Barbara Smith

  • Diana Bryer

    Here we have the inexplicable situation of a young girl living in Los Angeles and producing, from a very early age, a large body of small but beautiful primitive paintings. Engrossed in fairy-tale like fantasies, flowers, lovers, birds and dragons; but possessed of insights of which she is not consciously aware, she makes controlled and compelling paintings which go far beyond the decorative. Her portraits are direct and open, honest to the point of hurt ing by truth.

    ––Barbara Smith

  • Bernard Zalusky

    This show is a sort of sketch book in relief of the artist’s recent trip to Greece. Zalusky has built up in plaster a loose liquid style bas-relief on fragments of stone, slate or marble. He represents parts of the great friezes of antiquity: the processions of horsemen, bull baiting, Athena, etc. If he intends to incorporate the feeling of unearthed remnants and a veneration for age, this is missed, for the majority of pieces have a feeling of brand newness of stone and applied artificiality of figure that is reminiscent of decorative tile work made for tract homes. However, in the best pieces,

  • Jesus Leuus

    Jesus Leuus deals with the human situation, abstracting the figure to large simple forms. Groups of two or three people stand out in glowing, glazed and scumbled colors against rich dark backgrounds. The heads of the figures are reduced to a small circle containing only wide open expressionless eyes. The figures seem to speak without sound, and protect one another without tangible defenses. They neither wish nor act, but seem passive, apathetic, bewildered and somehow miserable. In a few, one seems to find one figure representing death. It is more massive than the rest and holds a power the

  • William Dole

    Re­fining the medium of collage to the ulti­mate of control, completion, sensitivity, and sparseness, William Dole assumes the direction begun by Kurt Schwitters. Whereas Schwitters felt a mission and compulsion for the medium, a zeal to establish the validity of new materials as an art medium, Dole attempts to discipline these materials. He distills his elements until not one item could be moved or removed. While Dole has spent years in this one direction, time has not caused over-refinement, bore­dom, nor decoration.

    This particular showing of his works contains several done under the influ­ence

  • “Drawing Show”

    Of the three artists represented, Joan Maffei makes the best showing with her draw­ings. A few seem derivative of Miró but with a perspective that is all her own. Involved with the fantasy of children’s stories, or the ambivalence involved in children’s events, The Birthday Party is typical. Decorative forms and objects, particularly plant forms, take on a life of their own, often inspiring fear. Two large drawings in mixed media develop a vicious relationship between mother and child; the baby grasps in thwarted rage for want of the breast and the mother returns rage for rage in angry voice.


  • Michael Seuphor

    Once again we are treated with a show of works by Michel Seuphor who has long been known for his versatility and contributions in the modern arts both visual and verbal. Here we see his own vision of reality. Intuitive without emotionalism, meditative, the perfect harmony or blend where the apparent accident becomes so harmonious to the inner compatibility with the flux of life that the spontaneity of an entity becomes coincident with totality. The self awareness and perceptiveness to the flow of life necessary for the control Seuphor achieves is evident in the beauty of resolution of his works.

  • Anya Fisher

    Many pleasant oil paintings are displayed of still-life, landscape and genre scenes using opaque oil in a loosely handled manner. One feels a certain lack of involvement and energy, a reliance on the anecdotal in a sentimental sense, a superficiality and lack of resolution of elements. The most striking effect is the apparent painting of these scenes over a generally bright underpainting. In certain areas the opaqueness of the top coat is left open to allow this undercoat to show through little windows, as it were, to the beyond. The possibilities of this concept and its development are very

  • “Director's Choice”

    The Director’s Choice show at the Pasadena Art Museum presents the personal selections of the new Acting Director, Walter Hopps, in an improved format from prior years. The exhibition displays works by artists who have had major shows during the preceding year (the memorable Kandinsky, Nolde and Duchamp exhibitions, the Antoni Tapies, Viennese Expressionist and John McLaughlin shows), and selections within the primary directions in which the Museum is concentrating its collection. These categories are the Blue Four group and other German Expressionists, pre-Columbian Art, Oriental and old and

  • Julian Ritter

    Ritter paints in three categories, sensuous, seductive calendar-girl nudes which he sells for large sums at Las Vegas, clown paintings, and his so-called “serious art.” In every case there is a certain superficiality, a lack of contact because he believes his own fantasy. To the sensitive viewer this schizoid involvement tells a rather sad tale. There really are no girls like his creations with better than Renoir flesh, tousled hair, pink nipples, seductive lips, and passively vacant stares. To touch these girls would be to make them vanish; they are without substance; but to believe in them is

  • Paul Darrow

    These paintings and drawings reflect, in a variety of media, the artist’s essentially lyrical and poetic vision.

    Darrow is at his best in the skillfully rendered charcoal, ink wash, and pencil drawings. His draftsmanship is sure, and his knowledge of the subtleties and intricacies of these materials is impressive. Some of his oil paintings retain the essential character of these drawings; forms emerge from layers of thin, transparent oil washes applied almost like watercolor. Working with opaque, undiluted oils, Darrow is less successful; the compositions tend to disintegrate and become messy.

  • Bennett Bradbury

    This painter has the technical ability to capture the visible moods and aspects of the sea in the format of the 19th-century landscape artists. While his paintings are consistent throughout, no doubt perfectly sincere in their regard for the power and beauty of the sea, and will appeal to the general taste, they are little more than decorations. A sensitive viewer would soon cease to find them challenging, and they would blend into the surrounding decor as nonentities. Mr. Bradbury while competent, cannot be called an innovator, because he uses old and thoroughly developed approaches to his