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DALLAS Ml]-SE,lIl\f

OF F-INE ARTSI

Dallas Museum of Art Library

TIIB BJEIIIBITIOH

TROMPE L'OEILPA INT I NG S THAT FOOL THE EYE B Y M A ST E RS FRO M V E RM E E R TO DALI

EL HOMBREl3Y RUF INO TAMAYO

PLANEr~rARIUM

PORTRAIT OF HER MAJESTY ,

QUEEN ELIZABETH THE SECOND

TEXAS ARCHITECTURE - ~953

TEXAS PAINTING & SCULPTURE

TEXAS PRESS PHOTOGRAPHY

ART AND SCIENOE

DALLAS MUSEUM DF FINE ABTSOCTOBER 10 THROUGH OCTOBER 25, 1953

f A t LibraryDallas Museum 0 r."

FDREWDRD

The fears that beset the men in the thr ee frail barks of Columbuson his journ ey into an uncharted sea now spark the imagination of airborne men explor­ing the myster ies that lie beyond our planet in the infinity of space. Today, through thework of geographers, scientists , physicis ts and astronomers, we have accumulated moreknowledge of the world we live in than man has ever possessed.

Einstein has said that creative discovery in science comes "from a hunger of thesoul" that is closely akin to the creativ e urge that has burned in the architect , painter andsculpto r since the beginning of art. Genius in these three fields has always been concernedwith space.

The architect and the sculpto r work directly in three dimensions and thus controlspace by actual handling, whereas the painter has had to simulate space, or depth andlight, by the arti fices of color and drawing because he works on a flat, two-dimensionalsurface. Many centuries ago the art ist learned his skill as a trade . . . the painter wasw~ll decorator and portrait maker; the architec t was master builder and the sculpto r wasa stone mason or metal worker. Rules for the standards of beauty in these fields dependedupon the laws set by the acquired knowledge of the day with its education which did notinclude aesthetics but was based on the theoretical sciences. In those times the liberalarts consisted chiefly of ari thmetic for numbers; geometry as the study of shapes;astronomy for the movement of bodies and the harmonics of music for the measurementof proporti ons (space ) .

Scholarsh ip and investigation of the problems confronting the artis t raised the artsinto a scientific state so that by the beginn ing of the 17th cent ury, along with the riseof the great academies, what had been the work of anonymous craftsmen-artisans becamethe Fine Arts. For better or worse, painting; sculpture and architecture became separatedfrom the theoret ical sciences.

Because art and science seem to be drawing closer toge ther again and since one ofthe main concerns of art is the control of space it is believed that the visitor to the 1953State Fair of Texas can find the theoretical sciences of help in understanding and appre­ciating the exhibi ts at the DMFA. A planetar ium will enable the visitor to have a realexperience in the latest astronomical achievement explaining space. In the Architecturalexhibi t, the floor plans of a build ing may be studied for the cont rol of space just as theelevation drawings and photographs are to be considered for geometri c beauty. Theexhibi tion of trompe l'oei l type of paintings that fool the eye demonstrate the artist'sability to limit his imita tion of space to a few inches in depth and to simulate the magicof realism to the extent that painted frui t, a pi pe or a copper POt seem real enough totouch. The Texas Paint ing and Sculpture show contains work that is visually real by old,established standards as well as contemporary styles of semi-abstract ion. These latterworks may be better understood through the "scientific" approach and by knowing thatsome art ists are trying to envis ion nature through the findings of the ir contemporaries ­the scienti st, the ph ysicist and the astronomer, so that they are approximating a timelyconcept of the world we live in and know.

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"Allegory of th e Nelli Testam ent" by VERMEE R, loaned by the Metropolitan Mmeltmof Art

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TaO.PB1111I111I11I11I111I11I11I1111I11I11I1111I11I11I11I11I11111111I11I1111I1111I1111I1111I .FOOL THE EYE PAINTINGS

TheDallas Museum of Fine A rts is grateful to the following:

The A merican Federation of Arts and A lfred Frankenstein for assembling the

group of paintings entitled "Harnett and His School" ; Edith Halpert , for a group

of American Paintings; and to the museums and galleries which have loan ed other

work s to the State Fair of T exas "trom pe l'oeil" exhibition; the A rt Institute of

Chicago , Detroit Institute of Arts, Metropolitan Museum of Art, Museum of

Modern Art, and the Cit y Art Mus eum of St . Louis; also to the Downtown

Gallery, Grand Central Art Galleries, Hewitt Gallery, Hirschi & Adler, M.

Knoedler & Company, Midtown Galle ries and Betty Parsons Gallery.

Using a group of Amer ican painti ngs called Harnett and H is Followers, as a nucleus,the museum has borrowed pictures from dealers and ocher museums to form an exhibi­tion of paint ings that fool the eye by their intense realism. N o attempt has been madeto cover the development of this type of painting but some ind icat ion of interest thatrealism has held for artis ts from 17th century Spanish , Flem ish and Dutch schools downto the present day is to be seen.

The earlier painte rs were fascinated, as is roday's art ist working in the realisticstyle, with the problem of getti ng OntO canvas a faithful likeness of ob jects. The texturesof silk and woolen stuffs; the brittleness and transluscency of glass; the bloom on a grapeor sugar water drops oozing from a peach; the opalesence of a sea shell ; the pinkness ofshrimp or lobster; the feather s and fur of fresh-kill ed game or a chained live parrot ora mischievous squirrel ; the glint of light on copper or silver-all these were their delightsthat so charm the viewer. Perhaps much of the charm lies in the absence of man 's presencein the painting. H uman beings are just outside the canvas - about to devour the heaped­up delicacies or just returned from the out ing with the paraphern alia and spoils of thehunt hung on a kitchen door or fishing gear conveniently hooked on a shed wall. Th esadness of old souvenirs lurks in the dusty card rack with its preserved photographs, itsdog-eared postcards.

Paint ings of this type have other moods. Frequendy they are amusing with sly rides ;often they are satiric; and, again, they pin-point some human foible or speak politically.

The work of modern painters in this vein tends to be simpler - fewer objects in theclut ter, less of food and more of thin gs. But the contemporaries are subject, too, to thatsame lure of likeness and they manage to invest simple objects with the same age-oldqualities that touch on sentim ent, divert the eye and satisfy the mind of the beholderthrough the magic of their realism.

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'Still Life" by VA N BEYER EN, loaned by M. Knoedler & Com pany, N ew York

tA boue, left ) "Children's Gam e" by CLAUDE GRIPS, loaned by Hirschi & Adler

tAboue, right) "Courtsbip " by CLAUDE GRIPS, loaned by Hirschi & Adler, N ew York

"Still Life" by FRANZ SNYDERS, loaned by M. Kn oedler & Company, N ew Y ork

"Still Life" by W ILLIAM HARN ETT, loaned by Edith Halpert of the Downt ownGallery, New Y ork

"Still Life" by W ILLIAM H A RN ET T , loaned by Edith Halp ert of th e D01ll11t01l111Gallery, N ew Y ork

'The Artist's Card Rack" by WILLIAMHARNETT, loaned by Mrs, Arthur Horn­blow, Beverly Hills

"Fish House Door" by JOHN F. PETO, Dallas MlISeum of Fine Arts permanentcollection

"Handel with Still Life" by STANLEY CRANE, loaned by Grand Central Art Galleries,New York

"T he Sword" by KENNETH DAVIES, loaned by the Detroit Institute of Arts

"A Piece of Chalk" by ROBERT VICKREY, loaned by the Midtown Galleries

EL HOMBRE (MAN) by

11111I111111I11I11111I11111I111111I111I111111I11I11111I11111I111I11111I1111I1111I11Rufin 0 TamaV0

T his great painting, ten feet wide and eighteen feet high, by oneof the most talented of living art ists, was commissioned by the Dallas Art Associationin 1952 after Tamayo had been visiting artist at the Dallas Museum of Fine Arts for ashort period.

The artist was enthusiastic over the project from the beginning because he believedit was an opportunity for him to participate in the growing exchange of cultural under ­standing between his country, Mexico, and the United States at their most active point ofcontact - Texas. The mural, acquired through the Neiman-Marcus Exposition Fund , wascomp leted in the artist's Mexico studio and shipped by special over-sized railway car toDallas in time to be installed for the opening of the 1953 State Fair of Texas.

Uncomplicated in symbolism, the mur al transmits an immediate impact of powerthrough the heroic scale of the one figure dominating the painting. At the base of themural is the arc of the earth's surface , painted in rich browns . In the lower left is afrightful black dog, mired by each foot and ravening for a bone just out of reach. Thisdog is obviously a symbol of earth-bound and unimaginative impulses . The huge figureof a giant, seen in back view and representing man reaching up and out into the heavensin perpetual aspiration, pushes from the earth with a tremendous effort which is depictedin forceful rather than realistic shapes. The color of the figure ranges from fiery red inthe feet into limbs of volcanic reds and violets, with darker purples and browns domi­nating the upper reaches of the figure. Beyond the sharply tapering outstretched arm isa glowing sky of vibrating blues, cut by the broad trail of a comet and criss-crossed bythe trajectory of stars.

Strikingly simple in conception and brilli antly executed in a restrained color harmonyof blues, oranges, browns and blacks, this painting by Rufino Tamayo may well becomeone of the best-remembered large paintings in the Americas .

Trip to the Moon1111I111I111I11I111I11I11I1111I11111I1111I11111I1111I1111111I11I1111I11I11I1111I1111I STARS AND P LAN ETS have attracted and pu zzled man throughout

his evolution. Earliest man coupled his fate to the sun and the moon. Th ousands of yearsbefore Christ the movements of the planets were understood. Even though astronomy isone of the oldest sciences, nevertheless modern man 's miraculous inventions pro ject theapplication of this science far into the future.

The plane tarium is one of the most intriguing instruments avai lable for the studyof the stars and the planets under perfect man-m ade conditions . These instrument s are

Y oung space explorer tests equi pment for journey to th e m oon

(Above, lef t) The moon's surface, to be glimpsed by visitors embarking on "A Tripto the Moon" at the museum's planetarium

(A bove, right) "The Life Span of the Earth" by CH A RLES BONESTELL, loaned byLIFE Magazine from "The W orld We Live In" series

so costly that only a few exist In rhe merropoliran centers. T he new Spirz planerariumrecently insta lled at the an museum is smaller rhan rhese gianrs, bur it produces resuIrswhich compare favorably with the larger and more costly instrument. The museum'snew planerarium represenrs a fascinaring and pracrica l way of demonsrraring mysreriousrelations of objecrs in space. Operaring under a rwenry-four foor dome , this versarileinstrument simulares the real ourdoor sky wirh irs planets and uncounred stars. Anaudie nce of more than one-hundred peop le seated in air-co nditioned comfort under thisalways-clear sky may witness the events of a day or severa l years crowded inro a fewminutes of actual time. Th is particular insrrurnenr was invenred by Armand Spitz ofPhiladelphia. It can be used by a wide variety of groups, from professional astronomersand Air Force agencies studying navigation to Boy Scours, Brownies and Junior Astron­omer groups.

To interest the large State Fair crowds, the first show of the museum's planetariumis a pretended "Trip to the Moon " - that closest and most fascinating of our heavenlyneighbors. Convincing sound effects and films aid the p lanetarium in studying the prob­lems concerning man 's possible conquest of space. Later demonstrations by the plane­tarium will range through the endless studies of the phenomena of the skies.

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H er Majest y QUEEN ELIZABETH 11 - by Douglas Chandor

Mrs. Douglas Chandor of Weatherford, wife of the late portrait painter, has kindlyloaned this painting for its first exhibition in Texas. The portrait was commissioned byMrs. Eleanor Roosevelt and will be presented to the British Embassy in Washington asa gesrure of Anglo-American friendship .

texas architecture1111 11 111 11 111 111 11 111 111 111111111 111 11 111 11 11 11 11 11 111 111 11 111 111 111 111 11 11 111 11 111 11 111 11 111 11 111 11 111 11 111 11 111 11 111 11 111 11 111 111 11 111 111 11 11 111111 11 11 11111 11 11 11 111111 11 1111111

OCTOBER 10 THROUGH OCTOBER 25 1953

An exhibit of recen t work by Texas A rch i tect s

sponsored by the DALLAS CHAPTER,

THE AMERICAN INSTITUTE OF ARCHITECTS

and THE TEXAS SOCIETY OF ARCHITECTS

with the cooperation of

THE DALLAS MUSEUM OF FINE ARTS

exhibition committee, dallas chapter aiaDonald Nelson, ChairmanA. B. SwankDonald JarvisGeorge McGill

Dave BradenJack MorganErnest E. Wright, Jr.Jo seph Gordon

William HefleyW arren H allCarl RoathGeorge Edwards

texas society of architectsAlbert S. Golemon, PresidentEdwin W. Carroll, Vice PresidentGeorge F. Pierce, Secretary-Treasurer

jury of the exhibitionWILLIAM W. WURSTER, Dean of Architecture at the University of California

at BerkeleyBRUCE GOFF, H ead of the D epartment of Architecture a t the Uni versity

of OklahomaJERRY BYWATERS, Director of th e Dall as Mu seum of Fine Arts

first honor award

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MILTON A. RYAN , Architect

W alter E. Bowd en , Co ntra ctor

First Church of Ch r ist , Scientist

Victo ri a , Texas

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San Antonio

EXCERPTS FROM THE JURY REPORT

MR. WURSTER : 'The First Award, for the Firsr Church of Chrisr, Scienrisr, Victori a,Texas, seemed to us to caprure such magneric qualities with very simple materials andis accomplished very economically . The inrerior of simple materials seems beautiful andairy. The use of the acrual pipes of the organ as one of the decorative features at the backof the Church is very pleasanr, indeed . The plan itself is beautifully articulated, if thatis rhe word, because it goes back to first principles of great oblong, unbroken block, whichin rum means economy and simplicity of thought. 1 thi nk I'll ask Me. Goff to commenron this now. Before he starts, 1 will say that all of us were impressed by the fact thatthe very excellence of a submission of this SOrt leads us to be more critical of certainthings, wishing that it might come to that high poinr that is impossible to achieve inany struc ture ...

MR . GOFF: . . . "1 think all of us on the Jury agree unanimo usly that this is the Out­standing enrry, this Church of Christ.Scienrisr, Victoria, Texas. 1 have a certa in reservationin my own min d about it, which 1 thin k is based pretty much on rhe idea of what isreligious character in a building. 1 find it a little difficult to see that this building doeshave a deeply religious feeling . 1 think it 's a very fine buildi ng, the structure is wellexpressed, it's an honest buildi ng, no doubt, and 1 JUSt wonder a litt le bit if the buildingdoes have the relig ious feeling that I expect in a Church. "

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award of merit

r

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Houston

award of meritR. GOMMEL ROESSNER, Architect

Douglas Hicks, Ge nera l Contractor

Residen ce for Mr. and Mrs. Millard Rund

Austin, Texas

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award of meritHOWARD BARNSTONE(Bolton and Barnstone,Architects) Houston

Roy D. Wilson, General Contractor

Residence forMr. and Mrs. M. G . RosenthalHouston, T exas

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award of meritFEHR AND GRANGER, Architects

R. J . Pekar, General Contractor

Residence for Mr. and Mrs. Joe Sneed

Austin, Texas

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Austin

award of merit

" ' : '

COCKE, BOWMAN AND YORK, ArchitectsMeritt and Roe, General Contractor

Clinic for Dr. James D. CaseySan Benito, Texas

FLOO R PL AN

Harlingen

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award of meritROBERT D. WHITE (while in partnership withH. E. PRINZ), ArchitectConne ll Construction Co., Gener al Contracto rMunicipal Servi ce CenterDall as, Texas

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Dallas

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award of meritHIDELL AND DECKER,

Architects Dallas

Hawley Bro thers, General

Contractors

Episcopal Collegiate Chapel

of St. Alban

Dallas, Texas

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award of meritTHOMAS E. GREACEN II, ArchitectTellepsen Con struction Co., Gen eral Cont ractorFirst U nitarian Ch urchHouston, Texas

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Houston

N o. 31

St!/dying T exas Architecture - 1953 entr ies are Jurym enIf/ il/iam Wurster, Bruce Goff and Jerry Bywaters

N o. 3

l'{o. 14

THE FIFTEENTH ANNUAL EXHIBITION OF

PAINTING AND SCULPTURE

Ic ~~X~~~v.SPONSORED BY THE

ORGANIZED BY THE

DALLAS MUS BUM OF FINB ARTS

PARTICIPATING MUSEUMS

MUSEUM OF FINE ARTS OF HOUSTON

WITTE . MEMORIAL MUSEUM, SAN ANTONIO(w ith the cooperation of the San Antonio Art league)

Bxhibition CalendarThe Dallas Museum of Fine ArtsThe Museum of Fine Arts of HoustonWitte Memorial Museum, Sa n Antonio

October 10 through November 1November 8 through November 29

December 13 through January 3, 1954

More than 600 entries to the J5th annual T exas Painting and Sculptur e exhibition arereuietoed by Judges Richard Haines, Perry Rathbone, and Dorothy Adlow

JURY OF SELECTION AND AWARDSDOROTHY ADLOW, Art Critic, "Christian Science Monitor ," Boston

PERRY T. RATHBON E, D ir ect or, Ci ty Art M useum, St. Lou is

RICHARD H AIN ES, Artist and Teacher, Los Angeles

FDREWDRDThis exhibition is a continuation of the important Texas annual exhibits which, for

the past fourteen years, have been the successful joint efforts of the Museum of FineArts of Houston, the Witte Memorial Museum (San Ant onio Art League ) , and theDallas Museum of Fine Arts. These museums will continue to provide prizes from localsources and to show all or part of the exhibit. Sponsorship of the exhibit at the DallasMuseum by the State Fair of Texas has made possible a much larger number of prizes ,the use of a jury of national importance, and has insured a greatly increased public interestand atte ndance.

This exhibition was assembled for judg ing by the Dallas Museum of Fine Arts .A total of 596 works was submitted from all parts of the state and 101 by 88 artists(92 paintings and 9 pieces of sculpture ) were selected for showing by the distinguishedjury after two full days of careful deliberation. These members of the jury deserve specialthanks for their thoughtful efforts as well as for leaving their own duties at the begin ­ning of a busy season to come to Texas and sub ject themselves to the dub ious gloriesof jury service.

The success of this exhibit has also been aided greatly by the generous prize listmade possible by industrial agencies, individuals, and museums throughout the state aswell as the State Fair itself. Finally, let most praise go where it belongs most - to theartists who are constantly growing in art istic stature and who annually brin g distinctionto Texas art by the ir diligence and creative activity.

STATE FAIR OF TEXAS PURCHASE of $500.00 for the permanent collectionof the Dallas Museum of Fine Arts

PERRY NICHOLS, Dallas for oil painting, "T he Red Queen"

JAMES W. BOYNTON, Fort Worth

STATE FAIR OF TEXAS PURCHASE of $500.00 for the permanent collectionof the Dallas Museum of Fine Arts

for oil painting,"Limestone Edge"

JULIAN ONDERDONK MEMORIAL PURCHASE of $350.00 for San AntonioArt League collection

(to be awarded at the opening of the exhibition in San Antonio )

DALLAS ART ASSOCIATION PURCHASE of $250.00 for the permanentcollection of the Dallas Museum of Fine Arts

McKIE TROTTER, Fort Worth for oil painting, "Dry Dock"

DALLAS ART ASSOCIATION PURCHASE of $250.00 for the permanentcollection of the Dallas Museum of Fine Arts

KEITH McINTYRE, San Antonio for oil painting, "Back Street"

MR. AND MRS. E. M. DEALEY PURCHASE of $250.00 for work of artistnot well represented in the Dallas Museum of Fine Arts permanent collection

BOYER GONZALES, Austin for oil painting,"Fro m the Pedernales No.1"

Paintings by Mr. Fearing and Mr. Dozier were recommended by the juryfor purchase prizes, but the works were not available.

"Limestone Edge," oil pain ting by JA M ES W . BOYNTO N , $500 State Fair of T exasPurchase Prize

"T he Red Qneen," oil painting by PERRY NICHOLS, $500 State Fair of T exas PurchasePrize

"Back Street," oil painting by K EITH McINTYR E, $250 tuu« A rt A ssociation PlIrchaJe Q

FORT WORTH ART ASSOCIATION AWARD of $150.00OTIS DOZIER, Dallas for oil painting, "Navajo Blanket"

MUSEUM OF FINE ARTS OF HOUSTON AWARD of $100.00KELLY FEARING, Austin for oil painting , "Tobias and the Angel"

MUSEUM OF FINE ARTS OF HOUSTON AWARD* of $100.00WILFRED HIGGINS, Denton for oil painting , "The Cloth"

MUSEUM OF FINE ARTS OF HOUSTON AWARD* of $100.00JOAN HIERHOLZER, San Anton io for oil painting , "Alamo Walls"

FOLEY'S OF HOUSTON AWARD of $100.00JOHN GUERIN, Dallas for oil painting, "Jade Leaves:'

SCHLUMBERGER WELL SURVEYING CORPORATION AWARD of $100.00OLIN TRAVIS, Dallas for oil painting, "Pa triotic Domicile"

MR. AND MRS. ROBERT D. STRAUS OF HOUSTON AWARD of $50.00ANN HUDSON, Dallas for oi l pa inting , "Springtime"

SAN ANTONIO MEN OF ART GUILD AWARD of $50.00

ANNABEL McDONALD BERRY, Dallas for oil painting,"All T hese"

*Dollated by th e Humble Oil and Refillillg Com pallY

"Dry Dock," oil painting by McKIE TROTTER , $250 Dallas Art A ssociation Purchase

"From th e Pedemales N o. 1,n oil painting by BOYER GONZALES, $250 Mr. and Mrs.E. M. Dealey Purchase Prize

...• ..

"N avajo Blank et," oil pai1ltillg by OTIS D OZIER , S150 Fort If/orth Art A ssociationAward

"T obias and th e Angel," oil peint ing by K elly Fearing, SIOO Mu seuJn of Fine Arts ofHOIISton Award

•

(B elow), "T he Cloth," oil painti ng by WiL­FRED HIGGINS, $100 MlISeum of Fine Artsof H ouston Award

(L eft), "j ade Leaves," oil painting by JOHNGUERiN, SlOO Foley's of H ouston Award

(Ab oue) , "Patriotic Domicile," pamtmg byOLIN TRAVIS, S IOOScblumberger W ell Sur ­veyin g Corporation A ward

(B elow), "A lamo Walls," oil painting byJOAN HIERHOLZER , S100 Mltseumof Fin e Arts of H ouston Award

t Aboue.Lc lt ) " Race uit]: Flam e" by N O l?M BEl?GSMA , Fort W orth PreSJ- Sp ot N ews- First Place

t Aboue, right ) "Eyes Front. Soldier!" by CLINT G l?ANT, Dallas N ellis - Feature- First Place

Ieu« P/,e99 PhOfog/'sphyThe exhibition of news photographs by members of the Tex as Press Photographers

Association is always of keen interest to the State Fair visitors at the museum. Prizewinners were selected by Horace Ainsworth, editor of Da llas Magazine ; Clyde W . Brown ,sales manage r Dallas Photo Supply Company; and Buck Marr yar, American Airl inesregional public relations director. Awards were made in six categories : person alities, birdsand animals, pictori al, spot news, featu res and sports,

(Below, left ) "Splash Finish " by AL PANZEl?A, Fort Worth Ssar-T elegram s-s Sp orts- First Place

(Below, right ) "End of th e Day" by JO HN YOUNG, Dallas News - Portrai ts a1U(Personalities - First Place

OCTAVID MEDELLIN, noted South western sculptor and teacher in the MIIS etllIl School,demonstrates "A rt in A ction"

111I11111111I111111111I11111I11111I111111I1111111111I1111I1111I ART in ACfion!

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111111111111111111111 11 111 1111111 11 111 111111 11 111111 111 11 111 111 11 11 11 L ocal art ists ~nd students show what goes into the making of awork of art during their demonstrations in the Museum's Sculpture Court for Faircrowds - by painting, sculpting, weaving, making jewelry and other metal shapes,working in clay and by making. prints - all of which proves education al as well asentertaining for the whole fam ily.

CONTEMPORARY FURNITUREFrom the original group of furniture collected in 1950 for the Contemporary

Lounge, the Museum has branched Out into the galleries with even more recent designsas part of a long range plan to illustrate some of the most interesting examples in thecontemporary design field. The scope of the inventive talents of roday's leading designersis manifested in the exploitation of new and old materi als - plastics, metal, wood, fab­rics, foam rubber, etc. - good lines coupled with comfort and requiring a minimum ofcare and maximum durability. Visitors are invited to "test" the furniture and judgefor themselves .

THE HOBLITZELLE COLLECTION

The Hoblirzelle Collection is a pan of a larger collection formed in Europe some200 years ago for transportation co Lima, Peru . It consists mostly of seventeenth centurypictures with a few earlier ones. Several of the paintings, such as the Nicholas Chapronand the Pietro Paolini , are of great interest because of their fine quality which is enhancedby the fact that they are excepti onally rare in America.

"Baccbic Concert" b'}' PIET RO PA OLI NI; H oblitzelle Collection, Dallas Mmellm ofFine A rts

"Mother and Child"by MARY CASSATT;

Munger Collection,Dallas Museum

of Fine Arts

THE

MUNGER

COLLECTIONThe Munger Collection is notable for some excellent American portraiture and

landscape and two especially fine examples of Impressionist painting. Particularly note­worthy are a handsome landscape by the French artist Claude Monet and a pastel studyof a young mother and child by Mary Cassatt, an American, who is closely associated withthe French Impressionists.

"Mrs. S. I. Munger}}by DOUGLAS CHANDOR;Munger Collection,Dallas Museum of Fine Arts

TRUSTEES Df the DALLAS ART ASSOCIATIONStanley Marcus, President; Karl Hoblitzelle, Vice-President; Summerfield G. Roberts ,Vice-President; Mrs. Alex Camp, Recording Secretary; Mrs. John Leddy Jones, Corre­sponding Secretary; Angus G. W ynne, Jr. , Tr easurer; H. R. Aldredge, Jr. , Mrs. 1. A.Bickel, Mrs. Thomas Blake, Mrs. T. E. Braniff, Dr. John Chapman, Mrs. Henry C. Coke,Jr., Mrs. Albert D 'Errico, E. DeGolyer, E. G. Eisenlohr, Mrs. Tom Gooch, Leon A.Harris, Jr. , J. B. H. Henderson, Mrs. Edwin B. Hopkins, Judge Sarah T. Hughes, PhillipsBrooks Keller, Jr ., J. O. Lambert, Jr. , Mrs. W. M. Lingo, Jr., Mrs. Edward S. Marcus,Frederick M. Mayer, Robert M. Olmsted, Charles J. Paine, J. W oodall Rodgers, Dr.Samuel A. Shelburne, Mrs. Alex Spence, J. T. Suggs, Miss Allie Tennant, J. Lon Tinkle,Harold Volk, Mrs. Alex Weisberg. REPRESENTATIVES TO THE BOARD: Mrs. Tom Barr,Museum League; Mrs. Dan H. Voss, Junior League; Calvin J . Holmes, Dallas Print Society.

STAFF Df the MUSEUMJerry Bywaters, Director; Jerry Harwell, Curator; Ed Bearden, Director of Publications;Carroll E. Hogan, Business Administrator and Curator of Prints; Ann Burleson, Secretary;Jane Brookfield Gross, Librarian and Registrar; Jerry Jane Smith, Memb ership Secretary;Richard Fox, Gallery T echnician; Barney Delabano, Mary Doyle, Ot is Dozier, Irvin Lynn,Barbara Maples, Octavio Medellin, Evaline Sellors, Members of T eaching Staff; JamesGarrett, Building Superintendent; Ollie Hamilton, Custodian.

THE MUSEUMThe Dallas Museum of Fine Arts was built in 1936 as a part of the Civic Center adjoin­ing Fair Park. The Museum is maint ained by annual appropriarion from the City ofDallas through the Park Department. The operation of the Museum is administeredfor the City of Dallas by the Dallas Art Association , a civic art group founded in 1903.The current State Fair exhibitions climax the many special events on the museum 's1953 program celebrating the Jubilee of 50 years of service to the community bythe Dallas Art Association. Museum membership is available to all at a moderatecost with many benefits. For information about membership and the Museum callHArwood-4189, or write DMFA, Fair Park , Dallas 10, Texas.