The Cincinnati Enquirer from Cincinnati, Ohio • Page 105

THE CINCINNATI ENQt'IRER 5-If AMUR OA RACK writers 0 artists Dreams Versus Reality Sunday. April 21, 13 I I HOW TO balance one dream against another; to weigh one fantasy against another reality? These, one might say, are the issues in an art show such as you may see at the Summit School, 2161 Grandin Road, where many of the best local artists are showing. CRYSTAL PATENTS ICICLE SLIVERS OF SPARKLING WHITE Here come the patents in crystalline white, taking a shine to any color you can name deep draughts of mountain-lake coolness to lavish on sunback cottons, sundown sihs the wherewithal for any hour or event. Tempting, and typical of our complete collection of high and mid-high silhouettes. Shoe Salon Fourth Floor, Fountain Square.

Also Western Hills and Swiflon. Phone Norma Fay, 241-7400, after 9 a. m. weekdays or mail your order. Playing Card Art designs.

On permanent loan to the Cincinnati Art Museum in a current display. Japanese-American playing cards made by the Lewis Sears Company, Seattle, 1905, combine Japanese and American i New Museum Show AN EXHIBITION of "Prints and Playing Cards Featuring Flowers and Fruit," from the 15th through the 20th centuries, has Just opened at the Art Museum. Hungarian bom Joseph Doman, is one of the artists- represented. When he learned that the print exhibition was opening simultaneously with a Spring Flower and Daffodil Show, he created two new woodcuts, "Daffodils" and "Narcissus," for the show. Doman was Introduced to the U.

S. In 1958 when his touring exhibition was shown in 105 museums from coast to coast. Magyar legend and Imagery occur in his work, and oriental influence, too. His work was exhibited in 17 Chinese cities, in 1955 and he was honored by the Chinese government as "Master of the Colored Woodcut." He alone, of Occidentals, received this honor. DomJan uses 6 to 8 multicolored blocks for each print.

He carves the blocks of pear or apple wood with tools of his own devising. He pulls Impressions by hand and limits each edition to 25. So my informant at the Museum explains. Whether Mr. DomJan also obtains results worth the seeing will be examined in a subsequent column.

Other artists in this show will Include Phlllbert Debu-court, valentine Green, Edward Calbert, Maurice A. Jacqueline's pointy pump, side-paneled with scalloped vamp 14.98 Carew this week, of nonprofessional artists under the direction of Carl Von Volborth, contains several paintings that I can applaud not only for effort but for purpose realized. I was, for example, taken with the very purple view of Mt. Adams, by Anita Pescovitz and the honorable mention abstract, "Suburbia," by Mary Lou Vonderbrlnk, and it may be that my interest in these pieces stems from associations not necessarily artistic that occurred to me during 'my walk through the show. It is clear, in any case, that the difference between amateur painting and professional, is not solely a matter of filthy lucre, nor is It entirely a matter of basic differences in execution.

Some non-professional painters probably could become professionals merely by adding a dash of salesmanship to their repertory. Conversely, were some professionals to be stripped of their capacity to convince others of their worth, they too would have difficulty making the club. It is an old story; in art as in music the man who toots his own bassoon the loudest is apt to be Judged the best bassoonist, even though he croaks on every sixteenth note and swallows the bassoon at the finale. the retention of his good looks when I realized that I cannot even recognize myself in 20-year-old photographs, and I suppose painting might further cloud the burden of recognition. This gave me pause.

But a painting can also do powerful things, as Mr. Adam has demonstrated in the case of Mrs. Mitchell Ede, a formidable beauty, full of assurance and yet behind the facade of Greek perfection there peeks a lady whose very perfection shames us all. Adam paints sweet old houses that have been lived in thoroughly. He is attracted to covered bridges and ancient sights that he renders with a sure, flawless hand for photographic detail.

His subjects seem almost ready to walk out of their frames, though It may be questioned whether they have the energy to do so. Adam, In the very act of rendering them lifelike, decides, at the last moment, that he had best withhold the final perfection in the godlike rendering of detail the power to move. Adam did a scene from "Porgy and Bess" that hung in the Chicago Museum. Chicago once was his home for many years and there are scenes that reflect his sojourn there. And there are self portraits and family portraits.

Paint Is Wet THIS WEEK is so busy with art news that book news must give way. I shall make it up to books handsomely one fine day; meanwhile art must also reckon with the future possibility of shortage. I cannot forbear to mention the exhibition presently accompanying the wild comedy at Edgecliff, "The Birds" by Aristophanes. Edgar Tafur has worked up two enameled abstracts for the occasion, birds, of course, and there are other Tafur pieces on display. Charles Harper's birds are as fantastic in their own ways, as the covey of quail appearing in the play itself, led by such rare birds as Pegge Gerding, Elizabeth Dammarell, Brenda Brooks and Nancy Storey.

And the show at Mabley Jan McConnell's "Noble Winter Trees" are frozen, immobile, their green, leather-like, veiled hides in a phalanx that suggests one silent force (treeness) shielding out another (frozenness) to plunge at once Into the forest of paintings. Janet Rappoport's shocked intense mockery Pensive of a world that terrorizes and supplicates with fearful indifference; or Lucille Meyer's cool, gliding "Peonies," in the same universe somehow shocking that it could be with the green matching white im-perturbably, hang near each other. Run down the list to Philip Brester's "Boy," a fearful urchin, the stark motto theme of the 20th century. Bill Gebhardt's "Bridge" is half vivid, half quiescent, as If the quiet pastoral scene imposes the realization that nature's calm is a taunt to conceal our need and challenge our capacity to fill it with our own busy, furtive activity. (For fill it we must; that Is the measure of our humanity, 'we suppose.) Eve a 's "Everglades," that I saw In Hamilton, Is a lurking, transplanted Venice, of menacing canals and colors.

Von Volborth's prize-winning "River Mood" represents this artist in a dusky, impressionistic turn of mind. "River Mood" was Judged worthy of purchase by a panel of judges and will hang in the Summit School's permanent collection. Vincent Price's strange, hulking shapes rise up as if summoned from outer darkness and commanded to appear before us suitably. One wonders about the fires they went through before turning their faces to a universe of lowering impressions and colors. The show is much too big and much too interesting to encompass within the space of a shared newspaper column.

Consider only, as a coda, Nancy Patricia Kelly's "Old Favorites," priced modestly at $35, an abstract that focuses the eye upon it and Its clustering shapes and heated colors. There is the near monumental lighted panel, "Balthazar," by Joan Winstel or the- confident, easy, almost insolent abstract by William Leonard and June Ruff's "Brown-Eyed Girl," her eyes ringed hollowly, like the ageless children from every war. Every artist that I have thus ignored, and some that I have not, will now proceed to wonder why, and yet I have not even men-- tioned the print collection, by famous, men, or the rugs and the crafts, and the sculpture and the rest of it. Thus any ignored artist can assume that fame will result as a consequence. Wilbur Adam WILBUR ADAM is an old-fashioned portraitist, presently in a retrospective exhibition at the Cincinnati Art Club, and his work has the quiet, insistent pride of the man certain of his technique and the grounds to which he applies It, as well he may be.

He has painted Paul Chidlaw as a handsome young man, and I was about to congratulate Chidlaw on Denis and Jean-Eduouard Vullliard, among earlier print-makers. The 20th century delegation contains many of the great names. Paperbacks B. The pump perfect by Marquise, square throat, snipped toe 16.98 $1.65. A standard work on the history and culture of ancient Greece.

"THE FOUR MAGIC MOVES TO WINNING GOLF," Dante, Elliott, Cornerstone Library, $1. "LETTERS TO A YOUNG POET," Rilke, Norton, $1.25. Marvelously subtle, informed advice from a world famou spoet to an aspirant. "ROSSINI: A STUDY IN TRAGI-COMEDY," Francis Toye, Norton, $1.75. An often-consulted biography, with some analysis of the works.

"GREEK CITY-STATES," Kathleen Freeman, Norton, WORD GAME BASEMENT (Basement: BASE ment The lowest part of any- The Director Takes A Trip tning.) Average mark 55 words. Time limit 60 minutes. At least 68 or more dic tionary words of four or more letters can be found in the letters in "basement." Can you find as many or more? RULES OF THE GAME 1. Words must be of four or more letters. 2.

Words which acquire four letters by the addition of such but he keeps thinking he is on vacation and will have to report back to work Monday" Mr. Adams The Adams tour took him to Israel for four and a half days, on the Hebrew Union College chartered flight that brought him to the middle Negev desert, at Av-dat, and back to Jerusalem for dedication ceremonies where Ben-Gurion spoke. "After being bumped off the trip in favor of extra gasoline," Mr. Adams remarked, "I spent another day in Israel, and then on to Greece Delphi, Corinth, Athens, other places, and saw some good modern painters and sculptors." Then to Vienna. PHIL ADAMS, Art Museum Director, is Just back from a tour of Greece and Israel, stopping in Vienna on the way home to see Fred and Sylvia Yeiser and attend two performances at the Vienna Opera.

"Fred has been going to a lot of music" the traveling director told me "and I can understand why. The performance of 'Der Rosen-Kavalier' was fabulous. And we saw 'Schwanda der Dudelsackpfeiffer' in a revival that was very esting." The fact that Phil was able to pronounce it was of more. than passing, interest to me. I never could.

Fred Yeiser seems "well rested and. enjoying himself C. Corelli's fiddle-string pump, low-cut sides thin, thin mid-high heels 14.98 as "bats," "cats." are not used. 3. Only one form of a wora is used.

4. Proper names are not used. Yesterday's Word SADDLERY sard sadly sale sayer saddle seal sear sera slayer sled addle adder aery alder dale dares deal deadly easy dearly early delay earls deray eddy dray eral dread eyas dryad rale dyer raddle dyad rase lard real ladder ready lade rely lady reads layer relay lares yard leads years lyre D. Marquise's fenced pump, bounded by a spaghetti-thin strand 75.95 1 ft, A Twing Touster ST. PETERSBURG, Fla.

UP) E. O. Lieghley of St. Petersburg said a local radio announcer was having a terrible time with a news story about the theft of blue Chip stocks in New York. It came out: "blue chopsticks." BRADENTON, Fla.

UP) Two matronly women were discussing politics and world affairs while having coffee in a Bradenton dime store. "What do you think about Red China?" asked one. "Oh, I dont know," said the other. "I guess it would look all right If you used it on a yellow tablecloth." MaiJlm FOUNTAIN SQUARE V- SWIFTON CENTER WESTERN HILLS PLAZA Planning Festival J. M.

Thomas, Tri-County Merchants Association, plan the Arts Fair on the Mall, Saturday, May 4. William Kearney, Director of Kkae Galleries at the Tri-County Shopping Center, Mrs. Eve Banker, prize winning artist, coordinator of the Tri-County Arts Fair, and i.