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The Art World
Washington Artists' Guild Fourth Annual Exhibition Opens at Corcoran Today
The Artists' Guild of Washington will open this afternoon at the Corcoran Gallery of Art, its fourth annual exhibition. It comprises more than 40 works in the special exhibition gallery: six sculptures, the others paintings in oil, water color and tempera, and several cases of prints and drawings in the atrium.
It is as good a show as this reviewer has seen in the guild's series. It has strength, competence, variety and no little beauty. The paintings range from academic to abstract; the prevailing character of the group is closer to center than to left. There are, of course, some works that do not measure up to the standards set by the majority, but that is to be expected.
Andrea Zerega's large, handsome still life, "Happy Birthday No. 2," dominated by tawny chrysanthemums with balanced blue and red areas, has some admirable painting of textures. Richard Lahey's beautiful "Fruit and Flowers" is also outstanding, and his little pencil drawing "Autumn in Virginia" is exquisitely done. Nan Watson, who maintains a high level of accomplishment, shows a small but lovely flower painting, "Christmas Gift."
Laura Douglas has contributed a witty transcription of a Victorian interior, "Miss Bell's Parlor," in which the cluttered, stuffy feeling of the room is heightened by somewhat muddy colors. "An Artist Lived Here," by Lois Mailou Jones, has strong contrast between the damaged with its abandoned piano and easel, and the sunny seascape seen through the door.
Portraits and Figures
Several good unpretentious portraits include that of a young naval officer by Alice Acheson; Sybil Bonbright's slightly-over-life-sized impression of herself, and Walter Carnelli's "Vanessa." Jack Berkman's satirical "Miss Didsbury of Mile End" has an unpleasant color scheme of raw red, green and yellow.
Compositions with one or more figures include Kenneth Stubbs' "Red Cloth," cleanly painted, but giving an impression that the two women have no relationship other than their presence at the same table; they seem to be emotionally isolated. Saul Levine's large group of solidly painted, stocky figures in a hot, mustard-colored room has a nightmarish solemnity; its meaning will probably elude most spectators.
Lt. Mitchell Jamieson and Sergt. Paul Arlt are responsible for the only paintings of war subjects, excellent combat water colors done for the Navy Department and Marine Corps, respectively. Prentiss Taylor, president of the guild, shows a documentary painting, "Lafayette Square VJ Night." His depiction of the Jackson statue as "larger than life" and the dark areas of trees and grass plots convey the impression that these are permanent, while the celebrating crowd curving around them has an ephemeral character.
Florence S. Berryman, Washington Star, January 6, 1946, page C-6
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