Arizona Republic from Phoenix, Arizona • Page 26

ALL EDITIONS Page 10 (Section 2) IHg, Varied, Colorful Arizona Republic, Phoenix, Arizona. November 4, 1956 From Far And Wide Fair Art Exhibit Up To Standards Photography Show Is International Tpmujujumui ngiM By AXSO.Y B. CITTS The only international display at the state fair is the Arizona Exhibition of Photography, which occupies a gallery in the Mines and Metals Building, first on the left inside the main gate. ing's that curve around them, titled "Industrial Rhythm." Another was a photo of a sail boat in late sun reflected in the water, the white sail dramatized against a dark sky, "Flying Spinnaker," by Dr. Ward Pease of Winnetka, 111.

The varied and picturesque landscape of California is the subject of such titles as "Phantasy," an incredible winter glimpse of Yosemite by Gertrude Poole of Palo Alto; the prize-winning "Home in the Valley," by Clyde Plummer of Paso Robles; "Pattern of Time," a topographical study of erosion by W. H. Weir of San Diego. These are a far cry from the delicately hazy winter atmosphere of Boston during a blizzard, "Stormy Weather," by Alice Igersheimer of Brookline, Mass. A.B.C.

Pnivlncp Priyf 0il Painting on canvas, "The UlUJdSi iao Farniiy- by j0hn Ransom, of Phoenix, is on display at the Arizona State Fair Art Exhibition. It is the Arizona Artists Guild purchase prize for this year. hirlrrpc These three were judges of the Photogra-J UUtS phy Show at the state fair jft t0 right are Max Sorenson, Fresno, Elmer Lew, also of Fresno; and Norman Garrett, Frescott. (Republic Photo, Ralph Camping) less female figure unusually grained, "Perboa Wood Torso." Also two ery distinctive sculptures of the "blow-torch" school Charles Martin's intriguing, vertical wire-and-metal construction, soldering and patinated, "Aeolian Harp" and the symbolic, heavier, and more viscous appearing interplay of highly abstract human forms, "Lovers Embrace" by Donald Cro-is. And Ted To Mark Week Observance It's a show that no one should miss.

Miss Agnes M. Hoist of Phoenix, a distinguished photographer herself, is the superintendent. The judges are nationally known in the field. This year 28 states, the District of Columbia, and 11 foreign countries are participating, the largest number of foreign prints coming from Hong Kong, China. Predominantly pictorial in quality, entries run a wide gamut of subject matter landscapes, genres, portraits, still lifes, but the Chinese and the Californians just about run away with the show.

THE POETIC artistry of the Orientals is exemplified by such pictures as "Casting Net" by Yeung Wai Wah, which shows a fisherman standing silhouetted in the water, with the full spread of the net caught in midair against misty mountains and sky; "Two Nuns" by Tchan Fou-Li, in which an extremely low horizon line makes the white-coiffed foreground figures seem minute under the expanse of sky grading from light to dark. Technically similar to this is Li Man-Kim's silhouette of scurrying figures "On the Dyke." But there-is nothing in the show quite like the amazingly sharp detail, lighting, and realism of Daisy Wu's close-up shot of a woman's hands with nail brush midst the clinging suds of a bubble bath. And such portraits as Daisy Wu's dramatically lit three-quarter-face study of "Emily" took first prize for portraiture! From Spain comes a very Degasesque treatment of two ballet girls in costume in a setting of decreptitude, by Jose Tous. From Rio de Janeiro comes a wonderfully revealing portrait study of a Brazilian native with long hair and mustache and wearing an expression of assessment in the soft light against a dark background. ALL PARTS of the United States have provided so many distinguished and exciting examples that it is impossible to enumerate them here.

Every subtlety of light, lex-ture, and composition is utilized to the fullest for photographic and aesthetic effect. I was particularly impressed with Miss Hoist's striking view of white gasoline storage tanks, their sunlit cylindrical surfaces broken by the lacework of shadows from iron stairways and rail "Oblique Illusion" by Irene Rice Pereira, "Horse's Skull on Blue," by Georgia O'Keeffe, and "Portrait of Andree Reul-lan," by Eugene Speicher. The last is a portrait of one of America's significant women artists, although not painted by a woman. Arizona's most important annual, state-wide exhibition of art opened in the Fine Arts Building on the state fairgrounds yesterday. As alwavs, It is big, varied, colorful, and a good eross-section of what our better artists are producing in the way of oil and water color paintings, drawings, prints, Cutts sc.

1 jewelry, and various crafts. In this reviewer's opinion, it Is not notably better than several of its predecessors. Though there may be more new talent in evidence, many prominent professionals this year are conspiculously absent. The overall impression made by the oil section is weighted on the abstract side, whereas the water color section leans rather too heavily toward the conservative. The print and drawing section remains disappointingly smallv but this year there Is more sculpture, though generally smaller in scale.

INASMUCH AS my space is limited, and the prize-winners already have been announced, this column will be confined to comments on those works which particularly appealed to me, at random, not necessarily in the order of their significance. In the oil section, Florence Greemings "Rotation" attracts attention, a low-keyed abstraction in greyed bluish and earth colors pf a windmill in motion, viewed from the base of its metal tower, strongly outlined in black. Likewise Henry Passallis's heavily pigmented, patternistic treatment of "Philodendrons" in a white pot; Emily Hargraves' fluid and warm-toned still life of barrel and plants. "Movement;" Harrison Moore's primitive Mexican feeling in the muted, rich-colored "Mother and Child" embracing; Betty Beaugureau's beautifully harmonious and factual still life, "Gourds and Ivy;" Lucien Van-nerson's sensitively backlighted and textured desert landscape, "Yucca;" Poco Petak's jewel-like colors and sketchy palette-knife rendering of "Cotton" branches in a glass bowl; Frank Nulf's brilliant interplay of stylized branches and trunks on black, "Canyon Bottom." Distinctive among the abstractions is Rose Mary Mack's nearly non objective interpretation of boulders, sea, and sky beautifully balancing free-form areas of deep' ultra-marine blue, lavender, soft ochre-green, cream, and grey. More realistic is the evocative and highly original segment of a deserted and littered segment of a bullring stand, in dramatic colors, "The Bull Is Dead." THERE IS similarity of approach and technique in Gene Corno's fractionally cubistic treatment of hillside steps and COMMERCIAL ART CHILDREN'S ART CLASSES SATURDAY 142 W.

Camelback AM 5-5563 1 Reception Major Art The major observance of American Art Week takes place today in the Phoenix Public Library Auditorium with a reception and tea from 2 to 5 p.m., marking the opening of the annual exhibition of paintings by members and artist guests of the Arizona Chapter of the American Artists Professional League. The hanging committee consisted of Erna Lange, Tom Harter, Charles Bensco, John Coghlan, and Jack Armstrong, under the direction of the state chapter president, Garnet Davey Grosse. Walter R. Bimson is director of American Art Week. An invitational exhibition of painting and sculpture by Arizona artists opens the Beau-gureau-Schimmel Gallery, N.

Miller Road, Scottsdale, today from 1 to 5 p.m. Included will be two works by each of the following: Nassan Abiskhaur-oun, John Sandlin, Lawrence T. Stevens, Walter Bohl, Charles Martin, Harry Wood, Jay Datus, Paul Coze, Mac Schweitzer, Ted De Grazia, Phillips Sanderson, Charles La Salle, Lotan Lotan, Lew Davis, William Schimmel, Francis Beaugureau, Betty Beaugureau, and possibly Gerry Peirce and Paul Dyck. "Women in Art," an exhibition of works by major women artists, to open at Arizona State, Tuesday, for a week, was arranged by Professor Paula R. Kloster, curator of the AS Collection of American Art.

This joint exhibition of paintings from the University of Arizona collection and the Arizona State Collection follows a one-day showing for the Phoenix branch of the American Association of University Women at the Phoenix Public Library yesterday. The, exhibit on the AS campus is first in a series of special "Americana" events related to the AS art collection and will be in the central lobby of Matthews Library. Paintings on loan from the UofA are "Still Life in Whites" by Lucille Blanch, "The Runaway" by Doris Lee, and "Bather" by Isabel Rishnp. From the AS collection are Classes I Landscapes and Portraits for beginners and Hobby Painters 142 W. Camelback AM 5-5563 fPICTURE FRAMED THE MOSTEST FOR THE i cactfcti ART STORE 20T EAST VAN 8UREN FINE ART 1 3 1 -f s-7 I houses astutely composed, "Stairway of the Past Jerome," and Donna Puckle's scumbled, palette knife presentation of the Italian hilltown, "Scala." Stylistic similarity in the use of fresh, spring colors on foliage, and ground likewise links Dorothy Bergamo's wooded landscape with George Dee's more fluid, large-scale "Top of Pinal." Bill presents a dark-toned viobt fallen tree form, writhing igaimt rich green, Julia MoCann, a strong-colored fluid abstraction of "The Old Canal" and Erna Lange one of her colorful garden scenes featuring large-scale expressionism in the use of pigment, "Arizona Yucca Plant." Two nonolijective spatter patterns of more than passing interest are Louis La Salvas's multicolored "Neither Here Nor There" and he frosty imagery of J-ackie Jarvis's "Study In Blue." THEX', IX the category of figure compositions is Paul Cose's full-length, formal, and luminously decorative Indian Girl, Allen Chin's loosely drawn and iridescent-hued and Barbara Sjostrom's genre, "Marketing," distinguished by an early Renaissance quality in design and color.

Outstanding among the portraits are Richard Heinz's diffusely brushed and rich-toned seated figure, William Mullen-Lux's keenly perceptive and realistic likeness, "Portrait of a Beatrice Ederly's tentatively rendered, thinly pigmented "Mountain Madonna," definitely Renaissance in style; and a very alert, delicately vignetted pastel portrait of a young boy, on beige paper, by Francis Beaugureau. Water colors that command attention for different reasons are a softly lighted, rich-toned, and texturally accomplished study of "Root and Rocks" by Harriet House; Francis Beaugureau's similar toned, crepe-scular rendering of a mission in shade against sunlit russet mountains, cu mc a Jean Eck's strongly contrasting and atmospheric "Seascape No. Marjorie Young's strikingly three-dimensional "Old Blue John Francis Failing's dramaticly illuminated and outlined "City Fred Nichols' freely brushed and low-keyed opaque painting of Tom Harter's glowing, angular pattern of branches, "Canyon Jeanette Brown's orientally calligraphic "Waeoli William R. Lewis's stylized and patchily washed "Arizona Ranch House," and James G. Souden's amorphic tone toem painted in soft colors on felt, "Landscape." ON THE DRAWINGS, none can compare in linework and lighting with Richard Heinz's black and white scratchboard character stuay, "Preacher," though Beatrice Edgerly's black and white Xilligree of vines, fruit, and blossoms, "Tangled Gourds." is impressive design wise.

Another is the sensitively lineal characterization of an Indian woman, "Market Place," by Margaret Olender. Most accomplished of the prints are Lathrop Gay's serigraph, the muted but colorfully accepted flute player, titled "Dark Susan Harter's pink and grey child group, "Summer Night;" Ben Goo's elaborately oriental arabesque, "Sunday and the nocturnal etch- from a germ called the Colon Bacillus and non-specific germs resulting from colds, bad teeth and other causes. These germs can set up so much irritation in the kidneys, bladder and urinary passages that nature sends a warning through your nerves to your brain that help is needed. Heed this warning now and you may easily avoid many anxious, worrysome hours and days. Bed Wetting Bed Wetting by children, due to common Kidney or Bladder Irritation, often is a bothersome problem.

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Memorable among the examples of sculpture in various media are Lawrence Tenney Steven's oversize, smoothly contoured head, carved from Australian redwood; a sensatively modeled and racially expressive portrait bronze, "Kathie" by Goldie Mathie; and Phillips Sanderson's attenuated headless, arm Paint Ilo.v Tivo Color Are Found By JAY A trip through an aquarium, a zoo, or a natural history museum leaves anyone who is sensitive to color with the feeling that every possible color combination can be found in some bird, or beast-or fish. We are struck by the two extremes in coloration found in nature the gaudy, attention getting type and the unobtrusive, protective coloration of some species. It is the protective type that I'd like to talk about here. Coloring is only one of many things that nature uses to hide her' creatures. Sometimes she uses shape as in the walking i the insect that looks just like a twig; sometimes an action, as in the way a flounder settles flat on a sandy bottom and then riffles Dittos us tins an around to disturb the sand so that when it settles down again it will perfectly hide the outline of the fish.

The tawny color of a mountain lion matching the color of earth, the fawn with dappled spots which resemble lights and shadows in undergrowth, a tiger's stripes which are like tall grass and its shadows, these are examples of protective coloring and thoy contain many Control Laboratory of The Knox Company one of the largest pharmaceutical companies of its kind in the world. During this time, over a billion Cystex tablets have been used by millions of sufferers around the world in upwards of 70 different countries. Such enduring popularity proves safety for young and old. Free Unless Satisfactory No medicine helps everyone exactly the same, but Cystex has helped millions and you can't know how much it can help you until you give it a fair trial. By all means you owe it to yourself and familv to avoid unnecessary delay.

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Once you do notice them they are plain to see. The way this is done is by harmonizing some element of the animal with some element, of its surroundings. The purpose may be protection, but the effect is certainly one of beauty and this comes from the way the animal is unified with its background. In a painting we are interested that the different parts of a painting have a unified appearance as well as arresting variations. Take a tip from the birds and bees and look for ways to bring out points of similarities between the things you depict in your work rather than differences only.

The differences between things or even between parts of things are very easy to see. They are what most people notice without trying. The ways in which things relate are very unobtrusive and subtle and you have to hunt them out. The beginner at painting is likely to be so concerned with representing things and the problems that this entails, that all of his emphasis both in drawing and in painting will be in bringing out distinctly the variations he finds in his subject. This leads him into a type of painting which is a cataloging of objects rather than a re lating of them.

THE HARMONY that can be found in nature is more important to the artist than just a matter of a beautiful picture. In a way, it is both his langauge and his purpose. We do the same thing with our spoken language. Take, for 'nstance, the Latin word meaning "with" and "corquer" combine them and we have a new meaning in the word A poet might take this word then and by using it in connection with other words obtain meanings for which there are no words yet. In the same way, the artist is discovering new values by exploring relationships of familiar things.

PJ Factories Are Surveyed BURBANK, Calif. Malcolm Bert, art director for "The Pa-jama Game," has returned from a short trip to Dubuque, Iowa, where he met director Stanley Donen for a survey of the pa-jama factories of the area. "The Pajama Game," film version of the Broadway musical hit, will star Doris Day, with John Raitt, Carol Haney, Eddie Foy Jr. and other members of the Broadway stage cast. kachina SCHOOL ART Fine Art Commercial Art Approved for Veterans Catalogue en Request ClMim for adnltf, hrilnnrra and hohhr palntrr.

Sal. A.M. Children's Art Oftftr4. 3801 N. 30th St.

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