POLISH ART. EXHI181TT:O Ne

The exhibition of Polish art shown recently in the Gallery was an inspiration to those who like —

woodcut prints and hand-woven fabrics, and particularly to those who would practice those branches of —

art. The modern Polish woodcut is considered particularly characteristic, while fine weaving has been

traditional in that country for a thousand years.

The print collection includes modern wood engravings, both black and white and colour, etchings

and lithographs, and a number of old folk-woodcuts, hand coloured, depicting saints. These are crude
and rather over-ornamented, yet they have charm and force of expression. The prints display good and

rhythmic design applied to real objects—there are no abstract adventures in pure pattern of light and |
dark, though in many it is evident that pattern arrangement is the reason for bringing the objects |
together. Black and white has been used in a variety of ways, from scenes in country and seagirt cities, —

some good and decorative portraits and one small still life, which have depth and volume, to expressive
heavily outlined compositions such as “Slaughter of the Innocents,” and lively patterns reminiscent of
Persian art. ‘There is great pleasure to be felt in the excellent cutting, in expressive use of tools, and
clear cut shapes and rhythms.

The exhibition of weaving is splendid, comprising examples of rugs in geometric designs, in good ;
and unusual colour combinations, and also more sophisticated and very beautiful silk and flax fabrics., —

showing intricate designs in subdued colours, made from homespun wool and flax, which are dyed in
the school laboratories.

Een & NMATIYVIT Y Fr UA YF

(Reprinted from the News-Herald, December 16, 1938)

What dim light there was outdoors Thursday night filtered through the two skylight windows of
the attic theatre of the Vancouver School of Art and fell upon a scene both weird and wonderful.

A Goat-man and a Frog-man loped across the stage; a tribe of Indians sat around and tom-tomed
on hide drums; the Virgin Mary watched the babe Jesus as it lay in a manger; three wise men brought |
gifts.

Huge painted totem poles, Indian baskets, shawls and pottery provided a background for the affair.

It was the annual nativity play presented in the setting of the great lodge of an Indian village
of the Gulf Islands and for sheer originality, ingenuity and clever presentation the play surpassed even the
excellent production of other years.

Called the “White Tyee,” the Christmas offering was carried out entirely by the students of the
school, who designed and made the costumes and scenery and provided splendid off-stage sound and light —

effects.

Two nun-like narrators gave running commentaries on the play, while members of the Indian —

tribe, garbed in typical robes and head gear, gazed upon the story of the baby birth as it was unfolded 9
in a wondrous vision before their eyes.

Endless care was taken by the school to assure that the combination of an Indian tribe with the j

nativity should achieve that measure of interpretation that was its due and by virtue of splendid work-
manship they brought about just such a result.

pe ne

WE ARE ADvisED that a group of young Toronto artists, educationists and social workers, inspired
by the success of the W.P.A. mural project in U.S.A., have organized under the name of “Prog” a mural
committee with the object of promoting a National Mural Painting Competition open to all Canadian”
artists under thirty years of age. Full information can be obtained from the Publicity Committee, “Prog,”
59 Victoria Street, Toronto 2, Ontario.

Good luck to this vital project. May we be in on it.

SHOULD ONE recall, here, the whiskered incident of the old lady and Turner?

It seems that Turner was re-touching a picture of his in the gallery as was the privilege of chal
painter before the opening of an exhibition. An old lady who had been watching him work, “i
“J have never seen a sunset like that.”

Turner’s reply still stands, ‘No, madame, but don’t you wish you could?”

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