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ART DigEsT February 1st 1936

Association of Women Artists, 317 Strong, Hold 45th Annual Show 

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"Young Student," by Dorothea Chace. The Olive Noble Prize 

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"Gardenias," by Thelma Cudlipp Grosvenor. The Edith Penman Memorial Prize.

Twelve women artists were honored with prizes and medals at the 45th annual exhibitions of the National Association of Women Painters and Sculptors, being held at the American Fine Arts Building, New York, until Feb. 11. The first Anna Hyatt Huntington prize of $200 for sculpture went to Grace Mott Johnson for her bronze "Sleeping Lamb;" the second Huntington prize of $100 for sculpture was awarded to Cornelia Van A. Chapin for her life-sized baby elephant, brought over from her Paris studio. This creation is a feature attraction of the exhibition. It is the largest of the 36 pieces of sculpture and was carved from a solid log, which neccessitated a six weeks search in the lumber yards of Paris before the right wood was found. The third sculpture prize of $50 was given to Mabel Kent Hoe for a torso. Honorable mention for sculpture went to Frances Mallory Morgan. 
The painting awards were distributed as follows: the Marcia Brady Tucker prize ($100), to Miss Tony Nell for "Down Below;" the De Forest Memorial prize ($100), to Alice Wilson for the water color "Water Hole;" the Margaret Cooper prize ($100), to Louise Pershing for "Roller Coaster in Winter;" the Edith Penman Memorial prize for flower painting ($50), to Thelma Cudlipp Grosvenor for "Gardenias;" the Olive Noble prize ($50), to Dorothea Chace for "Young Student;" the Lindsey Morris Sterling prize ($50), to Lorene David for the water color, "High Tide." The National Association Medal

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"Moyen Age." Terra Cotta by Jessie Stagg, President of the Association. 

for Miniature was awarded to Rosina Boardman for a head study. 
It is the opinion of Edward Alden Jewell of the New York Timesthat "this is surely one of the best annuals the group has ever presented. It is characterized by serious, painstaking effort, and many of the pictures, in both the oil and water color sections, are admirable." The president of the organization this year is  Mrs. Jessie Stagg, while Mrs. Alexandrina Robertson Harris acts as first vice-president. Ruth Starr Rose heads the jury and hanging committee, and Genevieve Karr Hamlin, the sculpture committee. Mrs. Rena Tucker Magge holds the active position of director of exhibitions and sales. 
Outstanding examples are found in Mary E. Hutchinson's portrait of "Yun Gee," a Chinese musician who is seen surrounded by his various  Oriental instruments and in the act of playing one of these contraptions. Strong forms, picturesqueness and a sensitive treatment mark this painting for distinction. A finely devotional tripych "The Feast of Saint Peter" by Marion MacIntosh portrays the celebration of their patron saint by the fisher folk of Gloucester. Each panel is symbolic of the restless sea that dominates their lives. The Portuguese and Italian fishermen and thier families are true types, full of humble dignity and the exaltation of faith. A blind war veteran and his dog called "Blesse de Guerre" by Margaret Fitzhugh Browne is appealing and well handled. 
The selection of subject matter and technique is wide and varied with modern viewpoints balanced with works of moderately conservative approach. Characer studies, decorative flower subjects, still lifes and the changing seasons in their varying moods appeal to the painters of this group. In three years the Association can celebrate the 50th birthday of its founding. It was organized in 1889 when votes for women were still a dream and "the sheltered life" kept women from freely entering the art field. If they tried to overstep conventions, they were effectively reproved by the closed and bolted doors of the galleries and exhibitions conducted by men. All credit and memory are due to a little group of five women artists who, brave in their conviction that women deserved her place in the arts, planned a club for women artists. The ranks grew. Today the membership is more than a thousand. Their successful efforts have opened the doors of museums and galleries, placed their work with architects and decorators, and enabled women to hold important posts on civic art committees. 
Five years ago the association had pogressed at double the pruchase price. The profit enabled the members to establish the spacious 57th Street gallery. This, the Argent Gallery, exhibits the members' work, and is open to outsiders who wish to exhibit, both men and women. 
Sentimen, tradition and practical considerations continue to bind together this organization, though it has long since proved the point and won the battle which inspired its founding. The association's reputation has led to such invitations as that of the Women's International Art Club to which an exhibition was sent, to London, in 1931. Since then travelling exhibitions have been sent to South America and Hawaii.