Elizabeth M. Polley

  • Raymond Howell

    Howell has gained in technical skill, but lost his boyish sincerity since those days when he painted San Francisco’s “hungry i habitues” and had his first one-man show at Maxwell’s. He was consistent then. Too many influences are now pulling him too many ways—there are at least three distinct styles, plus their variations, in this one show. The best of them is found in “Streets of Tomorrow,” imbued with a sort of West Side Story surrealism.

    Elizabeth M. Polley

  • 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

  • Tutankhamun Treasures

    Lent by the Government of the United Arab Republic, thirty-four carefully selected items from the fabulous tomb of the boy king of ancient Egypt who died a consumptive at the age of 19, are shown. (Reign: XVIII Dynasty, ca. 1358–1350 B.C.) Unfortunately, these pieces, interesting as they are, give us an inadequate picture of the special flavor of Egyptian art of the time, although they do reflect the fabulous wealth of the pharaohs and the immaculate craftsmanship of the artists of antiquity. One wishes that enough color photos of some of the graphic arts had supplemented them to better inform

  • Fred Martin, John Coplans, Daniel Shapiro, Wally Hendrick

    An experiment in group exhibition which will roil the blood of die-hard traditionalists. It refutes the conventional wall hanging, “which tends to bind the work too rigidly to the architecture of the building and interferes with the spectator’s perception.” The aim is to stimulate greater audience participation. This even at the expense of comfort (which is only a sedative anyway). Coplans, Shapiro and Hedrick all have huge canvases which are set directly on the floor, like screens, to be viewed from the painter’s position. They are spaced to allow for a walk-around, to see the work from all

  • “Chinese Art Treasures from the National Palace and the Central Museums of China”

    Rich in variety in everything from tapestries to teapots, the Chinese Art Treasures from the National Palace and the Central Museums of China have arrived at the M. H. de Young Memorial Museum, San Francisco, to make their last public appearance in the United States before returning to Taiwan. Included are sanctified bronze vessels derived from lowly kitchen utensils used in ancient Chinese homes, priceless pottery and art objects, and some of the most famous paintings surviving from the Tang, Five Dynasties, Sung, Yuan and Ming Dynasties (618–1644 A.D.). These are the Chinese ming-chi, or “