Joan Hugo

  • Saburo Nakayama

    Torn between traditional disciplines and an urge toward the abstract, his paint­ings waver between two and three planes. The paint is thick without real density, the image essentially static. His watercolors are more conservative and make fewer demands on a seem­ingly hesitant approach.

    Bertil Vallien, a Swedish ceramist, shows charming clay figures.

    Joan Hugo

  • “Local 839, Iatse, Film Cartoonists”

    Tony Rizzo shows paint­ings limited in concept, tight in execu­tion, done in showcard colors, ultimately derived from Eugene Berman’s theatri­cal grab-bag of sets and props. Cornelius Cole shows sensitive gesture drawings that owe much to Daumier and Charles Dana Gibson. He is unpretentiously in­terested in people and what people do. His paintings are luminous and pleasant.

    Joan Hugo

  • Michel Albert

    This young French painter has already learned the lessons of the School of Paris, especially from de Stael. Thick slices and wedges of color are stacked on top of each other to form a simple image. Color and paint are the order of the day, but the most interesting paint­ings are those in which these two elements serve an end instead of being exploited for their own sake. Square Table and Snowscape best typify the direction this decided talent might take.

    Joan Hugo

  • “Three French Painters”

    Luminous, elegant, beau­tifully painted still lifes by Philipe Augé dominate this show. Those paintings with figures have a stylized, romantic, Italianate quality (Campigli at Pompeii) but only a few transcend a tendency to­ward decor to communicate a certain detached nostalgia. Solitude and, especially, Premier Combat, a fine exercise in white, best demonstrate the possibilities of his approach. Shown with Augé are works by Roger Jacquelin and Auguste Liquois. Jacquelin is not memorable. Liquois hesitates to push the rendering of atmosphere beyond the limits reached by Monet.

    Joan Hugo

  • Takashi Senda

    Success­ful as a conservative painter, Senda struck out in 1956 toward a freer mode of painting. The canvases are dynamic, his interest is in space and movement. The strokes cluster and group them­selves, moving with ease from canvas edge to converge with force. New Dimension and Sound of Valley are the most successful.

    Joan Hugo

  • Santa Fe

    The Fiesta staged over the Labor Day weekend marks the climax of an active summer here, and the Fine Arts Museum schedules its Annual Fiesta Show to coincide with the festivities. The Fiesta Show is open to all entrants; there were 181 this year. A jury of three awards small cash prizes (a total of $350) and three honorable mentions. While the jurors state in the catalog that the show is a “good representative cross-section of New Mexico art,” not all the artists currently active in New Mexico are represented, for reasons best known to themselves. Another juror says “We are catching up to the

  • John Bernhardt

    The very real need to paint as well as assemble is apparent in the work of John Bernhart. He can shape colors, curve and bend the lines in a way impossible with the arbitrarily formed bits and pieces that make up the assemblages. Some of the paintings have a strange “inside-of-a-box, seen from above” quality, with what seems to be well defined bottoms and sides. Others are energetic, even violent. Life and Death in Indianapolis is an ambitious painting in sections; elements swirl in and out of focus, dominated by a skull in majesty. The tensions of orange and gray are here exploited, as in

  • Group Show

    An over-the-summer “pot-pourri”: A Bourdelle “baigneuse” graces one window, a second figure stands in a niche, an early Epstein portrait head greets one at the door. There are paintings by Oliver Foss, H. Lambert-Naudin and Jun Dobashi. There is a bad Carzou, a 1948 Buffet, and a strong, less glittery-than-usual “intarsia” by Mary Bowling, who remains pre-eminent in this technique. Foss and H. Lambert-Naudin work in a style of glib “savoir-plaire,” colorful impressions of Parisian landmarks, destined for the tourist who wants more than a post-card to prove he was there. (Montmartre, where no

  • Tenth All City Art Festival

    As a city-organized art event, playing host to some 2,000 entrants, with handsome prize money ($6,000, donated by Home Savings and Loan), open to all who submit, the show at Barnsdall is unique, now that the County Museum has abandoned the Annual Exhibition of Artists of L. A. and vicinity. Such an exhibition should be a vigorous cross-section of current work in the area. It is not. Why it is not prompts some questioning and reflection. The jury, Sergei Bongart, Richard Haines, Sueo Serisawa, is a respectable company, certainly, chosen to represent different points of view. Some confusion about

  • Lovis Corinth

    It is a real treat to see the 35 etchings, lithographs and drawings by this important German Impressionist, member of the Berlin Secession group. The range is broad, from an early, formal etching Nude (1893) and work based on mythological subjects, through the graphic humor of the period seen in the “ABC” lithographs, to the dappled Beech Forest  (1922). The self-portraits are revealing and should be compared with his paintings of 1919–1923. His graphics, like his paintings, reflect his interest in mass shaped by shadow and light-mottled surfaces; his etching Badeanstalt (1919) is a gem. Collectors

  • Gordon Wagner

    Very engaging, full of humor, impressively composed, with sensitive insistence on form and color. They have nothing to do with the “trash-can” school which uses the detritus of a culture to mock it. Wagner’s interest in the “found object” is poetic, human. The gallery also shows selected works by the other artists it represents. Most important of these, surely, is Jose Luis Cuevas. The influence of Goya is obvious; his drawings have the profundity and originality to merit such a noble parentage.

    —Joan Hugo


  • Janel Lessing

    Children of twelve have boundless imaginations and prodigious talents. Such a child is Janel Lessing. Her hand and eye are quick and facile. But at this point her talent is imitative. Bemelmans, Provensen—the illustrators of children’s books seem to be her sources and she is able to copy them admirably. The Calder-like fantasy drawings are very good. She draws skillfully and balances shapes artfully, but if she is not soon exposed to flowers and snails and starfish and moved to draw them too, she will remain an illustrator.

    —Joan Hugo