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20-E THE PLAIN DEALER, SUNDAY, JANUARY 28, 1973
Art & Artists
A Cleanup or Cleanout?
By Helen Borsick, Art Editor
The latest from Sotheby Parke Bernet in New York is that more (!) paintings from the Metropolitan Mu-seum of Art will be offered at auction.  A total of 146 Old Master, 19th century and other paintings will go on view Feb. 10 and be sold Feb. 15 in the firm's 980 Madison Avenue sales-rooms.
"There will be something to match everybody's fancy from the vast and attractive array of canvases," says a S o t h e b y Parke Bernet spokesman. "And to match budgets, too... The excite-ment of this sale will be not for the millionare but for the average person with up-wards of a few hundred dol-lars to spend on a painting for the living room." Fancy that. Among the artists represented are Cor-ot Daubigny, Charles Brun, Jean Louis Forain, George Romney, Pierre Etienne Theodore Rosseau and fol-lowers of such masters as Tintoretto, Van Dyke and Gainsborough.
Setheby Parke Bernet Old Master expert Nicholas 

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Art Museums
Cleveland Museum  of Art
(Closed Mondays)

GALLERY TALKS: Today, 1:30 p.m. SULPTURE OF THAILAND, Linda Wil-son. Wednesday, 1:30 p.m. CONTEMPO-RARY RIGURATIVE ART, Jay Hoffman.
AUDIO-VISTUAL PROGRSM: Today, 1:30 to 4:30 p.m. MUDRAS: HAND GES-TURES IN INDIAN SCULPTURE, Vis-Hokhs Walker. A variety of audio-visual tapes will be shown Tuesday through Sat-urday during regular museum hours.
MUSIC PROGRAM: Friday, 8:30 p.m. CHAMBER MUSIC, Fine Arts Quartet artists-in residence at the University of Wisconsin.
EXHIBITION: MASTERPIEDES FROM THE GUGGEHNHEIM, through Feb. 11. THE SCULTURE OF THAI- LAND through Feb. 11. Educational Ex-hibit area, THE ORIGINS AND DEVEL-DPMENT OF THE BUDDHA IMAGE, through March 4.
SALVADOR DALI MUSEUM Permanent retrospective, 1997-1971 of /// oils, drawings and graphics. Currentl-y featured; HOMAGE TO ALBRECHT DURER, 12 drypoint colored etchings, 1976-71, based on works of Renaissance Masters. Hours, 10 a.m. to 4 p.m. Tues-day through Saturdays, free by appont-ment. Tel 464-0372 (Beachwood).

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Ward-Jackson is rather coyly quotes in the auction notice as saying, "It really has been fascinating seeing all these paintings coming out of the Metropolitan's cellars."
While nothing is said about why the paintings are being sold, it appears to be part of the general cleanup. That is, the program of "refining" and "upgrading" the Metropolitan collections by means of de-accession.
This has been going on apace under the direction of Thomas Hoving, to the dis-may and consternation of the museum's donors and others concerned about the threat of the reckless dis-posal of artworks to the cul-tural interest of the Ameri-can public.
Art historian John Re-wald has a pungent account of these recent proceedings at the Metropolitan in the January-February issue of Art in America magazine. The article's title is "Should Hoving Be De-accessioned?
Similar views are voiced in Art News, New York Maga-zine and others.
The paintings currently on vie at Ross Widen's are vintage Americana, a col-lection of academic paintings by minor American artists dating to the turn of the century, culled from es-tate sales and miscellaneous sources, Rediscovery and a new life in the hospit-able climate of nostalgia for the American past may well await them.
There are landscaped, genre paintings, portraits, and an old painting of an Indian in situ, by Irving Couse, one of the better known artists. Couse was one of the founders of Provincetown of the West, the art colony at Taos, n. Mex.
An exhibition of paintings nd drawings by Chiara Gallery artists Brenda Fuchs, Reed Thomason and Ilona Royce-Smithkin has been installed by the gal-lery at the Mansfield Art Center, for viewing there through Feb. 11.
Paintings by Carl Broe-mel-- a former Clevelan-der who was born here in 1891, attended the old Cleve-land Art School and was president of the Cleveland Art Society-- will go on view today in an exhibition paired with works of young contemporary Parisian artist Andre Besse in the Wen-tworth Gallery at 19797 De-troit Road, Rocky River.
Broemel's present home and studio are in Sharon, Conn. He is a painter of landscape. Besse paints dramatic European views and is fond of theatrical Subjects. Opening today, 2 to 5 p.m. Viewing through February.
The New Gallery at 11427 Bellflower Road N. E., is showing works made of hand-fabricated paper-- described as effecting a blend of "post-minimal aus-terity and a very private sensibility"-- by Joel Fish-er of New York, a native of Salem, O.
Parma Art League artists whose works are on exhibit through Feb. 16 in the thea-ter lobby of the new Art and Drama Center at Baldwin- Wallace College, Berea, are Audrey Otto, Janet Thomas, Altethea Rafter, Carole Bradesku, Carole Catiller, Mary Beth Ols, Frank Holt, John Hoder, Corrine

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Indeed an Honor

Cleveland artist Jaime Davidowitch, the fellow at the left, is an exhibitor in the Whitney Biennial, a survey of contem-porary American art on view through March 18 at the Whitney Museum of Amer-ican Art, New York. He was installing his tape and microfoam "Taped Wall Project," spamming the Whitney's four-story stairwell, when another artist-- no in the show-- stopped to commend him. It was indeed Salvador Dali. 
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The painter of "The First Wedding at the White House" 9oil, 40 by 50 inches) in the period American Painting collec-tion at Ross Widen Gal-lery was Philadelphia-born Percy Moran, 1862-1935. The wedding of Washington's niece is pictured. 

Plain Dealer Photo 
(Marvin M. Greene)

Watercolor "lobster Boats, Southwest Harbor, Maine," is among paint-ings by Martin Linsey of the Cleveland Art Mu-seum, education and art history faculty, on view this month in the Wil-loughby School of Fine Arts Gallery, 38660 Mentor Avenue.

George, Sylvia Banks, Ma-bel Hewit, Mary Jane Stick and Sheila Eckstein.

Glass artist Joel Philip Myers of the Illinois State University Faculty will con-duct a five-day glass work-shop this week for students at the Cleveland Institute of Art under the Ferally-as-sisted Visiting Artists Pro-gram.

A newly-published annual report of the second year of operation of the Salvador Dali Museum in Beachwood records a number of impor-tant gifts.
Among them are a complete set of Fali's "Aliyah" suite celebrating the rebirth o Israel, from Robert and Marilyn Gardner of New York; the 12-print "Memories of Surrealism" series from Dr. Samuel P. Dasher, New York; the "Homage to Dur-er's birth in 1470, from Andre Wicart of Vision Nov-elle of Paris; and $4,472 from individual donors.
Attendance at the Dali Museum during 1972 num-bered 14,124 persons, of which 23% were visitors from outside the state or country.

Members of the Medina County Art League will hold a show and sale of their works beginning next Sun-day, through Feb. 11, in the new "Gallery Blue" art gal-lery at 238 W. Liberty Street, Medina.

The 18th annual Hallinan-Newman Religious Art Show will be held March 25-31 in Hallinan Center at 11303 Euclid Avenue on the Case Western Reserve University campus, and will travel to area colleges.
Entries which are "contemporary expressions of religious subjects" are in-vited, in all media, from artists of all faiths. A $400 best-of-show purchase award for a work for the Hallinan-Newman collec-tion, and cash prizes of $100 and $50 are offered.
The show chairman is Joseph Jankowski of the Cleveland Art Institution fac- ulty. Selections will be made by Francis J. Meyers and Robert Jergens, also of the Institute Faculty, and Brother Jerome Pryor, S. J., of John Carroll Univer- sity.
Entries will be accepted March 12-16. Details and entry blanks are available (write or stop in) at Halli-nan Center.

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A suspended super-size electric plug sculpture by Swedish-born American pop-object artist Claes Oldenburg is one of the hits of his current on-man exhibition titled "Object Into Monument" at the Chicago Institute of Art. In the course of seek-ing ever-new ways to fab-ricate his giant replicas and other artworks, Olden-burg was a visitor in Ak-ron last week consulting with rubber companies. He had especially wanted to see the (Akron-made and stored) Bullwinkle Moose blimp from Macy's parade, but it was deflat-ed and off in storage. 

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A competition for Ameri- can craftsmen working in jewelry is announced by Texas  Tech University, where a second National Juried Jewelry Show will take place in April.
Prizes totaling $1,000 in cash and $1,000 in purchase are offered. Stanley Lecht-zin, chairman of the crafts department of the Tyler School of Art, Temple University, will judge entries-- Due by Feb. 17.
For rules and entry cards, which are due by Feb. 10, address: Francis Stephen, Art Department, Texas Tech University, P.O. Box 4720, Lubbock, Tex. 74909.

Artists living 100 miles or more from New York City are invited to submit color slide entries for the Ameri-can Watercolor Society's 106th annual exhibition (April 5-22) no later than Feb. 9. Prizes total about $7,500. For the show pros-pectus write to: American Watercolor Society, 1083 Fifth Avenue, New York, N.Y. 10028.

Any artists may submit color slide entries for up to five works for the annual Marietta College In-ternational Competitive Ex-hibition of Paintings and Sculture, "Mainstream '73," opening March 31 in Marietta, O.
Prizes and awards will total $6,300. Members of Marietta College Art faculty will act as jurors. Entry envelopes are due by Feb. 17. For rules an entry blanks write to: Main-streams '73, Art Department, Marietta Col-lege, Marietta, P. 45750.


Your Health
-------------
Girl is Afraid 
of Ear Surgery
By Dr. G. C. Thosteson

Dear Dr. Thosteson:
My daughter, 17, was told by an ear specialist that she has a perforated eardrum and the only thing that would correct it is an oporation.
A test shows some loss of hearing in the ear.
The ear frequently be-comes infected and at times drains. However she has no pain.
She is very upset about having this operation, so would you please explain what they do and whether it is painful? Is it a common operation?
Is an operation at this point the only solution? Will the ear become worse as as she gets older or will the hole heal over by itself?-- A.T.
I don't see what your daughter's objection is un-less, simply, she is afraid it will hurt. She should realize that an anesthetic will be use, so she will not feel anything.
A perforated eardrum sometimes heals spontaneously, and if it happens to heal smoothy, that's fine. But in her case it is safe to predict that the drum will never heal, and the reason for this prediciton is that she has recurring bouts of infection.
They will prevent healing; meantime, the perforation of the eardrum is an invitation to further infection. 
Surgical repair is not at all unusual for such a situation, and a small tissue graft is commonly used to close the perforation.
Already the infection has damaged the middle ear enough to cause some hearing loss. What you- and she- can expect is additional loss of hearing as infection continues.
It is, indeed, possible that the infection might spread to other areas, for instance the mastoid region.
She has so much to gain by having ear surgery, and so much to lose if she doesn't, that I cannot see why she hesitates. There is no reason to be afraid of being hurt.
Perhaps if she asked the ear specialist point blank, "How much pain will there be?" and he said "You won't feel anything," that will put an end to her fears.

To learn of the many factors that can be involved in the treatment of hiatal hernia, which concerns the esophagus, write to Dr. Thosteson in care of The Plain Dealer for a copy of his booklet, "Hiatal Hernia And Eight Ways To Combat It," enclosing a long self-addressed (use zip code), stamped envelope and 25 cents in coin to cover the cost of printing and handling.  
                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                 
Please note that the language and terminology used in this collection reflects the context and culture of the time of its creation, and may include culturally sensitive information. As an historical document, its contents may be at odds with contemporary views and terminology. The information within this collection does not reflect the views of the Smithsonian Institution, but is available in its original form to facilitate research. For questions or comments regarding sensitive content, access, and use related to this collection, please contact transcribe@si.edu.