Elizabeth M. Polley

  • Ernest Lacy

    Figures and still lifes, mainly. There are contemporary painters who remain nonentities without being bad. Non-entities because they have no content; not bad, because they generally follow the lines of a well-accepted pattern. Lacy falls into this category. His figures come from Michelangelo by way of Kokoschka and Corinth, with some innovations of his own. He makes no attempt to disguise his sources. But his development deserves watching—there are few artists his age with surer draftsmanship.

    Elizabeth M. Polley



  • Gertrude Venton

    Abstract expressionism, derived from landscape. Miss Venton vacillates between figurative and non-figurative work, with bold color and some very confused brushwork. Ruthless pruning could have given her a small, acceptable exhibition.

    Elizabeth M. Polley

  • “Limited Pulls”

    Signed limited editions from artists of Atelier 17, Paris, including a number from the master printer, Hayter, are featured at this little gallery specializing in contemporary prints. A choice selection by Marian Britton, director.

    Elizabeth M. Polley

  • Alexander Nepote, Ken Morrow and Tio Giambruni

    Oils, watercolors, collages, cast bronzes and one tentacled magna-site creation by three well-established Bay Area artists.

    Nepote has developed the infinite patterns of bare rocks, tumbling waters and snowdrifts of the High Sierras into an individual statement about variables and constants and primordial beginnings—the causa causans of the fields and rivers in the rich valley below. He is not obvious or sentimental about this, his work at first impresses solely by its powerful abstract design, as exciting to the artist as to the geologist or philosopher.

    Where Nepote raids geology for inspiration,

  • Edgar Dorsey Taylor and Gail Wong

    Woodblock prints of Mexican subjects and European cafe society, romantic abstraction by a young Boston artist now living in California, plus a group show of works from the Sacramento Artists League and some prize-winning photographs from the Sierra Camera Club.

    Taylor has the outstanding show here, with a tremendous range of subject matter and extraordinary capability in woodcutting. At times frankly illustrative, he can also be as expressionistic as either Munch or Schmidt-Rottluff. Coastal Baja California, with its brilliant sunshine and spectral landscape, lends itself to black-and-white, and

  • Jack Jefferson

    An eight-year retrospective of Jefferson’s work, beginning with canvases characterized by an overall complexity and including his latest Embarcadero series. In these latter he is concerned with the central image, suggesting geographical location by means of color and what seems to be a waterfront profile. In a series concerned with Mission Street, beginning in 1957 and developed concurrently with another series on Jackson Street, Jefferson often used dark and murky colors, with the brush stroke pacing the eye up and across the canvas. These were the moods of the streets.

    The Embarcadero series

  • “Asian Art”

    The 40 pieces of Oriental art from the collection of members of the Society for Asian Art came down to make room for installation of a photographic exhibition discussed elsewhere in this issue. A small, choice selection of paintings, sculptures, ritual vessels, and Haniwa figures, covering periods from the third century B.C. to the 19th century A.D., it was the first of a series planned to present selections from members’ collections, and fortunately for reviewers, subsequent shows will be devoted to more specific themes.

    Almost lost in this exhibition of more exotic items were two wonderfully

  • Frederick Hammersley and Julius Wasserstein

    Polarities of abstraction here. Hammersley, a pure geometrist, has a gay and colorful show with aspects of a signalman’s washday. The canvases line the walls in an array of classically ordered, clearly defined, flat-colored geometric shapes: triangles, rectangles, circles in triangles, circles in rectangles, even double circles with interlocking parabolas. His idiom seems to have been born of the same need for clarity in art that prompted David to lead the return to classicism and order at the turn of the 19th century. Everything is controlled: by direction and counter direction, position and

  • Laureen Landau, “Sacramento Group Show,” and “Eskimo Prints”

    Landau’s abstractions suggest associations with nature, making an interesting foil for the new selection of Eskimo prints from the Lilly Weil Jaffe collection, also abstract and also derived from nature associations. Dwight Eberly, Archie Gonzales, John Mancini, Harry Troughton, Don Wisks and Farrar Willson, who range between figurative invention and abstract simplification in style, make up the Sacramento group showing.

    Elizabeth M. Polley

  • Lionel Talbot and Daniel Mendelowitz

    Talbot’s first one-man show, of children and their pets in intimate settings. Although not actually derivative, there is a suggestion of both Renoir and Toulouse-Lautrec in Talbot’s intimisms, and even a bit of Soutine in one picture of a knowing old butler serving a sippy. It is Mendelowitz’s eighth solo show in San Francisco and presents his impressions on a recent trip to Italy. To accommodate atmospheric changes he adopted a free-floating style of application that has cost him his usual crispness.

    Elizabeth M. Polley