This group show is uneven. Of some interest are the rather bold Impressionist and Post-Impressionist (Cézanne) related oils by Charles Ranson, a teacher of English History at Yuma, Arizona. Es­sentially a statement in color, the rather fresh Figure by Walter Quirt of the University of Minnesota deserves some attention as a water color sketch. Ray Moyer’s New York success could be at­tributed more to fashion than merit. There are others but interest centers on the featured work of William Dole and Marie-Anne Poniatowska. Perhaps the most impressive of Dole’s works here is Sign for Foggy Night. Com­bined with a delicate wash are the expected fragments of type and a black spot on a bit of newsprint. In contrast to it and to most of Dole’s work is the almost baroque Tower of Babel: Con­struction Detail which outwardly runs the risk of being a conversation piece because of the fascination that is found in identifying the multitude of fragments of which it is composed. Also atypical is the one landscape from 1961, Hills from Bullita Beach. Here the artist maintains the delicate bal­ance between the abstract and the associational that is so difficult to achieve. Although the abstract is also to be found in the refined and highly skilled conte drawings of Marie-Anne Poniatowska, the balance is in favor of realism. The Paris artist, who studied at Scripps College, is represented by three pieces: Self Portrait, Oiseau Mort #6, both of 1962, and an earlier Seaweed, 1961. There are those who have decried the loss of the skilled draughtsman in the contemporary world; let their cries be silenced. Com­bined with a romanticism that has a sense of magic, Marie-Anne Poniatowska has the skill of an engraver.

––Constance Perkins