MUTE INGLORIOUS PICASSOS

Somewhere in the maze of empty offices above the Coop, the Harvard Society for Contemporary Art is exhibiting the works of Harvard and Radcliffe students. The paintings sparsely covering the walls of the Society's two rooms have drawn from the critics rather favorable comment. The few drawings and etchings are of a like caliber, but the works exhibited seem by their small numbers to betoken a lack of talent in the University which is not the case. To the critical artist the exhibition is apparently satisfying, but for the student who has gone to see the works of his contemporaries, the fewness of those who are represented makes against the interest of the showing.

If the purpose of the present exhibition is to create an interest in undergraduate art, or to foster an interest already existent, the endeavor will meet with little success. Fine as the individual painting and drawing may be, the value of the exhibition to the student is diminished by the fact that a large majority of the works shown are the product of one or two brushes. To any visitor who looks at each new marking card with the hope of finding a familiar name, there is a decided monotony in the exhibition. Presumably not too serious an effort was made to get in touch with all students of Harvard and Radcliffe who dabble in oils or delight in making scratches on copper plates, or in drawing sketches of surrounding objects during lecture hours. It is unfortunate that the Society neglected to do this, for there are undoubtedly many excellent examples, the making of undergraduates, which are now stowed away in closets or hanging over mantlepieces.

There were real possibilities in the present effort of the Society for Contemporary Art, and it is unfortunate that the results are not more valuable. If a showing of undergraduate work is to be planned, it should be planned to cover the best work done by all students, rather than the work of a small group of individuals.