Palmer D. French

  • William Morehouse

    Mr. Morehouse exhibits titanic landscape fantasies in a romantic spirit that would be amply suited to the rendering of persuasive sets for “Die Gotterdammerung.” There is a good deal of gorgeous painting in these “epic panoramas” with indebtedness to Van Gogh as well as to the fantastic stylism of spectacular horizons in Bosch and in the Gothic primitives. However this is neither imitation, derivation, nor erudite paraphrase, but a process of assimilation and transformation in an artist whose individuality is sufficiently strong and mature that heritage can implement it rather than engulf it.

  • Period Paintings and Mark Chagall

    The lower gallery features a typic al dealer’s exhibition of European and American period and genre paintings from a considerable span of history: an eclectic array indeed, juxtaposing such diversities as a rather fine “dock-scape” by the 19th century Belgian marinist, Paul J. Clays, a sentimental confection by Bouguereau, a very attractive little Derain, a trivial Vuillard, some early Flemish portraitists, a Grandma Moses and a Prendergast, to mention only a few.

    While for the most part this is the usual run of minor works by famous painters and more ambitious undertakings by the justly obscure,

  • Posters and Roy Overstreet

    Good posters are fine art. They are genuine pop art. They have mass appeal despite their excellence. They are worthwhile collector’s items. These are the points made by the group of recent posters designed by the old masters of modern art, including Victor Brauner, Jean Arp, Raoul Dufy, Hans Erni, Henri Matisse, Bernard Buffet and Francis Bacon. Most of them were designed to announce the artist’s own shows. However, Kees van Dongen’s Fauvish “Normandie-Beach” is a travel poster and Picasso’s full-feathered white dove was created as a symbol of peace and used to proclaim the ill-fated summit

  • Ron Boise

    Mr. Boise exhibits miniature sheet-metal sculptures consisting of a series of mannequin couples disposed in various attitudes of amorous dalliance, and rendered with those obvious schematizations of the human figure that have become cliches of the more commercial and decorative employments of the medium. Photo-reproductions of essentially the same subject matter from GrecoRoman nymph-and-satyr friezes and the Pompeian murals have long occasioned considerable (and often rather ludicrous) controversy between museum scholars and customs’ censors. However, this ancient erotic art is lyrical,

  • Byron Burford

    Professor Burford’s recent oil paintings (of which the topical theme, quite incidentally, is ‘War’) presents a collection of placid, blandly refined essays on style, comprising the meditations of a seasoned academician upon certain idioms in American art from the WPA era to the late 1940’s. In such statements as “Women Making Munitions” (1963) the painting of details alludes unmistakably to Edward Hopper. But it is with syntax rather than with painting that Burford is primarily concerned. He is intrigued by that amalgamation of the figurative themes of “social comment” with the architectonics

  • Jean Hyson

    A gallery announcement conveys that Miss Hyson was born in Texas in 1928, studied at the Art Students’ League with Kuniyoshi and Grosz, is “a member of Artist’s Equity,” has had work exhibited on the campuses of a couple of American universities, as well as “in Paris, France and Mexico City,” and that she has done extensive traveling and living abroad. If smart set giddy dilettantism must be ornamented with pretensions to a career, presumably all of this and having exhibitions lends artistic verisimilitude to the affectation. However, perforce, a sine qua non of this little vanity is something

  • Joshua Meador

    Mr. Meador, a Mississippian by birth, and a graduate of the Art Institute of Chicago, presents principally soft-focused American rural landscapes in oil. These genre paintings are well-enunciated cliches in a familiar idiom that has become such a persistently commercialized, die-hard strain of popular traditionalism in American art that at least its immediate lineage is worth tracing. Simply stated, it is a New England regionalism that evolved spontaneously during the first two decades of the present century. While ultimately a complex of 19th-century European influences, its immediate indebtednesses

  • Dorr Bothwell, Nancy Genn, and James Grant

    Miss Bothwell exhibits kaleidograms entitled, Watchwords and pictorial motifs en­titled, Mendocino Fences. In a man­ner sometimes reminiscent of tapestry and sometimes of mosaic, the Watch­words present busy geometric patterns, distinctly Byzantine in color and char­acter: woven in the intricate traceries, or obscurely stenciled in the interstitial “negative spaces” are stylized letters spelling such words as, “Love,” “Peace” and “Joy.” One gathers from the gallery statement that Miss Bothwell fancies this treatment is novel and constitutes a positive use of the principles of sub­liminal

  • Roberto de Lamonica

    This young Brazilian graphicist exhibits two-toned engravings employ­ing etching, drypoint and aquatint tech­niques. From a small selection of bril­liantly experimental, but esthetically unpursuasive, technical studies, one work stands out as an artistically co­herent, arrestingly pursuasive state­ment: Engraving 39 (1961). Here, brood­ing, dark masses, delicately corrugated with turtle-shell mosaic, and extending grotesque, arachnoid tentacles, seem sil­houetted in spectral light criss-crossed with spiderweb linearities. The thinking is “contrapuntal”: motifs stated in the microcosm of internal

  • Howard Foote

    Mr. Foote exhibits a half-dozen paintings in the methods and manners of the younger group of New York-Boston abstract expressionists of the mid-nine­teen-fifties. Here the style has matured a little from the off-beat vernacular of Provincetown summers to a more syn­tactically sophisticated and coherent idiom. While manifestly sincere and somewhat above the student ineptitude and amateur cliches so often essayed in this already dated regional genre, the work lacks compelling viewpoint and persuasive inflexion, and falls into that category best designated as competent mediocrity. Two titles are

  • Lloyd Strathearn, Dolly Bonetti, Cynthia Goldstone, and Jean Dickow

    Mr. Strat­hearn, Miss Bonetti and Miss-Goldstone each exhibit a variety of decorative, illustrative and pictorial statements in rather banal commercial genres. Miss Dickow is a little young to be exhibiting. For the most part her abstract state­ments bear the stamp of sophomoric exuberance in a wide range of deriva­tions, while her more original ideas are inadequately realized. However, we may see noteworthy work from this young artist when her sensibilities and imagi­nation, with respect to color and syntax, are implemented with a little more ex­perience, disciplined observation and technical

  • Art Holman

    Mr. Holman works principally in an idiom that is best described as Abstract Im­pressionism. Like the original Impres­sionists, he is much concerned, in a very technical sense, with optics and the optical properties of his media: colors are “fragmented,” modulated and juxtaposed, and glazes are employed, as are other devices of texturing, with reference to optical dynamics, and with the knowledgeability of a physicist care­fully exploring properties of pigmented chemicals. The work may, therefore, be described as technically “objective” and “experimental,” while the overall es­thetic result sought