Currently showing at the Portland Art Museum is a very handsome show of lithographs produced by Louis Bunce and Carl Morris in the Tamarind Work­shop. Morris’ lithos seem to be a natural extension of his painting––his methods and techniques readily lend themselves to the print medium, and some of the textural effects in the prints are identical to those in his paintings.

Bunce’s prints, all smaller in size, and mostly black and white with perhaps one color added, relate both to land­scape and figures (rocky cliffs become breasts and buttocks) giving the con­tent a very intimate quality.

Also showing at the Museum is a large collection of works by Kenneth Callahan covering roughly the years 1948–1959 and done mostly in tempera. The collection, owned by Emily Winthrop Miles, is being circulated to museums throughout the United States until 1964, after which time all the works will be dispersed among the participating museums. The effectiveness of Callahan’s work depends on the juxtaposition of specifically drawn figures and a freely-flow­ing, accidental use of color. Aside from the later large animal and insect draw­ings, his main development over the years seems to have been toward a more suggestive and less specific drawing––and that particular development has only served to generalize and weaken his statement.

The summer show at the Image Gal­lery includes all of its regular contributors. Some of the more noteworthy paintings are by Eric Marcoux, Jack McLarty, Dick Muller and sculptures by Manuel Izquierdo and Don Wilson. McLarty’s painting Star At Evening: invites comment because of its reference to Marilyn Monroe. The subject is so topical that one’s personal feelings on the subject either confirm or confuse the symbolism the artist in­tended. McLarty has, for a number of years, been concerned with symbolism and double images, and has reached the point where he can put down simply and effectively an image which has several implications. The mean­ings of the forms in this painting––the ominous one of the dress (or is it a black crab?) and the sense that the blanket (or is it the surf?) about to engulf the figure––come across in a direct and strong visual way.

One Lake by Dick Muller, painted with bright oranges, warm greys and blacks, achieves a sense of enormous space. His present use of color and application of paint make a more vig­orous and forceful statement.

The Fountain Gallery of Art, presented a one-day-only exhibition on August 26th. Held outdoors, it was flanked by the waterfront, the Silk’n’Satin cocktail bar, a fire station, and a warehouse­-like structure which had five large colorful paintings hung on a side wall. These paintings could be seen from a distance of four city blocks and must have dazzled the eyes of a few casual passers-by. The show, which attracted thousands of people, will undoubtedly become a yearly event. The quality of the paintings, sculpture, pottery, etc. was excellent.

––P. Burnham