Kenneth Stubbs
(American artist, 1907-1967)

A group of young artists, formerly students at the Corcoran School of Art, has opened a little gallery at 1731 Connecticut Avenue, on the second floor in order that they may exhibit their own works. The group consists of six -- five men and a young woman, the last Ita Romagna -- all of whom have undoubtedly fallen under the influence of the modernistic art set forth in the Phillips Memorial Gallery. There is little of no trace in the works shown of academic instruction given at the Corcoran School of Art. To the contrary, these young painters have apparently espoused the cause of the extreme modernists and are using the modernists' idiom. It cannot be said that in some instances they are not using the idiom well and there are certainly signs of originality and unusual viewpoint. There is, furthermore, to be noted an understanding of draftsmanship, though it must be confessed that little emphasis is placed on good drawing.

Ita Romagna shows a painting, "Wharves Grow Like Flowers," which does undoubtedly suggest a resemblance between living and inanimate things. She also shows, in the spirit of oriental painting, a picture in ochre, more or less Chinese.

Charles Darby shows works which evidence an imaginative strain, such as "Rain Horses," "Wheatfields" and "Pigeons and St. Matthews." Fritz Fuglister seems perhaps to go further, and with more freedom than his associates produces works such as "Mask" and "Woman," both nudes, somewhat in the manner of Matisse, though greatly lacking his skill -- paintings good in color, but in which masses are held in bound by heavy black outlines. Kenneth Stubbs is twice represented, by a painting entitled "Silver Day," which has quite a little to commend it, and one, "Still Waters," less significant. Hugh Collins shows two prints, a pastel and a water color.

It is a little hard to understand why, with so much beauty at hand, these young artists should choose by preference homely objects to present; but beauty is a relative term and none can deny those who are profoundly in earnest the privilege of seeking out their own salvation in their own way. It is a little startling and distinctly encouraging to find in the hallway at the entrance to this little gallery a very excellent group of prints, admirably reproducing the great works of Michelangelo. After all, it is difficult to get away from the past.

Washington Sunday Star, March 15, 1931, magazine page 22