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THE NEW YORK TIMES, SUNDAY, APRIL 9, 1939

A REVIEWER'S NOTEBOOK

Brief Comment on Some Recently Opened Exhibitions in the New York Galleries

By HOWARD DEVREE

EXHIBITIONS in almost every medium, ranging, moreover, from the most conventional academism to the most militant modernism, made the week just closed on of the most prolific of the season. A chastening afterthought reveals that little of the work which fell to this reviewer's lot stood out in relief, a few of the one-man shows proving welcome exceptions. Unless otherwise indicated all are current through the present week. 

The largest and most ambitious of the group exhibitions was the annual by members of the New York Society of Women Artists at the Riverside Museum (till April 16). 
A number of good painters are on the society's roster and several well known or promising sculptors. Yet the show, larger than in recent years, is a distinct let down. Anne Goldthwaite's portrait, occupying a position of honor at the head of the stairs, might be singled out, yet it is far from the best work by that usually very satisfying artist. Cornelia Van A. Chapin's massively jocose elephant stands realistically in the midst of the sculpture gallery, surrounded by highly debatable pieces. Rhys Caparn has gone horizontal instead of Archipenkally vertical in her rhythms this time, with the sad result that her "Tiger" and "Stalking Cat" look as if a taxidermist had done a very uneven job of stuffing.

Why Sonia Gordon Brown left a flange of left hip on her half-length figure, "Negress," is another problem.

There is a large and decorative flower painting by Dorothy Eaton, and there are characteristic painting by Dorothy Lubell Feigin, Theresa Bernstein, Margaret Hungtington, Gladys Mock, Lucy L'Engle, Magda Pach and Gladys Young. In the black-and-white section are interesting examples by Ruth Starr Rose. Beulah Stevenson and Dorothy Lubell Feigin. Much of the work is in rather conventional modern idiom and the show as a whole is a distinct disappointment. 

NOTES AND COMMENT ON EVENTS IN ART 
By CARLYLE BURROWS

The "Women Artists"

The New York Society of Women Artists, liberals all, have taken over the spacious galleries at the Riverside Museum for their fourteenth annual exhibition-an exhibition which in presentation at least is probably the most attractive held to date. Each of the forty members has several exhibits, there being three galleries devoted to oils, a large room to sculpture, two to watercolors and another to prints and drawings. 

The sculptors carry considerable weight this time, including among their exhibits such pieces as Rhys Caparn's original "Stalking Cat," Arline Wingate's piquant and audacious "Strip Tease" and Doris Caesar's imaginative "Mother and Son." There also is Cornelia Chapin's imposing "Young Elephant" - carved life size from a huge block of wood. Margaret Huntington and Ethel Katz are prominent water colorists exhibiting - the former showing a striking figure subject called "Playing With Wings" and the latter a pair of luminous Monhegan marines. 

In addition there are various oils by well known artists, such as the portraits by Anne Goldthwaite and Ruth Starr Rose, whose "Crab Boy" is especially well done. There are also good flower subjects by Beulah Stevenson and Dorothy Eaton on display, and landscapes and figures by Lili Blumenan, Anne Eisner, Gladys Young and Edna Perkins. 

Herald - Tribune Apr.9.'39