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Art
Landscape Annual
The Landscape Club of Washington, nearly 40 years old, is having its annual members' show at the Arts Club through March 7. Formed in 1913, the club is composed entirely of men from the Washington area, with its active membership limited to 40. Its purpose is to promote interest in outdoor sketching and painting, either locally or on week ends out of town.
Thirty-five works are on view, the majority oils and water colors, with a few prints and drawings. Burtis Baker was invited to award the club's medals and mentions. He bestowed the silver medal, top award, on Andrea Zerega's "Maryland Landscape," depicting the rolling hills, with a hunter and bird dog, its color scheme suggesting the smoldering fires of autumn. Two bronze medals went to Omar Carrington's romantic "Topical Night" (oil) and to Richard Collins' "Fall Carnival" (water color). Honorable mentions were given to Alfred G. Schmidt's oil "Marina" full of movement and fresh air, and to Charles Shinn's gouache, "Yesterday's Farm," carefully detailed naturalism with a posterlike impact.
Although the club's membership includes artists of many approaches to painting, from the most conservative to the newest techniques, the general effect of this annual, as of the club's previous shows, is traditional. Officers and Executive Board members, elected last month, are represented in the show with pleasing conservative works. Sheffield Kagy, president, has a quiet, convincing water color, "Storm Over the Blue Ridge." Clemens J. Poiesz, vice president, shows two works, the better being his water color, "On Cape Cod."
Cape Cod Scene
There is more character in another glimpse of Cape Cod, "Wellfleet," by Marlin E. Fenical, club secretary. (Incidentally, Mr. Fenical is having a one-man show this month at Wick Byron Brown Gallery in Silver Spring, where he lives.) Board members, Dr. Henry Olson and Garnet Jex, are represented with two paintings each. The former's water color, "Along the River," and Mr. Jex's small oil, "Erosion and the Mill," seem to me their better works, respectively. Mr. Jex's more ambitious and detailed "Quebec" will probably appear more impressive to most visitors. Minor Jameson's "Smoke and Snow" is another well-done industrial subject.
Newman Sudduth has achieved a telling effect of vivid blossoms and shimmering light on water in his "Magnolia Gardens." Francis Peters' "Harbor Commerce" has a convincing feeling of misty sunshine. William Walter's "Georgetown" is a pleasing but unfamiliar view.
Walter Bachrach's "Beach Scene" will make visitors yearn for the leisurely joys of summer vacation. Another aspect of those happy times is "Rehoboth Beach," a water color by Rowland Lyon, retiring president of the club.
Eliot O'Hara and Kenneth Stubbs draw their inspiration from distant places. Mr. O'Hara's "Santa Margherita" depicts a medieval sculpture. Mr. Stubbs' "Positano Byway" and admirable linear drawing, "Avignon Roofs," are fruits of his sojourn in Europe a year or two ago.
Gustav Trois' etching, "Lumber Yard," reveals his definite advance in printmaking. Roy Clark's velvety drypoint, "The Pool," and Sidney Shapiro's ink and water color, "Intersection" complete the small graphic arts section.
Florence S. Berryman, Washington Sunday Star, Sunday, February 24, 1952
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