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THE ART NEWS    FEB.1.1936


Over Three Hundred Works by Women Painters and Sculptors in the Forty-fifth Annual Exhibition

By Lydia B. Powel

The National Association of Women Painters and Sculptors are holding their forty-fifth annual exhibition in the building of the National Academy of Design at 215 West 57th Street. Three large galleries are filled with the work of the members, in oils, watercolor, sculpture and miniatures. Since the association was founded in 1889 by a group of women who felt that the work of women artists was discriminated against in the exhibitions of that day, it is interesting in this day of equality to see a large collection of pictures of exclusively feminine origin. Although there are many canvases in the show that might quite as well have been painted by artist of either sex, the general trend of treatment and subject matter is what is generally associated with feminine taste. The purely decorative side of painting is largely represented, in flower pieces, still life and idealized portraits. One cannot but feel that the nest-building instinct latent in most women has been an incentive to paint colorful and gay canvases and watercolors that would decorate and enliven the walls drawing room or dining room.

There are, of course, some closely observed and thoughtful studies by members of the association, who are searching for a more profound solution to the problems involved than are immediately visible; but the greater majority have expressed themselves in a joyous naturalism and direct portrayal of the visible content. The same distinction can also be made in the sculptures.

The sculpture, for the most part small pieces, with exception of Cornelia Chapin's delightful baby elephant, are arranged in the first gallery. The winner of the Anna Hyatt Huntington first prize is Grace Mott Johnson's Sleeping Lamb, a sensitively modeled small bronze. Nearby is Miss Chapin's second piece in this exhibition, a young pig, carved directly from stone. It shows a sense of design and structure combined with a "feel" for her material, which is also evident in the handling of the Young Elephant. The elephant is also a direct carving, but from a richly and deeply colored hard wood from Africa, for which Miss Chapin is searched far and wide through the wood yards of Paris. After being shown in the Salon, this almost life size wood sculpture was brought to this country as "hand luggage", to avoid customs complications. Incidentally, it was awarded the second Anna Hyatt Huntington prize.

The third Huntington prize was given to Mabel Kent Hoe for a Torso of archaic Greek feeling. A well constructed Head of a Delta Negro by Frances Mallory Morgan, received honorable mention.


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EXHIBITED AT THE NATIONAL ASSOCIATION OF WOMEN PAINTERS AND SCULPTORS
"AL CAPONE," FELINE STUDY BY THELMA C. GROSVENOR


The Exhibited Work of Women Artists

(Continued from page 5)
One Public Enemy of the back fence, Al Capone! Mrs. Grosvenor know her cats, which is something not given to everyone who has tried to transfer something of the baffling qualities of the feline to canvas. The enormous iconography of the cat will fascinate anyone who is interested in the subject. Mrs. Grosvenor received the Edith Penman Memorial Prize for her exquisite Gardenias, a distinction to be prized in an exhibition which contains so many strong competitors in this class.

Miss Katherine Rhoades in her painting of Gloxinia maintains the fine quality that we have learned to expect from her. Long associated with the late Mr. Freer, while he was forming his Oriental collection, Miss Rhoades seems to have absorbed some of the exquisite Oriental feeling and understanding of flowers. Wilhelmina Nichols has a delicious arrangement of Petunias in silvery whites and nice dark purples.

Frances Burr has long been interested in the possibilities of gesso. Her Crucifixion is in this medium. In an arresting composition, Miss Burr has given a new interpretation to this great traditional subject. Leonebel Jacobs has a sure and competent portrait of Dr. F.J. Baker. She is one of the foremost women painters, who can be counted upon to turn out a well composed portrait, which will satisfy any governing committee with its likeness to the distinguished sitter, whom they may wish to honor.

In the Central Gallery there is a large and representative group of watercolors, and on either end vitrines containing the miniatures. The National Association medal for miniature has been awarded to Rosina Boardman for her exquisite little Study of a Head. The very intimacy of the miniaturists' art lends itself to close and penetrating study of character; Margaret Foote Hawley has two such portrayals in her miniatures of Professor Ernest Brown, R.S., and the Vicomtesse de Vaulchier. Alma Hirsig Bliss has a free and pleasing technique in her head of Caspar Mayer. The still life small glowing enamels, and they could well find a place in the Queen's doll house.

The water colorists are well represented. Visitors to Charleston will recognize one of Alice Huger Smith's studies of the great live oaks, hung in Spanish moss, for which the South Carolina low-country is so justly famous. It is punctuated by the flaming pink of the azaleas. Farrand Dodge as a well handled piece in Reflections. The Quarries, has a fine vibrancy as seen by Katherine E. Cordon. Tourists of Karnak is a fine rendering in the style of an architectural illustration of the great colonnade by Eleanor Parke Custis. Elizabeth Walmsley has achieved a well balanced design with her shanties and clothes lines in Forgotten Corner. Her color is clean, gay and decisive. Also direct and simple in handling is Lucy W. Hurry's painting of Cineraria. Confined to variations on two tones, it is distinguished in its sincerity and clearness of statement.

The Lindsey Morris Sterling Prize goes to Lorene David for her strong and bold High Tide. Done in a more modern idiom it fulfils many of the desiderata of watercolors in its clarity and sureness of technique. Erica May Brooks achieves a sense of distance in the expanding vistas of her well done watercolor of the White mountains - the famous Notch. Amy Pleadwell is a
 
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EXHIBITED AT THE NATIONAL ASSOCIATION OF WOMEN PAINTERS AND SCULPTORS
"HIGH TIDE," PRIZE-WINNING WATERCOLOR BY LORENE DAVID

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