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National Sculpture Society May 9 - May 23 
NEW YORK, N. Y. TIMES 
MAY 15 1938

Not in the round-Members of the National Sculpture Society, along with a few non-members, are exhibiting small bas-reliefs (plaques, medallions, medals, etc.). The display, an annual, will be current in the large gallery at the Architectural League until May 21. The Lindsay Morris Memorial Prize was given this year to Chester Beach for a plaque showing front an reverse sides of the medal designed by him for the twelfth issue of the Society of Medalists. A few items that may be signalized here are a wood panel by Cesare Stea, two reliefs by Margaret Brassler Kane (but especially "Undersea Ballet") very delicate reliefs, one of them a portrait, by Cornelia Van A. Chapin; Abram Belski's sensitive development of a musical theme, three outstanding bronze relief plaques by Doris Caesar and work by Michael Lantz, who recently won in the Apex Building competition.
In another gallery at the Architectural League there is a photographic record of recent sculptural achievement by members of the society.  This should not be overlooked.

Long Branch Record April 2nd, 38 
Red Bank Sculpture Class to Visit Chapin Exhibit
The first American show of sculpture carved directly from life by Cornelia Van A. Chapin will particularly attract the sculpture class in Red Bank who will visit her studio at the Fifteen Gallery, New York, where her works will be displayed from April 4 to April 16.
Miss Chapin is a frequent visitor in Red Bank, spending week-ends and holidays with Dr. and Mrs. Walter Rullman. Her hosts of friends have followed her career with interest and admiration.
A native New Yorker, Miss Chapin worked in her Paris studio several months of the year and has recently acquired the New York studio of Gutson Borglune where her stone sculpture shows to great advantage in the superb top light.
Most of her subjects are animals done with a powerful but loving hand and not without humor. But their sculptural beauty lies in their pure simplified forms and never in dramatic poses. In other words, Miss Chapin does not attempt to improve on nature.
It is rare for a sculptor to do his own carving, the usual method being to model in some softer material such as clay or plasteline. A plaster cast is then made from the figure and this in turn goes off to the foundry to be cast in bronze. The result is apt to be a shock and disappointment to the sculptor because he has been thinking and working  in a soft material and his mistakes do not show up as they do in the hard metal. Also his work has passes through many hands - skilled hands to be sure, but as every artist knows the slightest retouching can and does change the whole feeling. SO the direct carver has the advantage of being able to change and correct his works by reducing it in size.
A former teacher of Miss Chapin's, Genevieve Karr Hamlin, together with Mrs. Rullman, started sculpture classes in Red Bank last winter and the art development in this community has been keenly followed by both Miss Chapin and Miss Hamlin. These classes are now successfully carried on by Fritz Clary of Interlaken.

Sculptors Guild Plans
After the great success of the Outdoor Exhibition of the Sculptors Guild in New York, which reached an attendance mark of 40,000, this new organization plans to hold two shows a year in continuance of its program to promote public interest in contemporary American sculpture. One exhibition, in the fall, will be indoors, while the second, in the spring, will be held outdoors.
The Guild's new Executive Board and standing committees for the coming year are: Executive Board: Jose De Creeft, Aaron J. Goodelman, Minna R. Harkavy, Milton Horn, John Hovannes, Oronzio Maldarelli, Berta Margoulies, Warren Wheelock and William Zorach. Exhibition Committee: William Zorach (chairman), Cornelia Van A. Chapin, Dorothea Greenbaum and Louis Slobodkin. Berta Margoulies was elected secretary and Anita Weschler, treasurer.  There is no president, since the administrative functions are performed by the Executive Board.

ART DIGEST, June 1, 1938

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