An artist magazine distributed by Dixie Art Supplies in 1964.

1. THE ART
OF MARINE
PAINTING
—See Page 6
MAY, 1964
today's art THE 1964
GUGGENHEIM
AWARDS
—See Page 5
TONDO, X, oil on canvas,
62 M: inches in diameter, by
Vera Haller (Switzerland).
Done entirely in white-and-
Kray. Lent by the artist.
Photograph Courtesy The
Solomon R. Gug genheim
Museum, New York City.
532 POYDRAS STREET
NEW ORLEANS, LOUISIANA 70130
DIXIE ART SUPPLIES, INC. 532 CHARTRES STREET
(French Quarter Branch)
NEW ORLEANS 16, LOUISIANA

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3. Exhibition Opportunities Famous in Jars, now...
Arkansas City, Kan.: A. C. Chamber of Comm. Sidewalk Arts Festival,
June 5-6; all artists, all media; fee, jury, prizes. Mrs. Reede Farrell, c/o
Chamber of Commerce.
Brighton, Mass.: Henri Studio Gall., 1247 Commonwealth Ave. Competition
for one-man shows ; all artists, all media.
New in Tubes!
Cooperstown, N. Y.: C. Art Ass'n, 29th Annual Open Exh., Aug., 2-27; WEBER DESIGNERS'
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 Foundation
Benefit Show, May 23-31 ; artists of New Engl. & N. Y. State; all media;
MAT WATER COLORS
fee, jury, prizes. Thomas McGivern, Box 230. Send self-addr., stamped
envelope. Now you have a choice of 2
Middletown, Va.: Wayside Theatre & Gall, of Fine Arts, bi-monthly group containers, but only 1 quality
shows, all media; fee, jury, prizes. Box 61. CRIM C J» ! of pigments and ingredients—
New Canaan, Conn.: Silvermine Guild of Artists 16th New Engl. Exh. of the very finest! Best for all
Ptg. & 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. Work commercial art, in 45 colors
due May 30, 31. There will be a N. Y. pick-up point. and white. At your Art supply
Newport, R. I.: Art Ass'n of N., 53rd Annual, June 27-July 26 ; all living store.
U.S. artists; oils, aquamedia, graphics, small sculp. Fee, jury, prizes. Entry
cards due June 10. Committee T-A, Art Ass'n of N., 76 Bellevue Ave.,
Newport, R. I. 02840. Best be! for—
New Rochelle, N. Y.: N. R. Art Ass'n 40th Anniv. Exh., May 10-17 at AIR BRUSHES,
Y.M.C.A. All Westchestcr artists, all media; fee, jury, substantial cash
awards. Martha Gangel, 10 Winslow PI., Larchmont, N. Y. LETTERING
New York, N. Y.: Amer. Veterans Sac. of Artitts Summer Festival Art PENS AND
Exh. 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 ; BRUSHES,
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. 82 RULING PENS.
St., N. Y. 28; all artists, fee, jury, winners shown in Paris. Send self-
addr., stamped envelope for blanks. Color Card on Request
Springfield, Mass.: S. Mus. of Fine Arts, Western New Engl. College Stu-
dents' Biennial; no fee, all media, prizes. Entries due May 11. Registrar of
Mus., 49 Chestnut St. Tube Size %" x 4"
Worcester, Mass.: W. Art Mus., Juried Biennial W. Area Exh.. June 25-
Aug. 31; all media; entries due May 9. John B. Kirby Jr., Curatorial Jar Size VA oz.
Assistant. Both 50* in all colors
» • »
DIRECTORY OF INTERNTL SCHOLARSHIPS IN THE ARTS, published
by Inst. of Interntl Education, 800 Second Ave., N. -Y. 10017. Gov't &
privately sponsored scholarships in all the arts, incl. eligibility, application
procedures, 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 on
request. Printed in U.S.A. Anthony Lord, Editor; Ralph Fabri, Associate Editor.

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5. THE GUGGENHEIM
INTERNATIONAL LARGE NUDE, oil on canvas, 68-%x27'/4
inches, by Alberto Giacometti (Switzer-
land), winner of the $10,000 Guggenheim
AWARD 1964 International Award, 1964. The nude is
actually smaller than life and it is a de-
caying black corpse rather than a nude.
Lent by Pierre Matisse Gallery, New
York.
by Ralph Fahri
Photographs Courtesy The Solomon fl. Guggenheim Museum,
Mew York City.
TROPIC OF CAPRICOKN, oil on canvas,
WW HETHER you climbed up the world-famous spiral ramp 58',4x85 inches, an odd, yet carefully
of the Guggenheim Museum in New York City or took one i executed work by Wifredo Lam (Cuban-
born, now living in Italy), winner of a
of the half-circular elevators to the top and walked down, $2,500 award. Collection of Sonja Henie
and Niels Onstad, Los Angreles.
you were hit at every turn, in every odd corner, by paintings
of the Guggenheim International Award Exhibition. Most
of the paintings would be too big for the largest wall in the
living 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 concentric
stripes, like giant targets on a shooting range; some were three-
dimensional with enormous heaps of plaster-paint; others had
a 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 stripes
running all the way up—one near the left side, the other near
the right; the left edge of the canvas was decorated with
swirls of white, like waves running vertically. Its title, "The
Third" was of little help. At the request of the artist, the
painting 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-
THANKS. SAM, vinyl paint
yellow canvas, 7 4 x 1 0 0 ^ 4 inches, and called it "Mango". on canvas SS^xTBVfe inches,
Incomprehensible? Sure, but "Cardiogram of the Cyclops" by by Atsuko Tanaka. Does the
title imply that the artist is
Heinz Mack of Germany could almost be guessed, and its thankful to Uncle Sam for
originality was undeniable. One of the truly fascinating having introduced this kind
of art to Japan? Lent by
works was "Doctor Livingstone, I Presume" by the Swedish Minami Gallery, Tokyo.
artist Oyvind Fahlstrom. Lines, curlicues, spots in black ink
on the 93'/4 x 8914-inch pure white canvas created the effect
of 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 to
feel dizzy from the vibrant, often clashing colors. You met
friends, colleagues and total strangers who exclaimed: "Does
this mean anything?", "Is this art?", "Isn't this wonderful!",
"Look at the originality!", "Isn't it dreadful!", "Isn't it
ridiculous!" Or they just stared and shrugged their shoulders.
"The artist must have gone blind doing this!" was one
pertinent remark. "It sure is big!" was another. But most
visitors talked in whispers as if awe-stricken by this new world.
Is it really a new world? Hasn't this kind of splashing
gone on long enough now to look slightly stale? . . . No, actu-
ally, this exhibition seemed to prove that there is much true CARDIOGRAM OF THE CYCLOPS
self-expression. There are many similarities, of course, as in —and it does look like the title—by
Heinz Mack (Germany). Oil on
canvas, 49%x43Vi inches. Lent by
(Continued on page 12) Galerie Alfred Schmela. Dusseldorf.

6. FIG. 1 : The Charles W. Morgan, last of FIG. 2: Nantucket Sleigh Ride. One
the old blubber-hunters. Courtesy Har- model was employed for the various
bour Houxe Restaurant. figures. Courtesy Grand Central Art
Galleries.
by Kay Crosby FIG. 3: Ghosting In, a. ship emerges
from the fog. Courtesy Mr. and
Mrs. John Spader.
THE ART OF MARINE PAINTING
with bare sticks alongside the wharf; I studied photographs
An I don't care if it's North or South and I learned from Eduoard Stackpole, curator of the Marine
The Trades or the China Sea,
You paint me a ship as is like a ship Historical Association, that although she had been built as a
. . . An that'll do for me. ship, she made most of her voyages as a bark. Armed with
C. Fox Smith
the facts, I reconstructed the Morgan under sail at the dra-
matic moment when a voice from aloft sings out "Thar
blows!" The first attempt at painting the whaleboats was not
• HE above quotation from a poem entitled "Pictures" has
right, so I laid a piece of acetate over that section and re-
been the inspiration for my attitude towards marine painting.
painted them on it. When I was satisfied with the result, I
Strictly speaking, marine paintings are those that concern
made the necessary changes on the canvas.
themselves only with the sea and ocean. Frederick Waugh was
Nantucket Sleigh RiJe is another example of such creative
a master at interpreting the many moods of the ocean in a
painting. (Fig. 2 ) . The important thing here was to capture
direct, convincing manner. Marine paintings, in this sense,
the movement through the water as the boat races down a
should stand on their own feet without such accessories as
big swell. The swell should have a feeling of weight and the
ships, gulls, seamen or, heaven forbid, mermaids. But, as an
boat must appear to be IN, not ON the water. To accomplish
accepted fact, any picture dealing with the sea, ships or harbor
this, I painted the boat at an angle, drawing the entire hull,
scenes is classified as a marine painting.
then painting the water up and over the keel and sides. Spume
During the summer months, I cruise offshore and visit
is shown at the bow and a frothy wake trails off astern, fol-
many harbors. I carry a wooden paintbox; salt water causes
lowing the form of the swell.
tin to rust, aluminum to corrode. The top of the box holds
several 12 by 16-inch canvas panels. On the basis of sketches
made along the way, I make larger, finished paintings in my
studio during the winter. Pictures can be found anywhere,
particularly if we exercise the artist's creative prerogative of
designing, composing, changing the elements of a scene. Many
marine paintings must necessarily be compositions. You could
PIG. 4: The Intruder,
not, for instance, go out and paint the whaleship Charles W. with a shark under
Morgan at sea, because such a ship no longer sails and would the oily slick and a
hazy b a c k g r o u n d .
not pose for you; but here she is, the last of the old blubber Courtesy S. A. Kron-
heimer.
hunters, sighting a pod of whales far out in the ocean. (Fig. 1)
Paintings of this kind require considerable research. I made
visits to Mystic Seaport where the Charles W. Morgan lays

7. I indicated the swell first and painted the smaller waves on
top and suggested a back as well as a front to this big wave.
My paintings rarely do more than suggest people, but, in this
Strathmore
for quality
Alexis
case, human figures are important. I made pencil studies, em-
ploying one and the same model for all the different figures performance
and poses. convenience
The composition is sketched on the canvas in charcoal; sur-
plus charcoal is dusted off and the drawing is fixed with a
fixatif or a plastic spray on which you can continue to work.
Paint the sky first, since this establishes the color of the water
and influences everything in the picture, as it is the source of
light. The next step is to wash in the main colors and values
Water Color
of the water. Finally, the ship, rocks, headland or whatever
are added, so that no white canvas remains.
Now, you can compare values with each other. In a day
or two, when the work is dry enough, go on with the final
Paper... in
painting. This involves wave forms, sails, rigging, etc. I use
the paint as it comes from the tube. The last step is to add
dark accents and highlights, glints, plus other necessary de-
tails which usually require the use of a small round sable
brush.
blocks
Special effects demand careful observation of colors. Ghost-
ing In (Fig. }) shows a ship emerging from the fog. Only
(Continued on page 13)
Strathmore's
famous Alexis
Water Color
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FIG. 5: Sunday Morning, shows reflections in smooth water, broken by
a few ripples. venient than ever in
bound blocks . . . Just
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sketching trips. Its remark-
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Also available in sheet form and pads.
FIG. 6: Tacking Duel, rigging, numbering, all details must be exact.
STRATHMORE
Courtesy Grand Central Art Galleries. Artist Papers • Boards • Pads

8. LAST JUDGMENT, in- sizes, prices have gone up, too, from the
taglio by Ernest Freed,
two copper plates printed former 15 or 20 dollars to 40, 50, 75,
on one sheet of paper, 100 and 150 dollars a print. These prices
received the Henry B.
Shope Award of $50. are still reasonable enough compared with
the general inflation.
One should also realize that prints can-
not be dashed off like certain types of
modern paintings. An artist must be
highly skilled before he can undertake
the creation and printing of a complicated
piece of graphic arts. A plate, a stone,
S.A.G.A.
ANNUAL
by Stuart Hilton TEMPTATION OF ST. AN-
THONY, masonite-intaglio by
Photographs Courtesy Associated American Edward Stasacks, won the
Artists, Inc., New York City. Teleguide, Sterling Informa-
tion Services, Ltd. Purchase
Prize of $100.
THE Society of American Graphic Art-
ists (1083 Fifth Ave., New York 28)
held its 45th Annual at the Associated
American Artists Gallery, 605 Fifth Ave.,
N.Y.C. It was the Society's third show
within one year. In the first, "100 Prints
of the Year", members and nonmembers a woodblock, a screen can quickly be
had to pass before the same jury of selec- spoiled by even a small mistake. Most of
tion. The second was the final appear- the prints in the show were in the con-
ance of the S.A.G.A. Overseas Exhibition temporary vein, but much of it was
after its return from more than two years' recognizable and all of it was manifestly
travel around the world under the aus- done with gusto.
pices of the United States Information Five 100-dollar prizes and five 50-
Agency—one of the most successful U.S. dollar prizes were awarded to the fol-
exhibitions abroad. The 45th Annual was lowing participants: Adolf Dehn (War-
for members only; 122 artists showed one ren Mack Memorial Prize), Chaim Kop-
work each. pelman (John B. Turner Prize), Antonio
Frasconi (Joseph H. Hirshhorn Prize),
Years ago, graphic arts used to be THE ORATOR, lithograph by June C. Wayne, Federico Castellon (American A r t i s t s
called black-and-whites, but this has be- received the Edna Pennypacker Stauffer Prize
Group Prize), Edward Stasack (Tele-
come a misnomer. A great many graphic of $50.
guide, Sterling Information Services, Ltd.,
artists work in color, so that a print Purchase Prize), E d m u n d Casarella
show resembles a watercolor exhibition. (Pierce Wetter Memorial Prize), War-
Another change is from the small, inti- rington Colescott (Alice Standish Buell
mate size to huge prints. Rembrandt, Memorial Prize), Gerson Leiber (Graphic
Durer, Goya and other masters of graphic Chemical & Ink Co. Purchase Prize),
arts would be stunned if they saw six- June C. W a y n e (Edna Pennypacker
foot-high woodcuts. One of the prize- Stauffer Prize) and Ernest Freed (Henry
winners in the S.A.G.A. show, Last Judg- B. Shope Prize). The Jury of Awards
ment, was made on two copper plates consisted of Leo Katz, Jacob Landau,
placed next to each other and printed on
Clare Romano, Ansei Uchima, Romas
one sheet of paper.
Viesulas, and a special jury for the Shope
There is much experimentation with
Prize: Ferdinand Eiseman, Lorimer Rich,
new techniques and materials, such as
masonite, collage, the mixing of various Edgar I. Williams, all Fellows of the
media. Often only the artist himself or American Institute of Architects. Mr.
VOYAGE WEST, intaglio by Chaim Koppelman,
herself could possibly tell how certain winner of the John B. Turner Prize of $100. Williams is also President of the Nation-
Print goes to Turner Collection of Metropolitan
effects had been obtained. With the Museum of Art. al Academy.

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10. paintings resemble Impressionism and
their subjects are occasionally less ornate
than 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 fourteen
artists, including G i o v a n n i F a t t o r i ,
Giuseppe Abbati, Giovanni Boldoni, Vin-
cenzo Cabianca, Silvestro Lega, Cristiano
Banti, Telemaco Signorini. Fattori's work
is featured; much of it is illustrative of
military life and historical scenes. None
of the paintings in this exhibition is
shocking today. On the contrary, in their
plush-lined, highly-gilt f r a m e s , they
bring back Victorian memories. Father
Egidio Guidubaldi, Director of the Tus-
can Association of Arts, "Europa Oggi"
(Europe Today), has made a tremendous
effort at assembling this quiet, nostalgic
show with its small, intimate paintings,
WALK IN THE RAIN, by Cristiano Banti (Grattacielo Art Center, Livorno),
seems old-fashioned to us, but was an objectionable innovation 100 years ago mostly in subdued tones, from many
because of its sketchy style. private and public collections.
After its initial showing at the AFA
Gallery in New York, the show is now on
a 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 popular
everywhere.
Current Events
Baltimore, Md.: Walters Art Gall. Tuesday Lec-
ture Lunches: May 5, Roman Mosaics (Anne-
BESIDE THE ARNO AT THE CAS- ROCKS AT CASTIGLIONCELLO. by marie Weyl) ; May 12 & 19, The Sassanians
CINE PARK, by Giuseppe Abbati (Grat- Vincenxo Cabianca (Grattacielo Art Cen- (Dorothy Miner).
tacielo Art Center), was denounced on ter), ridiculed as "European spotmaking" Beloit, Wis.: Theodore L. Wright Art Ctr., B.
account of its total lack of fine details. 90 years ago, now strikes us with its College, Masterworks from Permanent Coll. thru
Now we consider it similar to Impres- calm monumentality. June 7 ; Non-Christian Religious Art, thru May 10.
sionist works done at the time in France. Birmingham, Ala.: B. Mus. of Art, Scandinavian
Exh., Festival of Arts, thru May 17 ; Marietta
Coleman one-man show, May 18-June 7 ; Ala.
Watercol. Soc. Members' Exh., May 23-June 12.
Boston, Mass.: B. Mus. of Fine Arts, Photography
THE MACCHIAIOLI in the Fine Arts IV, 1B2 great contemp. photos.
May 21-June 21.
Brooklyn, N. Y.: B. Mus., Turner Watercolors
by Martin Harrison from British Mus. thru May 31 ; 14th Ntl Print
Show, 165 prints from 30 states, thru Aug. 10.
Photographs Courtesy The American Federation of Arts, N.Y.C. Cambridge, Mass.: Fogg Art Mus., 20th C. Master
drwgs, thru May 24.
the fanatic attacks on Monet, Manet, Chicago, 111.: Art Inst. of C. Ceramics by Juanita
IACCHIAIOLI—pronounced mak-ki-a- May, visiting artist at School of Inst., thru May
Gauguin, Cezanne and other artists now 10 ; 67th Annual by Artists of C. & Vicinity, thru
yo'li—is a strange word for most Ameri- so greatly admired in the world. May 31 : Annual of Soc. of Contemp. Amer. Art,
cans in more ways than one. In the fall May 8-31.
The fact is that most people object to Cleveland, O.: C. Mus. of Art. 46th May Show,
of 1862, a group of artists of Tuscany any new idea or movement in art and thru June 14; Contemp. Ptg. & Enamels (Lake-
held its first exhibition in Firenze (Flor- wood H.S.) thru June 8; "Texture" (Library
that a new generation can hardly com- Art Gall.) thru May 22.
ence) and created a sensation—a very prehend the furor of a previous one . . . Clinton, N. J.: Hunterdon Co. Art Ctr. 8th Ntl
disagreeable one at that. Members of the Print Exh., thru May 17.
because it is already accustomed to the Denver, Colo.: D. Art Mus. "The Indian & the
group were denounced as "Europeans", past and it is invariably in the midst of West" thru May 17.
a derogatory term at a time when patriot- developing frenzied hatred against some- Des Moines, Iowa: D. M. Art Ctr. Iowa Artists
ism in Italy excluded any association with Annual thru May 17 ; Fantasy & Ideals, May 22-
thing new. Are we ever going to try to June 21 ; Sculp, of Romanesque Cathedral of
other European trends in art. They were understand the present in the light of past Autun, May 22-June 28; "The Tombs: Architecture
of Ancient Egypt" Junior Art Mus., thru Sept. 7.
also called Macchiaioli, that is, Spot- experiences! Are we ever going to say La Jolla, Cal.: Art Ctr in L. J., Six Painters &
Makers, because their paintings seemed that this is new, we don't like it, but, in the Object, thru May 17 : Exh. of L. J. School of
to be uncouth, weird, unfinished, childish. Arts, May 21-June 21.
all probability, we'll find it quite accept- Lewisburg, Pa.: Bucknell Univ., oils by Neil
The denunciation in Tuscany was no able or even marvelous after a while! Anderson, thru May 21; Student Show, May 24-
June 7.
worse than what was happening else- All the Macchiaioli did was to simplify Mill Hall, Pa.: Millbrook Art Gall., exh. of arts
where: the ridiculing of Impressionism, forms and enhance colors; some of their & crafts all year round.

11. Minneapolis, Minn.: Walker Art Ctr., Lewis lirown sculp., Marie Anne Poniatowska drwgs, thru May
Costume Design, May 17-June 28. 17; Robert Alan Smith ptgs. May 19-June 21. LANDSCAPE OIL PAINTING
New Canaan, Conn.: Silvermine Guild of Artists, Seattle, Wash.: S. Art Mus., Mother & Child in —with all the Answers
Ptgs by Richard Lytte, thru May 27. Modern Art, ptgs, sculp., prints Clairol Coll.; 19th A Condensed 12-Leaaon 12-Appralsa)
New York, N. Y.: Metropolitan Mua. of Art, The Annual H. S. Exh., May 7-31. Diploma — Home — Course
World's Fairs—Architecture of Fantasy, from Lon- Syracuse, N. Y.: Everson Mus. of Art, Saints & PRICKETT-RO LAND-STUD 10
don's Crystal Palace, 1851 to N. Y. World's Fair Symbols, small ptgs, prints from churches in Aus- Farmlngton, Connecticut 06032
1939; newly installed bedroom from ancient tria & South Germany, 1600-1850, thru May 20.
Roman villa :: : Mus. Modern Art, watch for re- —write for Free Particular*
Work from Everson Children's Classes, May 6-18. Dollar Brings Trial First Lesson
opening in mid-May ::: Whitney Mus. Amer. Art,
7th Loan Exh. Friends of the W. Mus., May 13- Toronto, Ont.: Art Gall, of T., Robert Holmrs
June 16 ::: Asia House, Art of Nepal, unique exh.. Exh., May 16-June 14.
May 0-AUK. 30 ::: Ntl Sculp. Soe. 31st Annual Washington, D. C.: Corcoran Gall, of Art, The TAKE the
of Sculp., Medals, Bas-reliefs, May 5-25, Loeb Private World of John Singer Sargent, thru June
Student Ctr., N.Y.U., Washington Sq. 14.
Oklahoma City, Okla.: O. Art Ctr, 6th Annual O. White Plains, N. Y.: Westchester County Ctr,
Printmakers Soc., thru May 10; John Sloan major CORRESPONDENCE
:ifith Annual Hudson Valley Art Ass'n, May 3-10.
retrosp. of ptgs, graphics. May 17-June 1">; Rich- COURSE in COMIC ART
ard Schmid from Reynolds Gall., Taos, May 17-31. Wichita, Kan.: W. Art Mus., Swedish Folk Art. WHITE TODAY (or fMfTJTfNT nil
Orono, Me.: Univ. of Me., Elizabeth Powell ptgs, Smithsonian Travel Show, thru May 10. ,,nd mil CATALOG
Truman Egleston drwgs, Georges Rouault: Le Worcester, Mass.: W. Art Mus., School Annual THE IOHN DUNCAN SCHOOL Of COMIC »«1
Cirque-graphics, James Garvin photos of U. of M., opens May 27. ? lUWINHA C I R C L E ST AUGUSTINE. FLORIDA
thru May.
Ottawa, Ont.: Ntl Gall, of Canada, Marc-Aurele
Fortin (1888—) Canadian landscape ptr, etcher;
naive, charming works; Interntl Printmakers in
Paris,—25 leading artists, new techniques. May
8-31.
Philadelphia, Pa.: P. Art Alliance, 3-men show:
Bryn Barrie Craig, oils, watercol.. drwgs; Elmer
Ketterer, welded metal; Elaine Wolfson, experi-
mental watercol., thru May 10 ::: P. Trade &
Convention Ctr, P. Panorama continued.
Pittsburgh, Pa.: Carnegie Mus. of Art, Jane
Haskell ptgs, thru May 24 ; Howard N. Eavenson
Americana, 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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DOCTOR LIVING-
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PERMANENT PROTECTION FOR ART WORK ink on white c a n v a s .
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The only transparent, colorless suggest a m y s t e r i o u s
fixative that provides lasting African jungle. Lent by
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blueprints, documents, maps, etc.
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543 16 oz. $1.75 643 6 oz. $1.00
Guggenheim Awards
(Continued from page 5)
THE NON-GLOSS WORKABLE-SURFACE
STUDIO FIXATIVE all types of art, but much diversity or individuality as well—
FOR COMMERCIAL ART USES ONLY. just as during the Renaissance, when all good artists were
MYSTON sprayed on artwork, produces a "different", even though all of them tried to be perfectly
workable surface for correction with realistic, without any conscious effort at what we now call
water color. Prepares water repellent
surfaces (acetate, cellophane, foil, etc.)
self-expression.
for painting with water colors. Protects The $10,000 First Prize was awarded to the Swiss Alberto
artwork, paintings, pencil and pastel Giacometti's "Large Nude"—actually one of the smallest
drawings. Colorless, crystal clear. Dries paintings in the exhibition, showing not so much a nude as a
rapidly.
decaying black body. Five $2,500 prizes were also awarded.
546 16 oz. $1.75 One of these was refused by the Danish artist Asger Jorn who
646 6oz. 1.00 does not believe in prizes because, according to his friends, he
did not receive any in his younger days, when he needed them.
The exhibition was gathered by Lawrence Alloway, Cura-
RETOUCH tor of the Guggenheim Museum, on a two-year trip through
Europe, the Far East, Latin America, Canada and the United
VARNISH States. He selected 82 paintings from 24 countries; many of
PROTECTS OIL PAINTINGS UNTIL the artists have not been known internationally. Style was
SUFFICIENTLY DRY FOR FINAL VARNISH not considered; quality was the sole criterion—quality as
For protection of oil paintings until understood by a museum dedicated to the most modern idioms
sufficiently dry for final varnishing with in art. All works had to be executed within the last three
Damar Varnish Spray. Makes primed
canvases less absorbent. Brightens dull
years, but most, if not all of them might have been done any-
a r e a s of color and f a c i l i t a t e s color time within the past 15 or 18 years, although perhaps not by
comparison between dried and freshly the same artists.
painted color. The Jury of Awards consisted of Professor Werner Haft-
544 16 oz. $1.75 644 6 oz. $1.00 mann, noted art critic and historian from Miinchen (Munich),
Germany; Dr. Arnold Riidlinger, director of the Kunsthalle
in Basel, Switzerland; and the German-born American painter-
DAMAR teacher Hans Hofmann.
The exhibition closed at the Guggenheim Museum on March
VARNISH 29, but, for the first time since the establishment of these In-
ternational Award Shows in 1956, the paintings go on a tour;
COLORLESS FINAL VARNISH
PROTECTION FOR OIL PAINTINGS they will be seen at the Honolulu Academy of Arts, Hawaii;
Akademie der Kiinste, Berlin, Germany; The National Gallery
Genuine Damar Varnish for use as a of Canada, Ottawa; Museo Nacional de Bellas Artes, Buenos
final varnish on oil paintings.
Imparts an o v e r - a l l even gloss. Aires, Argentina; John and Mabel Ringling Museum of Art,
Dries quickly. Permanent protection. Sarasota, Florida. Wherever it goes, the exhibition will create
interest, wonder, puzzlement about the new concepts in the
545 16 oz. $1.75 645 6 oz. $1.00 field of art.
Information on all exhibitions will be listed if received at least
RUMBACHER 70 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-
BRUSHES • COLORS • ARTISTS' MATERIAL

13. Art of Marine Painting
(Continued from fiage 7)
the bow is fairly sharp, the rest is soft, blending into the
background, but the red and green lights are bright. The
Intruder (Fig. 4) represents island fishermen. If you look
closely, you can detect a shark just under the oily slick sur-
face of the water. The boat and men are strong in color, but
the background is hazy. As for reflections, still water lends
itself to pleasing effects by mirroring objects on or around it,
as in Sunday Morning. (Fig. 5 ) . Rough water reflects little as
the images are broken up by the waves. Usually, a light object
reflects 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 of
having a portrait done of his wife. He is meticulously fussy
about details—not just the hull, but the set of the sails as
compared to the direction of the wind (indicated by the sea);
the rigging, numbering, burgees, pennants, relationship to
other boats. He is also critical of markers, buoys, lights, etc.
(Fig. 6). After he is satisfied that all these are technically
correct, he sees the painting as an artistic effort. So, unless
you 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 and
iforks in Mamaroneck, N. Y., and is now preparing a book
on Marine Painting. NATIONAL CARD, MAT and BOARD CO.
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