Keeffe, stating that she "had slept on her rights for thirty years and failed to take action that may have been productive." (See SAA Newsletter, November 1978).

Recently, a New Jersey Appellate Court over-
turned the previous decision and ruled in
favor of O'Keeffe. The Court held that the
six-year statute of limitations on personal
property actions did not begin to run until
O'Keeffe knew where the paintings were and
who had them.

In an article in the *Art Theft* Archive News-
letter, O'Keeffe's lawyer, Roger Lowenstein,
stated: "The significance of the opinion
cannot be underestimated. Those courts which
have unduly honored the 'rule of repose, '
interpreting a statute of limitations to cut
off a true owner's rights merely with the
passage of time, must now seriously question
such a result. People who deal in stolen
goods can never be secure in their possession.
People who purchase valuable art must insist
upon proper proof of title in order to be
secure."

The case was appealed to the New Jersey
Supreme Court. Whatever the final decision,
its effect on the cases involving replevin
of archival materials will be interesting to
follow.

Researcher Charged in Document Theft

Bernard M. Riley, a volunteer historical
researcher at the Union County (N.J.) Office
of Veterans Affairs, was arrested recently
and charged with the theft of rare documents
by deception and receiving stolen property.

Riley allegedly took a number of rare documents
valued at $50,000 from the New Jersey Historical
Society and the City of Summit.

Riley claimed to be representing the veterans
affairs office when he obtained the documents
from the historical society under the guise
that they were to be lent for display. The
documents were later sold in New York.

Among the items taken were documents containing
the original signatures of George Washington
and Abraham Lincoln. Most of the stolen items
have been recovered.

If convicted on all eight counts of the indict-
ment, Riley faces up to 35 years in jail and
$50,000 in fines.

Nitrate Film Stored in Chicago Landmark

Old home movies stored in the attic of the
decaying, historic Wrigley mansion in Chicago
could explode and cause a major fire, according
to the building's neighbors.

The mansion, built in 1896 and vacant since
last year, was designated a landmark in August,
1979.

A group of concerned neighbors complained to
the Chicago Landmarks Commission that the
cellulose nitrate in the films is deteriorating
and could ignite spontaneously at any time.

Rare Books Missing at Harvard

Officials at Harvard University have called
in the FBI to investigate the disappearance
of more than 150 rare books and 200 valuable
plates from the Library of Harvard's Museum
of Comparative Zoology. A person familiar
with the case said that the books and plates
are worth approximately $250,000.

Investigators are not sure when the books
were taken and said there was no sign of
forced entry into the library. Many of
the missing books had been housed in a locked
special collections area, only used by
scholars and students under the supervision
of library personnel. Some of the plates
were cut from books with razor blades.

Included in the list of missing books are
20 volumes of John J. Audubon and several
early editions of works by Capt. James Cook,
Charles Darwin, and Lewis and Clark. 40
Audubon plates and two manuscripts were
also reported missing.

May 1980

9

SAA Newsletter

C-8 ALBUQUERQUE JOURNAL

Wednesday, March 26, 1980

# Agency Shuns O'Keeffe Gift

Of the Journal's
Washington Bureau

WASHINGTON — The National Park Service, Tuesday rejected the idea of turning Georgia O'Keeffe's home and studio at Abiquiu into a national historic site at this time, stunning sponsors of a bill which clear the way for Ms. O'Keeffe to donate her home and studio to the federal government for that purpose.

"It's incredible," Sen. Pete Domenici, R-N.M., said after Associate Director Daniel J. Tobin of the Park Service recommended that the bill "not be enacted at this time."

Instead, Tobin suggested that the site become a national historic landmark.

Domenici said the criteria for designating a historic site and a historic landmark are the same except that the federal government does not assume ownership of a landmark as it does of a historic site.

But Tobin said "there was

no budgetary problem" in the decision to reject the O'Keeffe offer.

Tobin's remarks came at a hearing by a subcommittee of the Senate Energy and Natural Resources Committee, a hearing chaired by Domenici.

It was learned after the hearing that the Park Service asked the Office of Management and Budget for permission to support the bill, introduced by Domenici, but OMB denied both the request and an appeal from the denial.

Meanwhile, it was widely rumored Tuesday that Ms. O'Keeffe's offer was turned down because she donated a painting to be sold to raise funds for the presidential campaign of Sen. Edward M. Kennedy, D-Mass.

However, a spokesman at Kennedy headquarters here said Ms. O'Keeffe has not donated a painting to the campaign.

"We heard rumors she would but we haven't re-

ceived such a donation," the Kennedy spokesman said.

Tobin argued that the Park Service cannot go along with the O'Keeffe offer because its rules provide that "properties achieving historical importance within the past 50 years will not, as a general rule, be considered unless associated with persons or events of transcendent significance."

He said such a designation would be "appropriate at a later date" but refused to specify such a date at the hearing.

After the hearing, Domenici said he has checked with other subcommittee members and is certain the subcommittee and the full committee will report out the bill for action by the full Senate despite the Park Service recommendation.

He said Rep. Sydney Yates, D-Ill., a member of the House Interior Appropriations Committee and a strong supporter of Ms. O'Keeffe's offer, told him Tuesday that the bill will

also pass the House.

In other action at Tuesday's hearings:

* The Bureau of Indian Affairs urged passage of a bill which would authorize $600,000 to repay purchasers of subleases in Colonias de Santa Fe for their losses when the Department of the Interior canceled the lease of the developers of the housing project. None of the funds will go to repay the developers or those whose subleases were received in exchange for services.

The bill was introduced by Sen. Harrison "Jack" Schmitt, R-N.M.

* The National Park Service recommended passage of a bill placing portions of the Elena Gallegos Land Grant now owned by Albuquerque Academy in the Sandia Western area and indicated support for increasing the authorization of funds to aid in the purchase from $12 million to $20 million.

No action was taken on any of the bills at Tuesday's subcommittee hearings.

ALBUQUERQUE JOURNAL

Tuesday, April 22, 1980 C-3

Lujan Urges
House To OK
O'Keeffe Plan

From the Journal's
Washington Bureau

WASHINGTON — Rep. Manuel Lujan Jr., R-N.M., Monday urged the House to support legislation he has introduced directing the National Park Service to accept the home and studio of artist Georgia O'Keeffe as a national historic site.

He called the Park Service's recommendations that the offer be rejected "incredible."

Lujan inserted in the House record a March 28 editorial from the Albuquerque Journal which he said "thoughtfully sums up the situation and urges this body to approve Ms. O'Keeffe's home and studio as a national historic site.

One the Senate side, a bill introduced by Sen. Pete Domenici, R-N.M., to accomplish the same end has been approved by the national parks and resources subcommittee and will go to the full Energy and Natural Resources Committee this week.

THE NEW YORK TIMES, TUESDAY, APRIL 28, 1981

# The City

## Settlement Reached On Olympic Refunds

A Federal judge in Manhattan approved the settlement of two suits involving more than 9,000 Americans who were seeking refunds of payments they had made for trips to the 1980 Olympics in Moscow that they canceled because of the official boycott by the United States.

Under the settlement approved by Judge Lawrence W. Pierce in Federal District Court, Americans who canceled their trips before March 1, 1980, will get refunds of about 85 percent, less $195 and attorneys' fees. Those who canceled after March 1 will get initial refunds of about 63 percent, less $195 and attorneys' fees.

The money is to be distributed by the Russian Travel Bureau Inc., which had exclusive rights to book the tours. The agency originally turned over $9.1 million in tour deposits, but that amount grew to almost $10.4 million with interest and $500,000 realized from 963 other Americans who chose to attend the Games.

Although the Soviet Union will keep about $7.2 million forwarded by the travel agency, that nation has agreed to set aside $1.8 million as "credits" to the American agency over five years. Judge Pierce also approved payment of about $475,000 for attorneys' fees, expenses and distribution costs.

## A Suspect Is Sought In Copyright Scheme

A Federal arrest warrant was issued in Manhattan for a man accused of improperly authorizing the printing of lithographs from a book of photographs of paintings by Georgia O'Keeffe. Federal authorities are looking for the suspect, James E. Stieglitz, who was charged with copyright infringement.

The artist said she had not authorized anyone to make the lithographs, according to an agent of the Federal Bureau of Investigation.

An associate of the suspect agreed to sell the lithographs for more than $6 million, the F.B.I. agent said. He said they consisted of 25 editions, each containing 250 lithographs, at $1,000 a lithograph.

# Georgia O'Keeffe Matches Grant to Fisk

(Continued from page 31)

nine drawings and paintings by Arthur G. Dove; works by Charles Duncan, Wanda Gag, George Groz, Marsden Hartley (11 oils), Bernard Karffiol, Benjamin Kopman, Stanton MacDonald-Wright, John Marin (12 watercolorers by this American artist whose first show was at Stieglitz's "291" gallery in 1909); and

Alfred Maurer, Manuel Martinez Hugue ("Manolo"), Kenneth Hayes Miller, Eli Nadelman (bronze head of a woman), Jules Pascin, Picasso (Tete de Femme, oil on canvas, 1904), Renoir (two color lithographs), Diego Rivera, Gino Severini, Charles Sheeler, Paul Signac, Alexandre Steinlen, Maurice Sterne, Florine Stettheimer, Toulouse-Lautrec (three lithographs), and Abraham Walkowitz.

Georgia O'Keeffe is represented in the collection by the earlier noted Radiator Building—Night, New York, and her famed Flying Backbone, also oil on canvas. Her husband, Alfred Steiglitz, is represented by 19 of his stunning photographs, including a portrait of Miss O'Keeffe and a self-portrait.

Present during the Leonards' visit was Miss O'Keeffe's young assistant, sculptor Juan Hamilton whose works, according to critic Barbara Rose, "are related to the vocabulary of forms associated with O'Keeffe's later works, especially her series of bones and rocks." Hamilton obligingly photographed the Leonards with Miss O'Keeffe for a picture to accompany this report on their visit.

WHEN MISS O'Keeffe gave Fisk the Steiglitz collection in 1946 she said it was "with the hope that it may show that there are many ways of seeing and thinking, and possibly, through showing that there are many ways, give someone confidence in his own way, which may be different, whatever its direction."

Leonard, who regards the opportunity to meet with this artist/benefactor a highlight of a lifetime, is adamant that the works must be kept intact and displayed as a collection. He has had many requests to send them on tour in part or as a whole, a request he refuses with some indignation and a strong measure of conviction. "I am persuaded that if we introduce the collection to an appropriate representation of Nashville citizens we will have an appropriate setting."

He is, however, considering bringing home four or five works for such a group of art appraisers to view sometime this spring in the company, it is hoped, of Georgia O'Keeffe herself.

(The centenary of the birth of Carl Van Vechten, for whom the gallery is named and who served as chairman of Fisk's Fine Arts Commission in 1949, is still being marked in several ways in New York.)

Born in 1880, he died in New York in 1964. He was a dance critic and photographer, a leading figure in New York's chic literary set in the 1920s, allying himself with the avant garde in literary and artistic affairs and serving as assistant music critic for The New York Times in 1906-07 and from 1910-1913. He gave up formal reviewing in 1920 but continued

to write critical appraisals in all fields in essay or monograph form.

Serving with Van Vechten on Fisk's Fine Arts Commission were Romare Bearden, Aaron Douglas, Lincoln Kirstein, Jacob Lawrence, Thomas Mabry, Miss O'Keeffe and, ex officio, the late Charles S. Johnson who was then president of Fisk.)

THE SANTA FE REPORTER July 31, 1980 Page 16

LIPPINCOTT
PAINTINGS AND SCULPTURE

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## Traveling in Mexico

By Ruben Limas Loza

Q. I've read that when the Mexican government expressed the foreign oil companies in 1938, Mexico became the world's second-largest oil producer after the United States. But I also read that by 1971, Mexico was a net importer of oil. Why?

A. Administrative inefficiency and corruption.

Q. What automobile company in Mexico is first in production and which is last?

A. According to government statistics, published in April of 1980, Volkswagen has assembled 29,912 units. In second place is Chrysler with 28,762; third goes to Ford with 21,090 units; fourth is Datsun with 14,442, fifth place goes to American Motors with 7,145, and sixth place honors go to General Motors with 6,829 units. (GNC has not assembled one single unit in the last three months because of a strike which is still on at the writing of this answer.) Renault is in last place with a production of 5,434 cars.

Q. Friends who live part-time in Mexico tell me that the Mexican postal service is really bad. Is this true?

A. Bad by all means. For example, a letter mailed from the northern city of Monterrey on Feb. 22 arrived in Mexico City on May 1. Also, a letter from Santa Fe, N.M., was sent to Irapuato in the state of Guanajuato, on Nov. 6, 1979. It arrived Jan. 15, 1980.

Q. So much petroleum is being discovered in southern Mexico. Do the local people expect this "black gold" to

better their living conditions?

A. No. In most areas in southern Mexico where petroleum has been found, inflation has tripled prices. For example: technicians for Pemex, the government's petroleum agency, have just announced that at the bottom of Tamiahua Lake, near Veracruz, lies a huge hydrocarbon reserve. But the residents of the area aren't too happy about this, since their interest and business is fishing, and they fear that once the Pemex people move in, the fishing will die away, leaving them "beggars in our own land."

Q. Is the Mexican government encouraging American businessmen to invest in the country?

A. Yes. In case you are interested, write to Mr. James Blow, Director of the U.S. Export Development Office, U.S. Embassy, Apdo. Postal 88-Bis, Mexico 1, D.F. Mexico.

Q. Is there a directory in Mexico that lists most of the Americans living and working there?

A. Yes. It is the "Anglo-American Directory of Mexico." Apartado Postal 27-210, Admon. 27, Mexico 7, D.F. Mexico.

Q. One hears so much about the smog in Mexico City. What is causing this pollution?

A. Half of the air contamination is caused by exhaust from the 5 million vehicles in the city. The other half results from tons of trash dumped in the open, and wastes from the city's 8,000 industries.

## That's a Good Question!

By Laurie Macrae
Santa Fe Public Library

Q. What is an earl's wife called?

A. The wife of an earl is addressed as a countess. For official business correspondence, she should be addressed as the Right Honorable Countess. In personal conversation, she may be addressed as Lady or Madam.

Q. Where is Mount Damavand?

A. Mount Damavand is located in northern Iran, northeast of Tehran. It is 18,934 feet high, the highest point in the Elburz Mountains, and in the ancient religion of Zoroastrianism was the "cosmic mountain."

Q. Are there any youth hostels in New Mexico?

A. Yes, in Albuquerque, there is the Canterbury Hostel at 111 Stanford, S.E.

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