Palmer French

  • Gordon Onslow-ford, Lee Mulli­can, Fred Reichman, Jerrold Da­vis, and Richard Bowman

    It is apparent without benefit of the usual gallery biographical blurbs, that these artists are all competent and aware technicians, professional and serious. The present showing is, there­fore, for most of these painters, unfor­tunate––even after discounting the over­crowded, ill-considered juxtaposition of canvases, the distracting, somewhat Ro­coco clutter of eclectic furniture and the rather good pre-Columbian sculp­ture.

    Two of these painters, at least––On­slow-Ford and Mullican––have seen days of more inventive and persuasive vital­ity than is to be found in the techni­cally interesting,

  • Robert Elsocht

    This showing of some twenty-seven oil paintings by Mr. Elsocht displays a type of representational (sometimes border­ing on “abstract”) expressionism that has become a cliché of the little com­mercial galleries. Here, in overall dis­position, are primly conventional scenes of boats moored at the piers of rural fishing hamlets, autumnal forests, moun­tain landscapes, and San Francisco cityscapes (with cablecars), all executed with a contrived slap-dash of heavy im­pasto, slickly glossed with high varnish. In the entire show, one could not find a single work that rose above the level of the