THE ARTOF MARINEPAINTING

—See Page 6

MAY, 1964

today's artTHE 1964

GUGGENHEIMAWARDS

—See Page 5

TONDO, X, oil on canvas,62 M: inches in diameter, byVera Haller (Switzerland).Done entirely in white-and-Kray. Lent by the artist.Photograph Courtesy TheSolomon R. Gug genheimMuseum, New York City.

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Exhibition OpportunitiesArkansas City, Kan.: A. C. Chamber of Comm. Sidewalk Arts Festival,June 5-6; all artists, all media; fee, jury, prizes. Mrs. Reede Farrell, c/oChamber of Commerce.Brighton, Mass.: Henri Studio Gall., 1247 Commonwealth Ave. Competitionfor one-man shows ; all artists, all media.Cooperstown, N. Y.: C. Art Ass'n, 29th Annual Open Exh., Aug., 2-27;entries due July 10. Margaret S. Bellows, Sec.Fort Worth, Tex.: Chapman Gall., 7108-B Weatherford Highway; con-tinuous exh., all artists, all media; fee, jury.Lakeville, Conn.: Seraphim Gall. Annual Sharon Creative Arts FoundationBenefit Show, May 23-31 ; artists of New Engl. & N. Y. State; all media;fee, jury, prizes. Thomas McGivern, Box 230. Send self-addr., stampedenvelope.Middletown, Va.: Wayside Theatre & Gall, of Fine Arts, bi-monthly groupshows, all media; fee, jury, prizes. Box 61.New Canaan, Conn.: Silvermine Guild of Artists 16th New Engl. Exh. ofPtg. & Sculp. June 21-July 16 ; artists of New Engl., N. Y., N. J., Pa. Oil,watercol., casein, mixed media, sculp. Fee, jury, {5,000 cash awards. Workdue May 30, 31. There will be a N. Y. pick-up point.Newport, R. I.: Art Ass'n of N., 53rd Annual, June 27-July 26 ; all livingU.S. artists; oils, aquamedia, graphics, small sculp. Fee, jury, prizes. Entrycards due June 10. Committee T-A, Art Ass'n of N., 76 Bellevue Ave.,Newport, R. I. 02840.New Rochelle, N. Y.: N. R. Art Ass'n 40th Anniv. Exh., May 10-17 atY.M.C.A. All Westchestcr artists, all media; fee, jury, substantial cashawards. Martha Gangel, 10 Winslow PI., Larchmont, N. Y.New York, N. Y.: Amer. Veterans Sac. of Artitts Summer Festival ArtExh. at Union Dime Savings Bank, Ave. of Americas & 40 St., June 29-July 10. All U. S. artist-veterans & artists now in armed forces ; all media ;fee, jury, prizes. Cards due June 5. Irwin Ticktin, 1885 Billingsley Ter-race, Bronx 63, N. Y. ::: Ligoa Duncan Salon of the 50 States, 215 B. 82St., N. Y. 28; all artists, fee, jury, winners shown in Paris. Send self-addr., stamped envelope for blanks.Springfield, Mass.: S. Mus. of Fine Arts, Western New Engl. College Stu-dents' Biennial; no fee, all media, prizes. Entries due May 11. Registrar ofMus., 49 Chestnut St.Worcester, Mass.: W. Art Mus., Juried Biennial W. Area Exh.. June 25-Aug. 31; all media; entries due May 9. John B. Kirby Jr., CuratorialAssistant.

» • »DIRECTORY OF INTERNTL SCHOLARSHIPS IN THE ARTS, publishedby Inst. of Interntl Education, 800 Second Ave., N. -Y. 10017. Gov't &privately sponsored scholarships in all the arts, incl. eligibility, applicationprocedures, required documents, 50tf a copy.

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Today's Art, Vol. 12, No. 5. Copyright© 1964 by Syndicate Magazines, Inc., 25 W. 46th Street, N. Y. C. LT 1-8840. Published monthly. Advertising rates onrequest. Printed in U.S.A. Anthony Lord, Editor; Ralph Fabri, Associate Editor.

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THE GUGGENHEIMINTERNATIONALAWARD 1964

by Ralph Fahri

Photographs Courtesy The Solomon fl. Guggenheim Museum,Mew York City.

WW HETHER you climbed up the world-famous spiral rampof the Guggenheim Museum in New York City or took oneof the half-circular elevators to the top and walked down,you were hit at every turn, in every odd corner, by paintingsof the Guggenheim International Award Exhibition. Mostof the paintings would be too big for the largest wall in theliving room of the biggest apartment. With few exceptions,they were also striking, often staggering, in color and ve-hement pattern. Several had circular shapes, even concentricstripes, like giant targets on a shooting range; some were three-dimensional with enormous heaps of plaster-paint; others hada perfectly smooth lacquer-finish.

Barnett Newman of the United States had a 101 x 12P/4-inch canvas painted all-orange with two straight yellow stripesrunning all the way up—one near the left side, the other nearthe right; the left edge of the canvas was decorated withswirls of white, like waves running vertically. Its title, "TheThird" was of little help. At the request of the artist, thepainting was not considered for an award.

William Turnbull of the United Kingdom painted a slightly-curved lemon-yellow strip near the left end of a medium-yellow canvas, 74x100^4 inches, and called it "Mango".Incomprehensible? Sure, but "Cardiogram of the Cyclops" byHeinz Mack of Germany could almost be guessed, and itsoriginality was undeniable. One of the truly fascinatingworks was "Doctor Livingstone, I Presume" by the Swedishartist Oyvind Fahlstrom. Lines, curlicues, spots in black inkon the 93'/4 x 8914-inch pure white canvas created the effectof an African jungle with all its dangers and mysteries; per-haps humans and animals lurking, too—one cannot be sure,but this panel had a strange decorative power.

Wherever you looked in the museum, you were bound tofeel dizzy from the vibrant, often clashing colors. You metfriends, colleagues and total strangers who exclaimed: "Doesthis mean anything?", "Is this art?", "Isn't this wonderful!","Look at the originality!", "Isn't it dreadful!", "Isn't itridiculous!" Or they just stared and shrugged their shoulders."The artist must have gone blind doing this!" was onepertinent remark. "It sure is big!" was another. But mostvisitors talked in whispers as if awe-stricken by this new world.

Is it really a new world? Hasn't this kind of splashinggone on long enough now to look slightly stale? . . . No, actu-ally, this exhibition seemed to prove that there is much trueself-expression. There are many similarities, of course, as in

(Continued on page 12)

LARGE NUDE, oil on canvas, 68-%x27'/4inches, by Alberto Giacometti (Switzer-land), winner of the $10,000 GuggenheimInternational Award, 1964. The nude isactually smaller than life and it is a de-caying black corpse rather than a nude.Lent by Pierre Matisse Gallery, NewYork.

iTROPIC OF CAPRICOKN, oil on canvas,58',4x85 inches, an odd, yet carefullyexecuted work by Wifredo Lam (Cuban-born, now living in Italy), winner of a$2,500 award. Collection of Sonja Henieand Niels Onstad, Los Angreles.

THANKS. SAM, vinyl painton canvas SS^xTBVfe inches,by Atsuko Tanaka. Does thetitle imply that the artist isthankful to Uncle Sam forhaving introduced this kindof art to Japan? Lent byMinami Gallery, Tokyo.

CARDIOGRAM OF THE CYCLOPS—and it does look like the title—byHeinz Mack (Germany). Oil oncanvas, 49%x43Vi inches. Lent byGalerie Alfred Schmela. Dusseldorf.

FIG. 1 : The Charles W. Morgan, last ofthe old blubber-hunters. Courtesy Har-bour Houxe Restaurant.

FIG. 2: Nantucket Sleigh Ride. Onemodel was employed for the variousfigures. Courtesy Grand Central ArtGalleries.

by Kay Crosby

THE ART OF MARINE PAINTING

FIG. 3: Ghosting In, a. ship emergesfrom the fog. Courtesy Mr. andMrs. John Spader.

An I don't care if it's North or SouthThe Trades or the China Sea,

You paint me a ship as is like a ship. . . An that'll do for me.

C. Fox Smith

• HE above quotation from a poem entitled "Pictures" hasbeen the inspiration for my attitude towards marine painting.Strictly speaking, marine paintings are those that concernthemselves only with the sea and ocean. Frederick Waugh wasa master at interpreting the many moods of the ocean in adirect, convincing manner. Marine paintings, in this sense,should stand on their own feet without such accessories asships, gulls, seamen or, heaven forbid, mermaids. But, as anaccepted fact, any picture dealing with the sea, ships or harborscenes is classified as a marine painting.

During the summer months, I cruise offshore and visitmany harbors. I carry a wooden paintbox; salt water causestin to rust, aluminum to corrode. The top of the box holdsseveral 12 by 16-inch canvas panels. On the basis of sketchesmade along the way, I make larger, finished paintings in mystudio during the winter. Pictures can be found anywhere,particularly if we exercise the artist's creative prerogative ofdesigning, composing, changing the elements of a scene. Manymarine paintings must necessarily be compositions. You couldnot, for instance, go out and paint the whaleship Charles W.Morgan at sea, because such a ship no longer sails and wouldnot pose for you; but here she is, the last of the old blubberhunters, sighting a pod of whales far out in the ocean. (Fig. 1)

Paintings of this kind require considerable research. I madevisits to Mystic Seaport where the Charles W. Morgan lays

with bare sticks alongside the wharf; I studied photographsand I learned from Eduoard Stackpole, curator of the MarineHistorical Association, that although she had been built as aship, she made most of her voyages as a bark. Armed withthe facts, I reconstructed the Morgan under sail at the dra-matic moment when a voice from aloft sings out "Tharblows!" The first attempt at painting the whaleboats was notright, so I laid a piece of acetate over that section and re-painted them on it. When I was satisfied with the result, Imade the necessary changes on the canvas.

Nantucket Sleigh RiJe is another example of such creativepainting. (Fig. 2 ) . The important thing here was to capturethe movement through the water as the boat races down abig swell. The swell should have a feeling of weight and theboat must appear to be IN, not ON the water. To accomplishthis, I painted the boat at an angle, drawing the entire hull,then painting the water up and over the keel and sides. Spumeis shown at the bow and a frothy wake trails off astern, fol-lowing the form of the swell.

PIG. 4: The Intruder,with a shark underthe oily slick and ahazy background.Courtesy S. A. Kron-heimer.

I indicated the swell first and painted the smaller waves ontop and suggested a back as well as a front to this big wave.My paintings rarely do more than suggest people, but, in thiscase, human figures are important. I made pencil studies, em-ploying one and the same model for all the different figuresand poses.

The composition is sketched on the canvas in charcoal; sur-plus charcoal is dusted off and the drawing is fixed with afixatif or a plastic spray on which you can continue to work.Paint the sky first, since this establishes the color of the waterand influences everything in the picture, as it is the source oflight. The next step is to wash in the main colors and valuesof the water. Finally, the ship, rocks, headland or whateverare added, so that no white canvas remains.

Now, you can compare values with each other. In a dayor two, when the work is dry enough, go on with the finalpainting. This involves wave forms, sails, rigging, etc. I usethe paint as it comes from the tube. The last step is to adddark accents and highlights, glints, plus other necessary de-tails which usually require the use of a small round sablebrush.

Special effects demand careful observation of colors. Ghost-ing In (Fig. }) shows a ship emerging from the fog. Only

(Continued on page 13)

FIG. 5: Sunday Morning, shows reflections in smooth water, broken bya few ripples.

FIG. 6: Tacking Duel, rigging, numbering, all details must be exact.Courtesy Grand Central Art Galleries.

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LAST JUDGMENT, in-taglio by Ernest Freed,two copper plates printedon one sheet of paper,received the Henry B.Shope Award of $50.

S.A.G.A.

ANNUAL

by Stuart Hilton

Photographs Courtesy Associated AmericanArtists, Inc., New York City.

THE Society of American Graphic Art-ists (1083 Fifth Ave., New York 28)held its 45th Annual at the AssociatedAmerican Artists Gallery, 605 Fifth Ave.,N.Y.C. It was the Society's third showwithin one year. In the first, "100 Printsof the Year", members and nonmembershad to pass before the same jury of selec-tion. The second was the final appear-ance of the S.A.G.A. Overseas Exhibitionafter its return from more than two years'travel around the world under the aus-pices of the United States InformationAgency—one of the most successful U.S.exhibitions abroad. The 45th Annual wasfor members only; 122 artists showed onework each.

Years ago, graphic arts used to becalled black-and-whites, but this has be-come a misnomer. A great many graphicartists work in color, so that a printshow resembles a watercolor exhibition.Another change is from the small, inti-mate size to huge prints. Rembrandt,Durer, Goya and other masters of graphicarts would be stunned if they saw six-foot-high woodcuts. One of the prize-winners in the S.A.G.A. show, Last Judg-ment, was made on two copper platesplaced next to each other and printed onone sheet of paper.

There is much experimentation withnew techniques and materials, such asmasonite, collage, the mixing of variousmedia. Often only the artist himself orherself could possibly tell how certaineffects had been obtained. With the

THE ORATOR, lithograph by June C. Wayne,received the Edna Pennypacker Stauffer Prizeof $50.

sizes, prices have gone up, too, from theformer 15 or 20 dollars to 40, 50, 75,100 and 150 dollars a print. These pricesare still reasonable enough compared withthe general inflation.

One should also realize that prints can-not be dashed off like certain types ofmodern paintings. An artist must behighly skilled before he can undertakethe creation and printing of a complicatedpiece of graphic arts. A plate, a stone,

TEMPTATION OF ST. AN-THONY, masonite-intaglio byEdward Stasacks, won theTeleguide, Sterling Informa-tion Services, Ltd. PurchasePrize of $100.

VOYAGE WEST, intaglio by Chaim Koppelman,winner of the John B. Turner Prize of $100.Print goes to Turner Collection of MetropolitanMuseum of Art.

a woodblock, a screen can quickly bespoiled by even a small mistake. Most ofthe prints in the show were in the con-temporary vein, but much of it wasrecognizable and all of it was manifestlydone with gusto.

Five 100-dollar prizes and five 50-dollar prizes were awarded to the fol-lowing participants: Adolf Dehn (War-ren Mack Memorial Prize), Chaim Kop-pelman (John B. Turner Prize), AntonioFrasconi (Joseph H. Hirshhorn Prize),Federico Castellon (American A r t i s t sGroup Prize), Edward Stasack (Tele-guide, Sterling Information Services, Ltd.,Purchase Prize), Edmund Casarel la(Pierce Wetter Memorial Prize), War-rington Colescott (Alice Standish BuellMemorial Prize), Gerson Leiber (GraphicChemical & Ink Co. Purchase Prize),June C. Wayne (Edna PennypackerStauffer Prize) and Ernest Freed (HenryB. Shope Prize). The Jury of Awardsconsisted of Leo Katz, Jacob Landau,Clare Romano, Ansei Uchima, RomasViesulas, and a special jury for the ShopePrize: Ferdinand Eiseman, Lorimer Rich,Edgar I. Williams, all Fellows of theAmerican Institute of Architects. Mr.Williams is also President of the Nation-al Academy.

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WALK IN THE RAIN, by Cristiano Banti (Grattacielo Art Center, Livorno),seems old-fashioned to us, but was an objectionable innovation 100 years agobecause of its sketchy style.

BESIDE THE ARNO AT THE CAS-CINE PARK, by Giuseppe Abbati (Grat-tacielo Art Center), was denounced onaccount of its total lack of fine details.Now we consider it similar to Impres-sionist works done at the time in France.

ROCKS AT CASTIGLIONCELLO. byVincenxo Cabianca (Grattacielo Art Cen-ter), ridiculed as "European spotmaking"90 years ago, now strikes us with itscalm monumentality.

THE MACCHIAIOLIby Martin HarrisonPhotographs Courtesy The American Federation of Arts, N.Y.C.

IACCHIAIOLI—pronounced mak-ki-a-yo'li—is a strange word for most Ameri-cans in more ways than one. In the fallof 1862, a group of artists of Tuscanyheld its first exhibition in Firenze (Flor-ence) and created a sensation—a verydisagreeable one at that. Members of thegroup were denounced as "Europeans",a derogatory term at a time when patriot-ism in Italy excluded any association withother European trends in art. They werealso called Macchiaioli, that is, Spot-Makers, because their paintings seemedto be uncouth, weird, unfinished, childish.The denunciation in Tuscany was noworse than what was happening else-where: the ridiculing of Impressionism,

the fanatic attacks on Monet, Manet,Gauguin, Cezanne and other artists nowso greatly admired in the world.

The fact is that most people object toany new idea or movement in art andthat a new generation can hardly com-prehend the furor of a previous one . . .because it is already accustomed to thepast and it is invariably in the midst ofdeveloping frenzied hatred against some-thing new. Are we ever going to try tounderstand the present in the light of pastexperiences! Are we ever going to saythat this is new, we don't like it, but, inall probability, we'll find it quite accept-able or even marvelous after a while!

All the Macchiaioli did was to simplifyforms and enhance colors; some of their

paintings resemble Impressionism andtheir subjects are occasionally less ornatethan what was fashionable in their en-vironment. Now, the American Federa-tion of Arts is circulating a major exhibi-tion, "Tuscany in the Nineteenth Cen-tury"—about 90 pictures by fourteenartists, including Giovanni Fat tori ,Giuseppe Abbati, Giovanni Boldoni, Vin-cenzo Cabianca, Silvestro Lega, CristianoBanti, Telemaco Signorini. Fattori's workis featured; much of it is illustrative ofmilitary life and historical scenes. Noneof the paintings in this exhibition isshocking today. On the contrary, in theirplush-lined, highly-gilt f r a m e s , theybring back Victorian memories. FatherEgidio Guidubaldi, Director of the Tus-can Association of Arts, "Europa Oggi"(Europe Today), has made a tremendouseffort at assembling this quiet, nostalgicshow with its small, intimate paintings,mostly in subdued tones, from manyprivate and public collections.

After its initial showing at the AFAGallery in New York, the show is now ona tour of various museums of the U.S.A.and will also be presented in Japan, India,Pakistan, Iran, Paris, London, Grenoble,Lisbon and Madrid. It is a charming show,unpretentious; it is likely to be populareverywhere.

Current EventsBaltimore, Md.: Walters Art Gall. Tuesday Lec-ture Lunches: May 5, Roman Mosaics (Anne-marie Weyl) ; May 12 & 19, The Sassanians(Dorothy Miner).Beloit, Wis.: Theodore L. Wright Art Ctr., B.College, Masterworks from Permanent Coll. thruJune 7 ; Non-Christian Religious Art, thru May 10.Birmingham, Ala.: B. Mus. of Art, ScandinavianExh., Festival of Arts, thru May 17 ; MariettaColeman one-man show, May 18-June 7 ; Ala.Watercol. Soc. Members' Exh., May 23-June 12.Boston, Mass.: B. Mus. of Fine Arts, Photographyin the Fine Arts IV, 1B2 great contemp. photos.May 21-June 21.Brooklyn, N. Y.: B. Mus., Turner Watercolorsfrom British Mus. thru May 31 ; 14th Ntl PrintShow, 165 prints from 30 states, thru Aug. 10.Cambridge, Mass.: Fogg Art Mus., 20th C. Masterdrwgs, thru May 24.Chicago, 111.: Art Inst. of C. Ceramics by JuanitaMay, visiting artist at School of Inst., thru May10 ; 67th Annual by Artists of C. & Vicinity, thruMay 31 : Annual of Soc. of Contemp. Amer. Art,May 8-31.Cleveland, O.: C. Mus. of Art. 46th May Show,thru June 14; Contemp. Ptg. & Enamels (Lake-wood H.S.) thru June 8; "Texture" (LibraryArt Gall.) thru May 22.Clinton, N. J.: Hunterdon Co. Art Ctr. 8th NtlPrint Exh., thru May 17.Denver, Colo.: D. Art Mus. "The Indian & theWest" thru May 17.Des Moines, Iowa: D. M. Art Ctr. Iowa ArtistsAnnual thru May 17 ; Fantasy & Ideals, May 22-June 21 ; Sculp, of Romanesque Cathedral ofAutun, May 22-June 28; "The Tombs: Architectureof Ancient Egypt" Junior Art Mus., thru Sept. 7.La Jolla, Cal.: Art Ctr in L. J., Six Painters &the Object, thru May 17 : Exh. of L. J. School ofArts, May 21-June 21.Lewisburg, Pa.: Bucknell Univ., oils by NeilAnderson, thru May 21; Student Show, May 24-June 7.Mill Hall, Pa.: Millbrook Art Gall., exh. of arts& crafts all year round.

Minneapolis, Minn.: Walker Art Ctr., Lewis lirownCostume Design, May 17-June 28.New Canaan, Conn.: Silvermine Guild of Artists,Ptgs by Richard Lytte, thru May 27.New York, N. Y.: Metropolitan Mua. of Art, TheWorld's Fairs—Architecture of Fantasy, from Lon-don's Crystal Palace, 1851 to N. Y. World's Fair1939; newly installed bedroom from ancientRoman villa :: : Mus. Modern Art, watch for re-opening in mid-May ::: Whitney Mus. Amer. Art,7th Loan Exh. Friends of the W. Mus., May 13-June 16 ::: Asia House, Art of Nepal, unique exh..May 0-AUK. 30 ::: Ntl Sculp. Soe. 31st Annualof Sculp., Medals, Bas-reliefs, May 5-25, LoebStudent Ctr., N.Y.U., Washington Sq.Oklahoma City, Okla.: O. Art Ctr, 6th Annual O.Printmakers Soc., thru May 10; John Sloan majorretrosp. of ptgs, graphics. May 17-June 1">; Rich-ard Schmid from Reynolds Gall., Taos, May 17-31.Orono, Me.: Univ. of Me., Elizabeth Powell ptgs,Truman Egleston drwgs, Georges Rouault: LeCirque-graphics, James Garvin photos of U. of M.,thru May.Ottawa, Ont.: Ntl Gall, of Canada, Marc-AureleFortin (1888—) Canadian landscape ptr, etcher;naive, charming works; Interntl Printmakers inParis,—25 leading artists, new techniques. May8-31.Philadelphia, Pa.: P. Art Alliance, 3-men show:Bryn Barrie Craig, oils, watercol.. drwgs; ElmerKetterer, welded metal; Elaine Wolfson, experi-mental watercol., thru May 10 ::: P. Trade &Convention Ctr, P. Panorama continued.Pittsburgh, Pa.: Carnegie Mus. of Art, JaneHaskell ptgs, thru May 24 ; Howard N. EavensonAmericana, continued.Providence, R. I.: R. I. School of Design, Ptgs& Drwgs from Weldcn Coll., thru June 7.Sacramento, Cal.: E. B. Crocker Art Gall., Kings-ley Art Club 39th Annual, May 20-June 28.San Diego, Cal.: Fine Arts Gall, of S. D., S. D.County Schools Art Exh., May 3-31.Santa Barbara, Cal.: S. B. Mus. of Art, Six With-out Labels, thru May 10; Amelia de Schulthess

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sculp., Marie Anne Poniatowska drwgs, thru May17; Robert Alan Smith ptgs. May 19-June 21.Seattle, Wash.: S. Art Mus., Mother & Child inModern Art, ptgs, sculp., prints Clairol Coll.; 19thAnnual H. S. Exh., May 7-31.Syracuse, N. Y.: Everson Mus. of Art, Saints &Symbols, small ptgs, prints from churches in Aus-tria & South Germany, 1600-1850, thru May 20.Work from Everson Children's Classes, May 6-18.Toronto, Ont.: Art Gall, of T., Robert HolmrsExh., May 16-June 14.Washington, D. C.: Corcoran Gall, of Art, ThePrivate World of John Singer Sargent, thru June14.White Plains, N. Y.: Westchester County Ctr,:ifith Annual Hudson Valley Art Ass'n, May 3-10.Wichita, Kan.: W. Art Mus., Swedish Folk Art.Smithsonian Travel Show, thru May 10.Worcester, Mass.: W. Art Mus., School Annualopens May 27.

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DOCTOR LIVING-STONE, I PRESUME,by Oyvind Fahls trom(Sweden). The highlydecorative work in blackink on white c a n v a s .89% x 93% inches, does •suggest a m y s t e r i o u sAfrican jungle. Lent byGalerie Daniel Cordier,Paris.

Guggenheim Awards(Continued from page 5)

all types of art, but much diversity or individuality as well—just as during the Renaissance, when all good artists were"different", even though all of them tried to be perfectlyrealistic, without any conscious effort at what we now callself-expression.

The $10,000 First Prize was awarded to the Swiss AlbertoGiacometti's "Large Nude"—actually one of the smallestpaintings in the exhibition, showing not so much a nude as adecaying black body. Five $2,500 prizes were also awarded.One of these was refused by the Danish artist Asger Jorn whodoes not believe in prizes because, according to his friends, hedid not receive any in his younger days, when he needed them.

The exhibition was gathered by Lawrence Alloway, Cura-tor of the Guggenheim Museum, on a two-year trip throughEurope, the Far East, Latin America, Canada and the UnitedStates. He selected 82 paintings from 24 countries; many ofthe artists have not been known internationally. Style wasnot considered; quality was the sole criterion—quality asunderstood by a museum dedicated to the most modern idiomsin art. All works had to be executed within the last threeyears, but most, if not all of them might have been done any-time within the past 15 or 18 years, although perhaps not bythe same artists.

The Jury of Awards consisted of Professor Werner Haft-mann, noted art critic and historian from Miinchen (Munich),Germany; Dr. Arnold Riidlinger, director of the Kunsthallein Basel, Switzerland; and the German-born American painter-teacher Hans Hofmann.

The exhibition closed at the Guggenheim Museum on March29, but, for the first time since the establishment of these In-ternational Award Shows in 1956, the paintings go on a tour;they will be seen at the Honolulu Academy of Arts, Hawaii;Akademie der Kiinste, Berlin, Germany; The National Galleryof Canada, Ottawa; Museo Nacional de Bellas Artes, BuenosAires, Argentina; John and Mabel Ringling Museum of Art,Sarasota, Florida. Wherever it goes, the exhibition will createinterest, wonder, puzzlement about the new concepts in thefield of art.

Information on all exhibitions will be listed if received at least70 days before the first of the month when it is to be listed.Write to Syndicate Magazines, 25 West 45 St., New York, N. Y.10036-

Art of Marine Painting(Continued from fiage 7)

the bow is fairly sharp, the rest is soft, blending into thebackground, but the red and green lights are bright. TheIntruder (Fig. 4) represents island fishermen. If you lookclosely, you can detect a shark just under the oily slick sur-face of the water. The boat and men are strong in color, butthe background is hazy. As for reflections, still water lendsitself to pleasing effects by mirroring objects on or around it,as in Sunday Morning. (Fig. 5 ) . Rough water reflects little asthe images are broken up by the waves. Usually, a light objectreflects darker and a dark object lighter.

Yachtsmen, regardless of the size of the boat they own,are fanatical about their sport. A yachtsman will commis-sion a painting of his craft when he would not even think ofhaving a portrait done of his wife. He is meticulously fussyabout details—not just the hull, but the set of the sails ascompared to the direction of the wind (indicated by the sea);the rigging, numbering, burgees, pennants, relationship toother boats. He is also critical of markers, buoys, lights, etc.(Fig. 6). After he is satisfied that all these are technicallycorrect, he sees the painting as an artistic effort. So, unlessyou have spent years on and around yachts, you'd better con-fine yourself to other aspects of marine painting.

RAY CROSBY is a ucll-known marine painter. He lives andiforks in Mamaroneck, N. Y., and is now preparing a bookon Marine Painting. NATIONAL CARD, MAT and BOARD CO.

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Ralph Fabri JoinsAcademy Faculty

Retaining his position as Asso-ciate Professor at The City Col-lege of New York, Ralph Fabri,Associate Editor of this maga-zine, has joined the faculty of theSchool of Fine Arts of the Na-tional Academy, 5 E. 89th St.,New York City. He teaches oilpainting and composition in theEvening Session, giving criticismtwice a week. Founded by SamuelFinley Breese Morse, inventor ofthe telegraph, this is the oldestart school in New York. Theschool building, however, is new,modern and fully air-conditioned.

Unusual Double ShowA truly unique display of primitive

sculpture from the Massim region of NewGuinea and a collection of paintings ofprimitive sculpture made by the famousMexican artist, Miguel Covarrubias, areon view at the Museum of Primitive Art,15 W. 54th St., N. Y. C., through May 10.

Expressed mostly in richly ca rvedcanoes, paddles, mortars and so-calleddance shields, this art shows an amazingelegance and delicacy. It is one of the imost distinctive of the South Seas and, :strangely, it is largely secular, without 'the emotional witchcraft approach thatcharacterizes most primitive tribes. "Sea- jfarers of New Guinea" is the title of the jexhibition. Lenders include the BaltimoreMuseum of Art, the Buffalo Museum ofScience, the American Museum of NaturalHistory, New York, the Natural HistoryMuseum of Chicago, and many others.

In conjunction with this show, the Mu-seum is exhibiting some sixty tempera jpaintings carefully depicting primitivesculpture. These paintings were done byMiguel Covarrubias, who died in 1957 andis chiefly remembered as a brilliant, highlyindividual muralist and a very popularcaricaturist for the New Yorker and othermagazines until the 1940s, when he aban-doned his money-making career and de- ivoted himself to the study of primitiveart. He traveled extensively and wroteseveral excellent books on archaeologyand ethnology. The paintings come fromthe impressive collection of contemporaryLatin American art of Luis de Hoyos,Mayor of Monticello, N. Y. Both exhibi-tions were designed by Douglas Newton,curator of the Museum.

CompetitionSculpture of Blessed Mother Seaton for

shrine adjacent to College of Mt. St.Joseph-on-the-Ohio. Competition will be intwo stages, with four $500 prizes awardedin the first stage; the commission to exe-cute the work awarded to the winner ofsecond stage. Apply by May 15, ContestCommittee, Sisters of Charity, Mt. St.Joseph, Ohio.

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