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(Image) National Academy Above Average in Annual Exhibit Later Nineteenth Century Painting Also Exhibited in Group Showing By MARGARET BREUNING N.Y. Post Apr. 2 1932 Spring is here. Its official announcement is the Academy show, which is now on view. The little flurry of excitement caused by elections and rejections should not obscure the fact that it is far above the average event of Academy exhibitions. It still holds true that many of the canvases, if accepted, should not be hung, if any sort of average is to be maintained. Yet, even with a number of unfortunate, if not "horrible," examples to glide swiftly by, there are many to be enjoyed and appreciated. Figure paintings, more than landscapes, suffer from vulgarity (the pornographic public need not rush in avidly, for it is not lack of clothing but of taste which is deprecated), yet there are again excellences to be higly commended. Incidentally, look in the Academy Room, often a morgue for indifferent work, for many of the most interesting paintings of the exhibition. One usually glances in and rushes out, but on this occasion the writer lingered and departed refreshed and encouraged. Landscapes, the supposed preoccupation of the American artist, come off well in many varieties of individual expression, both urban and rural. Alfredo Mira, Eric Hudson, John Folinsbee (a prize winner), Junius Allen, Carl Wuermer, Frederick Waugh, May W. Wagner, Van D. Perrine, Ogden Pleissned, John Steuart Curry, Roy Brown, Charles Woodbury, Honas Lie are some of the painters who restore one's faith (if waning) in the vitality of landscape painting freed from rule of thumb or tricky subterfuges. Still lifes and flower pieces make particular impression on this visitor's eye and leave a corresponding trail of marks on the margin of the catalogue. Hovsep Pushman's allure of color and surfaces, Charles Aiken's exquisite nicety of observation and sensuous beauty of textures in "Night Bloomin Cereus<" the spreading arabesque of Aimee Ortlip's "Begonia," H. Amiard Oberteuffer's "Still Life" (also a prize winner), in its transition of nacreous tones, Gordon Samsta's " Pink and Yellow," like a slice of dull cream in its suggestions, Luigi Lucioni's handsome "Chinese Leaves" are some of these notations. As for sculpture, that is usually dull at Academy shows, Cornelia A. Chapin, Julio Kilenyl and Polygnotos Bagis go on record as redeeming this reputation. A.W.A. Bulletin Miss Cornelia Van A. Chapin and Miss Genevieve Karr Hamlin, both AWA artist members, have bronzes on view at the current exhibition of the National Academy. Miss Chapin is represented by "Jehoshaphat: A Portrait" recently shown at the Pennsylvania Academy in Philadelphia. Miss Hamlin is showing "The Old Pensioner". April 1932