H. J. Weeks

  • Emerson Woelffer

    An exhibition of the artist’s recent works, featuring his own personal vocabulary of handprints and “mirror” shapes––shapes which recall half-apples seen in silhouette. Only one work “Yellow Poem #2” lacked both; its dominant feature was a large, black, almost square shape nearly filling the canvas, its uneven edges defined on the sides and the bottom by dark brown areas, while its top was edged by a band of bright ochre. In the upper center of this shape, white, thickly textured paint became two adjoining squares. The black, functioning as a shape in itself and also as a background, provides

  • Joan Maffei

    An artist of undoubted evocative power, Joan Maffei, a product of Long Beach State College and UCLA, was given her second one-man exhibition at this gallery. Miss Maffei creates a rather terrifying world. Her world of solid objects in almost garish colors is peopled with icons, not humans, and it faintly recalls the worlds given to us by some of the Mexican social realists of the 1930s, yet developed in an anti-classical manner. Such a work as “Portrait of Carlo” with its strange, dark, powerful figure, cramped into a space too shallow to contain it, gauntleted arms raised high to hold or catch

  • Old Master Prints from the National Gallery of Art

    As a part of an educational program designed to create greater interest in prints, the Print Council of America asked Mr. Lessing J. Rosenwald, one of the nation’s outstanding collectors (and donor of the extensive and magnificent collection that bears his name to the National Gallery), to select fifty works by twenty artists from his donation for circulation to museums and galleries throughout the United States. Spanning the major print developments in Western art to the end of the 19th century, the exhibition is not only a fine introduction to the subject for the novice, but an excellent

  • Figure Today

    There has been much talk about a return to the figure, but since the Los Angeles Art Association has a long tradition of at least one exhibition each year devoted to the contemporary figure painter, it could be said that the figure never really left the Association. The current exhibition is not the strongest of the recent Association exhibitions, but, as always, it is of interest to the viewer searching for works by artists not currently fashionable.

    The most outstanding painting is Harry Carmean’s “untitled.” It represents a shift in his concepts; the long interest in the Renaissance is still

  • Thomas Cornell

    This was a thoroughly delightful exhibition of skill and competence in the graphic field. Combining superb draftsmanship with psychological insight expressed through his medium, the artist gives us a series of portraits of classic figures from the literary and political world of 18th-century France, such as Voltaire and Robespierre. The air of antique charm that envelops these works is not false, but is engendered by the artist’s careful craftsmanship, while his concept of the subject is wholly acceptable to a modern viewer.

    Mr. Cornell, born in 1937 and a graduate of Amherst, the Cleveland

  • Primitive Art of New Guinea

    The Los Angeles County Museum of History and Science celebrated the loss of the Art division to its new building by installing a handsome exhibition of the primitive art of New Guinea. Such art is justly celebrated as being beautifully designed, expressive of the power of the unknown, the depiction of the essence of malevolence––all qualities that have fascinated many Western artists but which have rarely been expressed as well in other cultures. The New Guinea artists all have a sense of non-symmetrical design, expressed even in their symmetrical pieces, for in all cases, what appear to be

  • Jean Barlow

    This exhibition marked the debut of Miss Barlow on the commercial gallery scene. It was selected from her recent Master’s exhibition at the University of California, Los Angeles. The exhibition was uneven, the varying quality between successful drawings and unsuccessful paintings so great that the show could almost have been by two different artists.

    Miss Barlow has much work to do in the use of color; as it now stands, she uses color primarily for its position on the value scale, almost completely ignoring hue and chroma, nor has she mastered the special qualities of fluid paint. This division

  • Pacific Heritage

    In this exhibition designed to present “a fruitful mingling of East and West,” Morris Graves and Mark Tobey were presented as “forerunners of the artists that make up the bulk of the exhibition.” Tobey’s “Burst of Spring, 1964” was by far the most impressive work in the exhibition; the other works of the two older men were representative (and effective) examples of their painting. The sculpture of George Tsutakawa, while in wood and bronze, gave the curious effect of being stone. Robert Bosworth paints watercolors that have a very Art Nouveau effect, controlled and lush at the same time, with

  • Gerd Koch

    Mr. Koch is an artist who has been exhibiting in the southern California area for well over ten years, and during that time has garnered an impressive list of prizes, exhibitions, and sales. His subject matter has always been nature, primarily the Ojai countryside, treated in an individual manner. In earlier works, the development was rich and full, with the entire surface of the picture covered with thick paint, an expression that was boldly and completely on the picture plane.

    Mr. Koch has just returned from a year or so spent in Europe, and the exhibition is the first here since 1962. The new

  • David Aronson

    Since his last exhibition in this area (at the Long Beach Museum of Art in 1961), David Aronson has moved into a new medium, sculpture, and the current exhibition contained some of this new work, as well as paintings and drawings. The drawings and paintings were further developments of the work shown four years ago-strange, slightly distorted figures existing in a shallow space filled with a light almost as palpable as honey. The color range and the attitudes of the figures bring to mind some of the later works of Rembrandt, although they lack the compassion of Rembrandt’s depictions. Even when

  • Charles Hinman

    Hard-Edge painting seeks expres­sion through control and careful tech­nique. But purity and sterility may be synonyms, and many artists explore variations on the approach in an attempt to stay on the fruitful side of the line. One of the most successful practitioners of a varied approach seen recently is Charles Hinman, who paints three-dimensional works. His first ap­proach is to give each flat area of color a stretched canvas of its own, so that the shape, the color, and the canvas are one. He then hangs the can­vases in relationship to one-another, sometimes uniting felt relationships with

  • Allan Blizzard

    Mr. Blizzard’s subject matter is pri­marily the turn-of-the-century world of Cézanne and the Dreyfus case; the world immortalized by the Impression­ists and Marcel Proust, presented not as an essay in sentimentality but as the foundation for works of grace and charm. The artist works in paint, a combination of patterned cloth and paint, and in small bronze figures and heads. These graceful, small bronzes share the elegance of the paintings.

    They tend to be rather slight, and function perfectly as three-dimensional adjuncts to the paintings. The two paintings which do not utilize fabric are

  • George Rouault

    Under its new name and program of presenting major loan exhibitions, the La Jolla Museum of Art installed 86 oils, gouaches, watercolors, drawings and prints by Georges Rouault, all borrowed from an impressive list of owners throughout the United States.

    Georges Rouault lived until 1958. He worked in Paris during the period of great artistic ferment that gave us the art we have today. Knowing many of the great artists of the time, and participating in some of the important early exhibitions, he developed and held on to a personal, unique style of his own. As a child, he was tutored in art

  • June Smith

    Miss June Smith paints in oils in a rather heavyhanded, brilliantly colored way. Her drawing is uneven, and the way she handles her medium varies, not always to the enrichment of her work. Her figures are least successful, although Quiet Waiting is powerful; a pregnant woman handsomely patterned in blues, greens, and yellows, it is weakened by red flowers obviously placed where the distortion of the subject’s figure is most apparent. Miss Smith’s landscapes are more successful. The most completely developed and unified works are Blue Hills and Blue Lagoon. In both of these works, all elements

  • Harry Bledstein

    A partial survey of the development of Harry Bledstein, the oils on view cover approximately three years of painting. From heavily-impastoed figure studies, the works graduate into very thinly painted, closely valued, limited-hued statements, with the figures resolved by areas of dark and light. In some, line is added to aid in the delineation, but this is rarely successful, for there may be only one overstressed line in the entire works, as in Seated Figure where the line which defines the underside of the arm floats on the surface of the work in an irritating manner. Other works dissolve into

  • Sister Mary Corita

    According to the gallery attendant, Sister Mary Corita was intrigued by the advertising posters on the outside of a new market across the street from Immaculate Heart College. At any rate, in her current exhibition, Sister Corita utilizes such elements as her basic design statement. The large, over-all elements are either single words, portions of advertising slogans, or simplified designs from boxes or wrappers. Her work would differ from Pop Art, as she modifies these elements to achieve stronger designs. Also included in each work are beautifully designed quotations. In some cases, the two

  • Group Show

    The Martin Janis Gallery exhibits its stock atelier-style, and does not put on one-man or group shows organized around a theme. All media are represented, but in general, the gallery is strongest in drawings and graphics by internationally recognized names. There are several examples of Picasso’s “Suite Vollard”; there is a de Kooning sketch of a cat; Matta is represented by a handsome drawing in his later style; Charles Birchfield’s 1917 drawing of trees and houses is very good-looking; Klee, Lautrec, Pechstein, Rouault and Braque are also represented. Several paintings by Louis Eilshemius are

  • Group Show

    The Wooden Horse Gallery continues to bring to Laguna Beach artists of Southern California who do not fit into the “Laguna Beach” category. This handsome group show included Bently Schaad, Jae Carmichael, Sister Mary Corita, Hans Burkhardt, Rex Brandt, Joan Irving, Robert Frame, Leonard Edmondson, Karl Benjamin, Crandall Norton, Howard Lockway, Dick Swift, and Andy Wing. Larry Rink had a beautiful transparent watercolor, and Mel Henderson of San Francisco showed three sculptures in leather and wood which were most impressive. Leather, stretched over a wooden framework, with some of the framework

  • Leon Saulter

    This is an eclectic exhibition which ranges from a thinly conceived oil on masonite, The Drama of Sunset, in a somewhat Abstract Expressionistic manner, to a flat figure-and-interior study in which all elements are im­prisoned in a network of semi-geomet­ric black lines. Diverse sculpture is in­cluded. This range of styles is deliberate, for in his written statement the artist rejects consistency for “constant change and evolvement. The criterion of personal style becomes expendable in the face of exploration of the many personality facets that demand new­ness of comprehension. The search becomes

  • John Sloan

    John Sloan’s long life spanned the period in which American art came of age, and he was instrumental in the maturing process. While his American art is secure, he remains somewhat in the limbo of unappreciation that comes to many artists following their deaths before they are properly evaluated and placed in the over-all artistic scheme of things.

    The earlier paintings in this extensive retrospective show a freedom, a sureness of brush stroke, a verve that is pleasing. As his work progressed, the brush stroke grew quieter, and the painting media became dryer and tighter, and line began to emerge,