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NEW YORK WORLD-TELEGRAM, SATURDY, APRIL 22, 1939.

Outdoor Sculpture Show Worth a Visit

It woul dhave been deeply gratifying to have bee able to report that the second outdoor sculpture exhibition staged in the vacant lot at Park Ave. and 39th St. is a first-rate presentation.  But it isn't.  Despite the fact that it's beautifully presented, that it includes enough good things to make worth while anybody's visit, there are, nevertheless, a large number of works in it that should never have been there.

On the credit side of the ledger there are Louis Slobodkin's simple, intensely effective, gentle "Lincoln, Symbol of Unity" and the home-spun Warren Wheelock "Lincoln," in which there are beautiful plastic organization between horse and man, and an intensely satisfying volumnar and linear flow of forms.

Equally fine, though in an entirely different vein, is Maldarelli's "Competitors," a study of three horses that naturally lacks the deep lyric feeling Maldarelli puts into his figure pieces, but which is remarkable instead for the unfailing rightness with which the great, swelling, curved masses of the horses' bodies are juxtaposed; for the way, when you look at the group from the back, minor rounded forms rise in pyramiding structure, and for the coherence of the whole thing.

Minna Harkavy's "My Children Are Desolate Because the Enemy Prvails," its title taken from "Lamentations," is one of the finest things in the whole show, both for its enormous emotional power and the skill with which, less suavely or glibly than in the Maldarelli group, the volumes are subtly related in restrained but most articulate rhythms, with head counterbalancing breast and arm uniting the whole into adynamic structure.

Then there is William Zorach's familiar and wonderful "The Embrace."  De Creeft's hammered lead "Saturnia" is another compelling sensuous work marked by the rich counterplay of its volumes.  There are Ferber's vigorous "Conspirators," Hovannes' formalized, moving "Mother and Child," Hugo Robus' very original "Wind" and a few others.

And if these seem like a lot of good things for any one show, remember that there are over a hundred pieces on hand, and that among them are such dull or dismal things as Cornelia Chapin's "Nude Relief" (really a drawing on stone), Genevieve Karr Hamlin's ineffectual "Summer" (with the strength of it's figures marred by meaningless fluttering draperies), Paul Manship's "Bear," Louise Cross' "Triumph," Dorothea Greenbaum's "Fascist," Helen Sandeau's "St. Joan" and Milton Horn's "Maia."
Emily Genauer


Jerome Klein.  N.Y. Post. Apr.22
Sculpture Blooms Again

Second Outdoor Show Held on Park Avenue Lot

Having drawn 40,000 visitors to their first outdoor sculpture show at Park Avenue and Thirty-ninth Street last year, members of the Sculptors' Guild are back on the same spot this year hoping to attract 200,000 people.

And well they might, for they have a more handsomely landscaped setting and a better show to offer New Yorkers and the vast throngs of World's Fair visitors soon to arrive.  From the monumental to the minute, figures are so disposed as to bring all displays easily to the spectator's attention.

Louis Slobodkin's forceful characterization of Lincoln grafting the shoots of sectionalism into national unity is one of the most impressive large works, at once homely and monumental.  John Hovannes also comes to the fore with his "Cadence," a bold, graceful figure in the Lachaise tradition.

Other works figuring prominently in the display are Concetta Scaravaglione's classically treated "Mother and Child," Sonia Gordon Brown's "Skater," Robert Laurent's portrait of "Pear," Paul Manships study of a bear in colored plaster, a sylph-like figure of "The Wind" by Hugo Robus and William Zorach's "The Embrace."

Alice Decker has fulfilled her earlier promise with a splendid figure in aluminum dulled in surface to express leaden melancholy.  Maurice Glickman's small polished bronze is less strained than his monumental family group.

Aaron Goodelman's entries include a portrait of his son, a tribute in memoriam.

Adolf Wolff's "The Beast Dominant" is a blunt message, but a heavy load as sculpture.

Some of the other exhibitors are Saul Baizerman, Richmond Barthe, Simone Brangier Boas, Harold Cash, Albino Cavallito, Cornelia Van A. Chapin, Robert Cronbach, Louis Cross, Richard Davis, Jose de Creeft, Jean de Marco, Herbert Ferber, Hy Freilicher, Eugenie Gershoy, Enrico Glicenstein, Vincent Glinsky, Dorothea Greenbaum, Chaim Gross, Genevieve Karr Hamlin, Minna R. Harkavy, Milton Hebald, Milton Horn, Margaret Brassler Kane, Nathaniel Kaz, Oronzio Maldarelli, Berta Margoulies, Dina Melicov, David Michnich, Charles Rudy, Helene Sardeau, Cesare Stea, Mary Tartelton, T. Trajan, Polygnotos Vagis, Nat Werner, Anita Weschler and Warren Wheelock.