The Brooklyn Daily Eagle from Brooklyn, New York • Page 37

15 Brooklyn Museum's Japanese Collection Qiven Full Scope in New Installation BROOKLYN DAILY EAGLE, NEW YORK, SUNDAY, NOVEMBER 2. 1930. Tu'o Qood Shows at Downtown Qallery The Julia Kelly and Reubin The New Japanese Hall Dr. Tassilio Adam Installs Famous Collection in New Setting Two Masterpieces of Japanese Art Come to Light I 4 By HELEN APPLETON READ" Annual Water-Color Salon Higher Standard Prevails in Annual Combined Showing of American Water Color Society and New York Water Color Club at Fine Arts Building THE annual water-color salon may now be seen at the Fine Arts Building, 215 W. 57th St, where it will remain on view through Nov.

16. Coming as It does at an unusually early date, before a plethora of exhibitions has worn down the gallery frequenter zest, may account in part for its unwonted Interest. As a rule large water-color exhibitions tend to be dull and fatiguing. But undoubtedly this years exhibition exhibits a higher standard and has greater variety of interest than any that the writer has seen In recent years. Despite its variety there is a curious homogeneity, due to the similarity of subject matter to which the American water colorlst reacts and to a standardization of his technique.

The annual water-color exhibition comes more nearly to expressing the illusive American joint of view than do any of the mora conspicuous and picked all-Amerlcan groups. There is far less self-, conscious concern with schools and style. The medium, once it craft has been mastered, becomes a direct means for expressing the artists reactions to the universe. Rockst fpHE Brooklyn Museum bu long held the reputation lor presenting its i I collections and special exhibitions In manner which is both authoritative and imagination stirring. This Is especially true of its ethnological collections.

By showing them as symbols ot ancient and exotic culture, rather than dry as dust scientific documents the layman is given the opportunity to share the specialist's enthusiasm. A temple bell, a Zuni pot or a Negro fetish becomes infinitely suggestive once it Is allowed to tell its story and is not crowded into dusty cases as so much scientific data. It becomes the open sesame to an understanding of other races and far distant places. Ethnology, so interpreted, breaks down the barriers of racial prejudices and distrust. Like art, it can become an agent for international amity.

The Japanese hall, which was formally opened last Thursday evening, is only another demonstration of this policy. Under the able direction ot Dr. Tassilio Adam, curator ot ethnology and Oriental art, the Japanese collection, whose richness -I-V Ai. i Ik. Maud Dale Writes Book on Picasso ygi J2d 'II i nmrmiT by Reuben Nahian, shown at Downtown Gallery.

Nakian exhibitions now on view at the Downtown Gallery make a visit to these active and attractive gal leries more than usually rewarding. The Nakian sculptures are shown In the new sculpture gallery, which has the distinction of being the only gallery in the city designed especially for this purpose. It is obvious that Mr. Nakian's sculptures would look pretty well even In a bad light, but in their prisent setting they have that added distinction which top lighting and plane backgrounds effect. Always Interested in animal forms, Mr.

Nakian has concentrated his efforts of the past two years in modeling seals. Simplification and elimination of the nonessentials has resulted in beautiful, serene stylized forms, lacking, however, any suggestion of that self-conscious simplification assumed for the purpose of achiev ing style. Seals in their curious combination of compact form and 8inudslty are a baffling subject for tne sculptor. Mr. Naxian nas oeen signally successful In suggesting these contradictory qualities.

Marble, alabaster, bronze and wood are the materials used. In each case the material has been chosen to fit the mood of the subject. The plasticity of his forms seems to extend through to the surface to a degree not usually found in sculpture. And with all this concern with form, surface and material that getting the quality which makes the seal one of the most engaging of creatures Is always his objective and the sum total of the impression conveyed. Julia Kelly is a genuine primitive, one of those rare spirits who sustain a naive, childlike attitude towards life without a self-conscious effort to reserve it or without, in all likelihood, acknowledge it to be so.

Miss Kelly is a Brooklyn artist. Although her work is familiar to art lovers through Its frequent inclusion in independent exhibitions, her present exhibition at the Downtown Gallery is her first one-man show. The late Hamilton Field, with his unfailing flair, was the first to discover and sponsor Miss Kelly's personal and ingratiating work. Her pictures are Increasingly sought after by astute collectors. Despite her growing reputation Inevitable Increase in painting sophistication, she continues to paint her lyric landscapes as if she had discovered oil paint as a medium for setting down her emotions about nature.

Included In the exhibition is a painting of one of Brooklyn's nu merous and typical brick churches. Seen from a back window, back fences play an Important part in the composition and dellgnttuliy so. The canvas is only another instance of her ability to state the essence of a subject In naive and imaginative terms. The picture is an apotheosis of any street in old Brooklyn. Miss Kelly's foreword attached to the catalogue deserves quoting in full.

The direct, simple statement of her aesthetic credo is a counterpart in words of her limpid style: From early childhood I had a desire to express in oil paint my love ot nature. At the age of 15 years I attended the Visitation Convent in Brooklyn and there received a few lessons from one of the nuns. This work was all copying and not enjoyable, so I stopped painting for about five years. Then I began to paint on china, which was also uninteresting. After an intermission of 10 years.

I commenced to paint from nature and found so much pleasure in this work that I continued to paint, always for pleasure. An artist happened to be painting In the same locality and very generously gave me some criticisms. He urged me to exhibit In the Society of Independent Artists when it started in New York City in 1017. I have since shown in the Brooklyn. Cleveland, Buffalo, Cincinnati and Newark Museums, the Luxembourg In Paris and many group exhibitions, although this is my first "one-man" show.

All my works are done from scenery around Brooklyn and Oreat Neck, L. I. I have never been to Europe. JULIA KELLY. Wednesday evening, at Hunter College Auditorium.

A free concert of chamber music by the Philharmonic String Quartet. The program Includes, In addition to music by Beethoven and Rubinstein, a quartet by Zanella, announced as a first performance In this country. Wednesday evening, at the Bar-blzon Plaza; A second recital of old song pictures by Guclda Waller and Vera Maconochle. hensive assortment. The latter plan is 'followed in the new Japanese Hall.

The 'religious group comprises ceremonial robes, idols, votive offerings, household shrines, temple bells and scepters and charms. The section devoted to entertainment contains accessories of the theater, such as costumes, masks, makeup boxes, musical instruments, games, such as Mah Jong and backgammon, both of which are of Japanese origin; Japanese playing cards, another game introduced to the Occident from Japan, as well as a large collection of dolls and toys. Japanese color prints, illustrating how the games are played, are shown in connection with the cases In which they are displayed. No other item of the collection has so humanizing an effect or so effectively interprets an alien people as the ways and means whereby they amuse themselves. Dr.

Culin was the first American ethnologist to appreciate the scientific value of games and toys and to include them in a scientific collection. His collection of dolls is not matched in any European collection. The arts and crafts section comprises costume, ceramics, jewelry, bronzes, lacquer work and leather. The gorgeous costumes, which heretofore have signified the scope of the Japanese collection for the majority of museum visitors on account of their conspicuous place in the main entrance hall are shown to far better advantage in their present arrangement. Makeup boxes.

Jewelry, mirrors and ccmbs are shown with women's robes and appropriate accessories with the men's. A group ol ceramics loaned by Mr. Herman and Paul Jaehne, comprising some extremely fine pieces of Tmavi and Satsuma ware, is one of the outstanding items of the entire collection. Miss Frances Morris, curator of textiles at the Metropolitan Museum, has loaned some unusual costumes. A case showing the implements necessary for making block prints and series of prints showing the various stages in the process is an interesting and rarely seen item.

Dr. Adams' signal success in elucidating the collections and his striking and unexpected juxtapositions is illustrated by his introduction of three Currier and Ives color prints, commemorating the opening of Japan to the West in 1853 by Commodore Perry. One of them illustrates the signing of the treaty and a copy of the treaty is shown in conjunction with it. Not many people will remember the terms of this treaty. Article 1 is especially pertinent at a time when jingo talk about the yellow peril still continues as it also is appropriate for a collection whose raison d'etre is to foster international understanding.

It reads: "To enter into perpetual friendship by the United States and Japan." mi KM a 5 showing. The Stuart, a portrait of Mrs. Garret Cottringer of Philadelphia, was obtained by the Macbeth Gallery last year from the great grandniece of the sitter, now living fin Washington. The Copley por trait of John Greene of Boston is considered the most, important American painting by this artist to have come on the market in recent years. It is a companion piece to the portrait of his wife now owned by the Cleveland Museum and is in the original frame designed by Paul Revere.

James Peale is repre sented by a portrait of Ann Owen of New York, painted about 1820 and one of his few Inree works. Abbott Thayer, J. H. Twachtman, George Fuller. Homer D.

Martin, J. Alden Weir, George Inness. Theo dore Robinson, Emil Carlsen. Er nest Lawson and Chllde Hassam are also represented. Tourists who pass through Charleston on their way to or from Flor ida are apt to bring back tales of the watcrcolors of South Carolina const scenes that they have seen in Alice Ravenel Huger Smith's studio.

It Is welcome news, therefore, that a group of these lovely renditions of local scenes are on view at the Ack- erman Galleries 50 E. 57th Manhattan) throughout the month of November. From the lavmsn who likes to fee depicted what his eyes have looked upon In his travels, these charming records of swamps and marshes and beaches and heron sanctuaries get the most practical of commendations purchase. Miss Smith has exhibited in New York. Boston, Philadelphia, Chicago, Cln clnnatl and throughout the South.

The exhibition of paintings by Beagary, originally scheduled to close Nov. 1, will continue till Nov. 8 Inclusive. Tamili Kltatawa, a Japanese "primitive" painting In Mexico, will hold his first New York exhibition at these galleries, opening Nov. 13.

The first concert of the second series of Philharmonic-Symphony Society's children concerts, Ernest Schelllng, conductor, takes place next Saturday morning at Carnegie Hall. The program, Illustrating the dance, comprises works by Lulll, Branle de Poltu, Byrd, Montcverde, Gibbons, Oaroso, Scarlatti, Furcell and Couperln. ihoum ml Frank Rthn CatUria y. and the sea, wharves and shipping. beaches and street scenes in small American towns are subjects which present an inexhaustible source of Inspiration to the American water colorist.

The general effectiveness of the exhibition is augmented by the fact that many of the outstanding painters have sent four or more pictures. Rockwell Kent, for example, who, incidentally, has not exhibited here for several years, sends four of his Imagination-stirring landscapes and figure compositions; J. B. Costlgan, Emerton Hetland, William Starkweather, Paul Gill, George Pearse Ennls, Wayman Adams, Emil Bis-tram, Florence Cannon, Betty Carter, Glenn Coleman are other artists whose contributions help to enliven the exhibitions. All of Uiese are hanging in the Vanderbllt Gallery.

The other galleries are by no means as morgue-like as is sometimes the case. Specially noted In the Center and South Gallery were pictures by Pop Hart, Anne Goldthwaite, Saul Raskin, B. L. Cumming, Arthur Beaumont, Frank Wallis, Henry Bill Seldon, Leroy Clinker and Harrie Wood. New York Scenes r-By Reginald Marsh The obvious reaction to Reginald Marsh's pictures of New York life, now on view at the Rehn Oalleries, is to say that the mantle of John Sloan and George Bellows has fallen on his shoulders.

Not since "Mc- Sorley's Bar" and "Splinter Beach" has an American painter presented to vivid and personal a story of con temporary American life. But here the comparison ends. Mr. Marsh's personal slant and technique differ, entlates him from the others by i generation. It is 1930 as against 1810 and 1914, the date not to be Interpreted as relating to any picture in particular but to the period.

Mr. Marsh's realism has a bitterness and cynicism that was absent In the worU of the others. This may be post-war disillusionment or Just a personal point of view. As a cartoonist for the New Yorker he must necessarily dwell upon humanity's absurdities and frailties, which would tend to develop an already strongly defined tendency. Whether or not one agrees with him, he stands alone in being able to sense and set down in adequate and direct terms the press and swirl of crowds in subways, beaches, streets and amusement parks.

His dramatic, closely woven patterns have the sure but violent draftsmanship of a Delacroix sketch. The use of tempera on cardboard gives his pictures the freshness and spontaneity of a sketch. Mr. Marsh's unfailing flair for the dramatic enables him to give conventional and much painted themes, such as the New York skyline, a new fillip of interest. Brooklyn Museum Another large section of water colors and drawings has been made available to the public In a large gallery on the fourth floor of the Brooklyn Museum.

The new galleries are continuous with the section of American water colors In which the famous collections by Homer and Sargent are shown, thus making an unbroken series of galleries. The museum already has a far-famed reputation for Its water color collection, which Is now greatly augmented by these galleries. The new exhibits consist of European and American water colors as well as black and white work. The French water colors group Includes such painters as Clouet and Poussln, Delacroix. Barye, Puvls de Chav-annes, Zlem, Olrand and Oavarnl, Rosa Bonheur, Descamps, Plssarro, Boudln, Monet.

Besnard, Bontet de Monvel and Forain. The English section Includes examples by Brabazon, William Blake, Btirne-Jones, Augustus John, Cameron, McBey and Bone. Ouys. Mauve, Helleu, Mazzuola, da Volterra, Sorolla, Lelghton. Ros-setti and Augustus John, Darley, Blake.

Vedder. LaFarge, Eaklns. Homer, Robert Blum, Davies, Storner, Mura, Hermann and Myers are some of the artists represented In the black and white section. The second exhibition of the year In the Brooklyn Museum print galleries will open Nov. 8 with a collection of 185 wood cuts and color prints by noted contemporary Austrian artists.

There will be black and white and color prln and they will be on view until the end of the month. Beginning Nov. 8 and extending through the rest of the month the print department of the Brooklyn Museum has arranged an exhibition of 60 original pencil drawings in the form of sketches of early Ohio and Alabama doorways and other details of houses. These are the work of Milton Smith Osborne. Saturday afternoon, at Carnegie Hull: A violin recital by Vasa Prlhoda.

No program has been announced. and scope in its old arrangement was only glimpsed, is now shown to its full advantage. The collection was assembled by the late Dr. Stewart Culin, former director of the ethnological department, whose chair Dr. Adam succeeded to.

Dr. Culln's flair for collecting ethnological data which combined artistic content and romance with undeniable scientific value, gave him his unique reputation in scientific circles. Owing to Dr. Culin's greater interest in the collections which he assembled during the later years of directorship, notably the Indian, African and South Sea Islands, the Japanese collection was more or less shelved. Much of it, in fact, was stowed away in basement rooms.

The present arrangement, on the main floor of the ethnological wing, brings together in related groups all of the most important pieces which the collection comprises. Dr. Adam believes that the Brooklyn Museum's collection is unrivaled, from the point of view of variety and the rarity of some of the items. An opinion still further substantiated by Mr. Teruwo Akiyama of the Imperial Household Museum, Japan, who during a recent visit to the Brooklyn Museum collection identified two carved wooden panels and two religious paintings as outstanding masterpieces ot Japanese religious art.

The installation problem is twofoldhow to show collections imaginatively and at the same time not to lose their educational and scientific value. After studying the methods followed by the most celebrated European museums. Dr. Adam has chosen as his model the method used by the Volkerkund Museum in Munich, altering his arrangement to meet the specific needs of the community. The collection Is divided into, four groups, religious, entertainment, arts and crafts and military.

Printed placards, giving concise information about the history, religion, customs, of Japan, introduce each section. The differentiation is still further elucidated by each group a color symbolic of its function. Gold for religion, red for military and blue or entertainment. This also helps to give the collection an artistic interest without undue stressing of the esthetic. A fault, incidentally, that certain of the outstanding European ethnological museums commit when they show only objects that have the maximum of artistic interest, reserving the less artistic but scientifically quite as important objects for so-called study rooms.

The effect is striking, no doubt, but the general public does not carry away with them as vivid or complete a picture of the customs of Japan, China, India or Peru, when he sees only Isolated masterpieces of lacquer carved Ivory or -reaving as he does when he sets a chosen but compre In the Qalleries People who. have, succumbed to Mexico's potent spell, will have a special Interest in visiting the Fifteen Gallery at 37 West 57th St. this week, where Kal Gotzsche is exhibiting a group of his decorative compositions, evcral of them dealing with Mexican subjects. The decorative quality of Mr. Ootzches' work and his very evident reaction to the essentially decorative quality of the Mexican scene give his work I a veracity and vitality that visiting painters seldom succeed in getting.

Sombreros, cacti, burros and dusky inrtin in white cotton clothes are (woven into flat compositions suggesting that In common with the best traditions in Mexican painting they should be painted on the white walls of a Mexican patio. To show modern art In a -modern setting is the basic idea of The i Penthouse Galleries, which 'tops 40 E. 4Bth St. The galleries, otherwise known as the S. P.

R. Galleries, belong to the firm of architects and designers whose credo attached to their catalogue 'reada "To evolve a modern American style and one based on our traditions a style more in keeping with 20th Century American life than are the prevailing Continental designs." Members of the firm are H. StuTtevant Steose, director, Edwin Avery Park chief designer and author of "New Backgrounds tor a New Age," and Rlch- iard H. Harrison, assistant designer, i In its sane, attractive and personal interpretation of what constitutes modern decorations, ine gallery should be visited for itself alone. The Interest is further augmented by showing a group of pictures by members of the New York Society of Women Artists.

Mrs. Adeline twater has arranged the exhibition and will sponsor others later in the season. Small pictures and sculptures have been chosen. The effect is Informal end charming, very much as if the vbitoi seeing --dLchosca Maud Dale's book on Picasso, fourth in the Modern Art series published by Knopf, follows the laudable critical procedure of allow-' Ing the works of art under discussion to tell their own story. Ob- -vlously Mrs.

Dale believes that '-ha" critic's most valuable office is to lead his public to the works of art under discussion. Wnat better way, then, if the medium chosen Is a book, than to reproduce as many examples of the artist's work a possible. The new Picasso book contains 62 illustrations, as against six of text. The text, brief as it is. is an important adjunct.

It supplies valuable biographical material and a sensitive appreciation and keen analysis of the artist's contribution based on a vivid personal experience. Mrs. Dale has followed Meredith's admonition to the critic: "First steep yourself in your sub Ject before venturing an opinion." The book Is especially timely on account of Picasso's winning the gold medal at the current Carnegie International. Art lovers will be glad of the opportunity offered by Mrs. Dale's book for extending their knowledge of this baffling artist's many-faceted expression.

The pic. tures chosen are typical but are for the most part unfamiliar to the American public because of their inclusion In private collections. Mrs. Dale explains Picasso's dl--regard of visual reality in terms of Professor Einstein's theory that It is Illogical to rely upon the senses and their reactions In building a theory of the physical or material part of the universe. Instead of being an artistic anomaly, she proves that he Is, on the contrary, the symbol of his time.

"He Is," she writes, "the history of our whola artistic epoch and not of any particular group or formula or theory." But she admonishes the reader: "This Is an adventure In art that demands a great deal of the artist and a great deal more of the poor public that cannot count upon the same resources of Imagination and vision." Wcdneday evening, at 8teinway Hall: A recital of "Songs My Grandmother Used to Sing." by Ellery Allen, soprano, assisted at the piano by Stuart Ross. 6HIPS and the SEA NtV PAINTINOS GORDON CjRANT Jkurmbrr i'lon I0AKD VOLVO GAU1RIIS (34 Fifth Ai, Ntw Ttk DemoTTe ma SCULPTURED PORTRAITS THROUGH THE AGES 1,1 I D. 1.11k 25GHST78ThST. t.rk CUT LACHAISE DRAWINGS MARSH PAINTINGS At the Galleries of Frank K. M.

Rehn (U Mil krt. UJ A Hit Stk NKW v.nK tTV prPASTELS A KTCHt.V;.S of Aagkor M'. Far East i7 Locale DOUGLASS N.t. Ir4 I Mil MILCH Galleries 101 W. 57th St, N.

Y. Louis Comfort Tiffany Foundation American Art Association Anderson Galleries, Inc. SovrmhrrS to Sovembrr 22 i 'Performing Seal Coming Events The Louis Comfort Tiffany Foundation will hold its annual exhibition of members' work at the Amer. lean Anderson Galleries for the three weeks following Nov. 5.

About 350 artists will be represented, both members of last summer's group at the Tiffany estate In Oyster Bay and painters and sculptors who were fostered by the Foundation In former years and have since become well known in the art world. Among the latter are Kimon Nicolaldes, who is now doing the large murals' for No. 1 Wall Street; Edmond Amateis, the sculptor who designed the panels for the Michigan Boulevard Bridge in Chicago and the Army and Navy War Memorial; Luigi Lucioni, the young painter whom the Ferargil Galleries have exhibited with great success for the past three seasons; Lawrence Stevens, the sculptor; Monty Lewis, winner of the Guggenheim award; Byron Thomas, whose exhibition two weeks ago at the Ferargil Oalleries brought him considerable attention; Charles Locke, now instructor in lithography at the Art Students League; Frank Schwarz, winner of the Guggenheim scholarship and the Prix de Rome; Karl Free, the etcher, who Is alBo a member of the staff of the Whitney Museum; Austin Purves, who Is doing the Folger Shakespeare Memorial In Washington, and Concetta Scaravagllone, the sculptress, who 'is one of the few Americans to be shown at the Museum of Modern Art last year. The Louis Comfort Tiffany Foundation medal will be awarded during the coming exhibition for the painting, the piece of sculpture, or craft work adjudged the best by a Jury of former members. The medal was designed by Edmond Amateis and was first presented two years ago to Lulgl Lucioni and last year to Frank Schwarz.

The Marie Harrlman Gallery, at 61-63 E. 57th St, in accordance with its announced policy of sponsoring American as well as foreign artists, follows its opening exhibition of modern French paintings with a one-man show devoted to the works of Walt Kuhn. The exhibition will continue through Nov. 28. There are 24 pictures, dating from 1926, 17 of which have never, been previously shown.

Mr. Kuhn Is known for his 1 fty-t gy. In in of of of qf in Art World paintings of harlequins, burlesque chorines and a multitude of other show types. His particular metier springs from a very real and sympathetic understanding of the people he paints. His Intimate knowledge of the show folk has been gained through long association with life in the sawdust ring and In the burlesque theaters.

The artist has lived and traveled with the circus, staged ballets and still participates other activities of the show world not primarily to find material for painting but because he loves the big top and the tinsel glare of the footlights. The Newark Museum Is opening the early part of November two exhibits illustrating the conventional and the unconventional developments of American painting. A show of "American Primitives" will open on, Nov. 3. It will consist about 60 exhibits, mostly paintings in oil, water color, pastel and paintings on velvet, by anonymous ilmners, sign painters, coach and carriage painters.

The material has been gathered from public and private collections In Maine, Massachusetts, Connecticut, New York, New Jersey, Pennsylvania and Maryland. It is the first large museum exhibition of this kind and is important as well as fascinating. On Nov. 13 the Newark Museum will open an exhibit illustrating the chronological development of American painting as shown In the works the well-known artists. The representative men from the Colonial portraitists to the contemporary painters will be Included in a show about 60 canvases.

The show will contain several Important canvases not recently exhibited in this section of the country. The November exhibition at the Macbeth Gallery is announced under the title of "American Paintings Museum Importance." The collection, numbering 15 canvases. Includes a carefully selected and In many instances extremely rtre examples of artists of each period In American art, from Colonial days to the present. Each of the three American artists in the group, Ollbert Stuart, James Peale and John 8. Copley.

Is represented by a portrait which has but recently come on the market and has never before had a public 'Cri Railroad' by Reginald Marih, ft'. private collection. Pictures especially noted were by Ruth Jonas, Dorothy Varlan, Theresa Bernstein, Lucy L'Engle, Eleanora Kissel and Thelma Grosvenor. A charming group of pastel drawings on black paper by Van Derring Perine, the majority of them sketches for his paintings, are on view at the Montross Galleries. While ill their greater concern for accuracy and action they lose something of the lyric phantasy which characterizes the completed work, on the other hand they gain In vigor and conviction.

New paintings by Gordon Grant are on view at the Howard Young Galleries, 634 5th Ave, until Nov. 22d. The Kraushaar Galleries, 680 5th announce an exhibition of paintings and water colors by Maurice Prendergast. The Fieldston School at Ficldston Road and Spuyten Duyvll Parkway announce an exhibition of etchings by old and modern masters assembled by Peppino Mangravite, director of art education. The Chambrun Galleries, 656 Madison announce an exhibition entitled "A Century df French Etching." The group commences with Delacroix and ends with Picasso.

The Demotte Galleries, 23 E. 78th announce that they are opening a French book department which includes recent works on art and books illustrated by modern attlsU The Babeock Galleries, 6 E. 56th announce an exhibition of water colors by George Pearse Ennls. Holiday cards by American artists are on view in the print room of the New York Public Library. Pastels and etchings of the Far East, by Lucille Douglass, are on view at the Milch Galleries, 108 W.

57th St. The student exhibitions sponsored by the College Art Association at its headquarters at 20 W. 68th St, have met with such great interest on the part of the public that it has been decided to further encourage the young people exhibiting by offering two pr'zes for the most popular exhibit, i i.