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Presents letters to the editor referencing articles and topics discussed in previous issues. Response to the article "Injunction Comes to Wisconsin," by Lyle Cooper on the situation of the Kenoshia and Milwaukee strikes; Reaction to the lack of knowledge on the city by the author who wrote the article "Seattle"; Contention of educator John Dewey that he is not spreading Communism in the educational system in reaction to the letter by Daniel Chase of the Sportsmanship Brotherhood saying otherwise; Opinion on the flaws and loopholes of the economic situation of the country; Viewpoint on the expensive Russian ballet in Paris; Perspective on the modern critics and women artists in the U.S.; Reaction to the cruelties inflicted of prisoners in the editorial "Prison Cruelties" in March 1929 issue.

Presents the short story "A World of Promise," by Dwight Mitchell Wiley.

The author profiles his aunt who is an artist. The aunt was able to build an art studio and filled it with possessions despite having just little money. She studied painting under artist Carolus Duran in Paris, France and made money from etchings. Her fascination to gardening occasionally results to broken wrist and mild injuries.

The article discusses Carol Pyle Jones' approach to painting wherein she uses her imagination to direct her hand. Her subjects are usually done directly from nature and she portrays distinctive sketches with impressive effects such as "The Baths of Caracalla" and "The Church at Combray." Jones' works were recognized and her painting "The Sunken Cathedral" won the President's Award in the 1973 Audubon Artists of America. A short biography of Jones is also presented.

The article features artist Alice Asmar and her drawings. It reveals that Asmar started drawing at a young age, with several of her works featured by local newspapers, including the "Cavalcade of America," which was featured in the "Oregon Journal." Asmar was born in Flint, Michigan from Lebanese parents. Her formal art training included a study at the Portland Art Museum in Oregon and at the University of Washington.

The article features artist Dorothy Liebes and her design and weaving techniques. Her works are widely accepted and admired in the looms and textiles industry. She was born in Santa Rosa, California and studied at the San Jose State Teacher's College, graduating with a Bachelor of Science in Art Education degree. She also took up a summer course in weaving at Hull House in Chicago, Illinois. The opinion of her assistant, Ralph Higbee, on her work ethic is also cited.

The article features artist Marilyn Newmark and his bronze horse sculptures. Newmark is a horse lover and a member of the Meadowbrook Hounds and The National Steeplechase and Hunt Association. Her bronze sculptures were greatly influenced by her mentor, Paul Brown. Her other influences include such artists as Rosa Bonheur, P. J. Mene and sculptor Antoine Louis Barye. Newmark's works include "Day's End" and "Look of Eagles."

The article features artist Bettina Steinke and her paintings of people. Her paintings include the Eskimos of Baffinland and the Indians of Central America. Her influences include American illustrators Harold von Schmidt, Donald Teague and Norman Rockwell. Steinke is married to photographer Don Blair. She made portraits of several famous personalities, including Dwight D. Eisenhower, the wife of Lyndon B. Johnson and Wendel Wilke.

The article discusses the drawings and lithographs of graphic artist Lila Copeland. Lila was born in New York, received formal training there, has had ten one-woman shows and has been awarded for her work. According to the author, she specializes in rendering the mood, absorption and vitality of children with grace, humor and warmth. Her feeling that building up her drawings slowly through subtle modeling is suitable for her subject matter is also mentioned.

The article profiles artist Janice Lovoos whose works include "Mixed Bouquet" and "The Night Visitors." It describes her methods in watercolor painting as well as her experiences in outdoor sketching. The article also mentions that Lovoos is writing a book on mosaic techniques with Felice Paramore. She also has contributions in the field of music by writing three librettos for one-act operas and the lyrics for several popular songs.

The article features artist Pang Tseng-Ying, who hold forty-five exhibitions and received thirty-five awards since his arrival to the U.S. in 1966. The works made by Pang were first seen during a one-man show sponsored by the National Association of Women Artists in 1954. According to the author, his experience of watching Pang paint has enabled him to see the depth of the artist, who possesses a big amount of resource of the imagery of Chinese painting through the centuries.

The article features artist Susan Perl. Perl was born in Austria, studied art in Vienna, and survived the Nazi occupation of her home, before moving to the U.S. in 1939. She provided illustrations for Condé-Nast's "House and Garden," "Glamour," and "Vogue," before leaving in 1952 to study psychology in Switzerland. She returned to the U.S. in 1954 where her career took off, creating humorous cartoons for various advertising agencies, illustrating various books, and is a contributing cartoonist to the "New York Times."

The article features artist Sheilah Beckett and her classic artworks. It claims that Beckett's outstanding drawings are drawn with two purposes, namely, they are commissioned illustration for books, greeting cards and record albums, and solely as independent figurative essays. Beckett was born in Vancouver, British Columbia, but they relocated in Portland, Oregon when she was seven years old. She studied art at the Portland Art Museum, as well as at The Chouinard Art School.

The article profiles U.S. artist Mary Cassatt. According to the author, the works of this excellent artist can be seen in various art museums from around the world such as at the Metropolitan Museum of Art in New York City and the National Gallery in Washington D.C. She adds that Cassatt is the one responsible for starting most of the assemblages of masterpieces in the U.S. A biographical account of Cassatt is also provided.

The article features artist Janet Maas Satz. She first studied painting with Nicola Ziroli at the University of Illinois in Chicago, then transferred to The Chicago Academy of Fine Arts in the middle of her junior year. Since 1950, she has making drawings and paintings, then shifted her focus on fine arts and the technique of the wood cut when she and her family moved to Rye, New York. Satz shares that she enjoys working with litho crayon on cameo paper, which is a clay-coated paper.

The article features graphic artist Kaethe Kollwitz. Kollwitz was faced with challenges in her life especially during the era of the Third Reich. Her work was expelled from the Kronprinzenpalais, Berlin's Museum of Modern Art, after her resignation from the Prussian Academy of Art. Stripped of her title as professor, galleries were forbidden to exhibit her work. Most of her works including lithographs, etchings, woodcuts and metal plates were lost in the course of the war.

The author discusses the concept and theme of her oil paintings which she describes as compulsive. The author mentions that she uses a soft stick of charcoal in her oil painting to develop the composition in broad shapes. The artist draws directly on the canvas using a quarter-inch round sable or a bristle brush if the subject has intricate design or if she wants her subject to have the characteristic of movement of expression. The author reveals that she is more confident when she is painting from memory than from nature.

The article focuses on the role of female artists in the history of art. It narrates how in the eighteenth century women had to assert themselves for their needs to be recognized and how female supporters of the art started to increase from contributing to literature to posing as models for paintings and portraits. It explores the lives, works, subject matter and techniques of pioneering female artists including Angelica Kauffmann, Elizabeth Vigée-Lebrun, and Mary Cassatt.

The article features the works of painter Isabel Bishop. Most paintings of Bishop are figure presentations of ordinary people commonly seen at Union Square in New York such as the unemployed or the streetwalkers. It is stated that Bishop has a desire to overcome three-dimensionality in favor of a presentation closer to the process of seeing. Bishop mentioned that her fundamentals are form, space and light and that color is not an original motif for her.

The article provides information about German female artist Gerda With. It mentions that the artist was born in a family of painters in Hamburg, Germany, and studied at the Berlin Academy and at the Kunstgewerbe Und Handwerker Schule. It cites some of the prominent figures in the art community who made a strong influence in her life including her teachers, Hans Orlowski and Max Kaus, and her husband Doctor Karl With of the Museum of Cologne.

The article profiles abstract artist Buffie Johnson. Johnson was born in New York City. She received formal art training at the University of California in Los Angeles and at the Art Students League in New York. In 1947, Johnson made "Whorl," the artist's first nonobjective painting. According to the author, Johnson's abstract expression was developed. Some of the painting works by Johnson includes "The Strand," "Arctic Sun Ritual," "The Bridge," "Sea Creature," and "Elegy."

The article focuses on Juliette May Fraser, a mural painter in Hawaii. The artist was born and raised on the island of Oahu and later on attended different schools including Wellesley College, the Art Students League in New York, and the California College of Arts and Crafts in Oakland. She has illustrated five books and has made a number of exhibitions. Her works can be seen in the Honolulu Academy of Arts, the Library of Congress, and the California State Library.

The article features artist Marcile Stalter and his drawings. Stalter studied at Ohio Wesleyan University, and then pursued her art training at Parsons and at the National Academy of Design. The author states that Stalter is both decorative and expressive. It notes that Stalter's paintings and designs have bold and forceful pattern, and that she has an ability to delineate form, detail and decoration with a thin etching-like line. She refers to her paintings as etched-crayons, and her artworks include "Camptown Races," "Joseph," and "In This Hour."

The article presents information about painter Elizabeth Sparhawk-Jones and her paintings. It is stated that she brings highly original interpretations of well-worn themes like "Susanna and the Elders," "A Letter to One Loved," and "On Hearing of the Death of a Friend." Excerpts from Sparhawk-Jones letters are also presented where she shares personal experiences in painting.

The article focuses on artist Martha Sawyers. She studied at the Art Students League under the tutelage of George Bridgeman and George Luks. Photographs of some of her works including "Chinese Woman," "China Relief Poster" and "Balinese Man" are presented. The technical manner of Sawyer's work was reportedly influenced by her first professional work in the studios of J. & R. Lamb.

The article profiles U.S. artist Gladys Rockmore Davis. Five years after her graduation from the Art Institute of Chicago, Gladys married the advertising artist and illustrator Floyd M. Davis in 1925. The Davises toured Europe and the visits to the Renoir home and studio leave a lasting impression on the work of Mrs. Davis. She took up her brushes in Cannes, and after several months, decided to attend the Art Students League of New York. After several months of studying art and painting with the league, she studied with George Grosz.

The article reviews the art exhibition "Women Artists of America, 1707-1964," at the Newark Museum in Newark, New Jersey, in April 1965.

The article offers news briefs of notable people. Artist Edith Irving was paroled on the first week of May 1974 from a jail in Switzerland. Film director Alfred Hitchcock attended a gala in his honor given by the Film Society of Lincoln Center in Manhattan, New York City. Prima ballerina Antoinette Sibley delivered a successful three-act version of "Manon" despite her illness.

The article discusses women painters and paintings. If until recent years, there were no women physicians, if in most countries, there are still no women lawyers, the reason is simple. The ability may have been there always, but not the chance to develop or use it. However, why the woman artist has been rare is not so easy to explain. The hindrances in her path certainly have been less. As evident, women were not banished in the past from the studio and in the workshop, a training would have been theirs had their genius imperatively called for it.

The article discusses the feminine sensibility among politically committed women artists. It states that women were excluded from the artists' guilds of the 15th and 16th centuries, and later from the academies. It states that there are no supremely great women artists, although there have been many interesting and good ones.

Presents information on the art exhibition '13 Women Artists,' displayed until March 31, 1972. Importance of the exhibition; Artists who have displayed their work; Focus of paintings displayed at the exhibition.

Reviews the art exhibition "This Is Not Here" at the Everson Museum in Syracuse.

The article presents a profile of the Louisiana-native watercolor artist Gladys Butler Morgan. Details are given outlining her artistic career from childhood. Morgan's work as an architectural artist for the Louisiana Department of Education in the 1920s is mentioned along with her tenure as a resident artist and founder of the Southwestern Institute of Art. Comments are also given highlighting her exhibitions.

This section offers news briefs related to the American art community. Greta Matson of Virginia and New York has succeeded Charlotte Winston as president of the National Association of Women Artists. An exhibition featuring 3,000 works of art will be held at the National Gallery from December 10, 1961 through January 17, 1962 in the U.S. Due to increased funds for guard provided by the city of New York, the Metropolitan and the Brooklyn museums will be opened seven days a week.

The article features painter Jane Oliver and describes her personal method. Oliver was born in West Haven, Connecticut, and studied at the Franklin School of Professional Arts on a scholarship. She works on the spot when there is an opportunity and paints in small scale first by making thumbnail sketches and then works on a watercolor block. She is a recipient of the Klein and Grumbacher Awards, Audubon Artists, and the Stroud Prize, among others. She is a member of Audubon Artists, American Watercolor Society, and National Association of Women Artists.

The article features Georgiana Brown Harbeson, noted embroidery artist who used the term needlepainting to refer to her craft which has become both business and art. She is known for the "Crucifixion" tapestry, considered a masterpiece, and her book "American Needlework," a history of American embroidery from the 17th century. Included are pictures of her two most popular works, the "Crucifixion" and the "Galli-Curci" portrait.

Reports that a group of Philadelphia, Pennsylvania institutions has projected a series of art exhibitions, workshops, film programs, lectures and panels under the title of "Focus," with the theme of all this activity being women's art. Exhibitions marking the commencement of the project; Reception of the project among local women artists; Act of censorship raised in the project; Criticism of the work of artist Judith Bernstein.

The article presents information on several art exhibitions. The most recent mural painting exhibition, by far the most expressive, was completed last March by artist Vela Zanetti, in the United Nations. Under its new director, the Museum of Non-Objective Art has been re-arranged on the laudable principle of showing a little at a time. The third of the director's selections is now on view. As before, the walls are somewhat blindingly white, and the pictures, well separated, are framed only in narrow strips, in keeping with the theory that painting is no longer attempting the illusion of a view out the window.

This article discusses the book "Woman in Music. An Essay," by George P. Upton. The book consists of three parts. The first treats the general question of the relation of woman to music and it has at least the merit of stating very explicitly the fact that no woman has ever written a piece of music the loss of which would be of the slightest consequence to the world. Part second treats of the influence of women upon the musical productivity of eight great composers. Part third of the book treats of woman as the interpreter of music. It is here that we expect most and get least. It is hardly more than a list of names, containing nothing historical of any novelty, nothing critical of any value.

Artistic New York has lately enjoyed an art exhibition of extraordinary interest. Paintings, drawings, and sculpture by the women of five generations of the Emmet family were brought together at the Arden Gallery for the benefit of the Art Workers' Club for Women. No such showing has, the author is sure, ever been made by a single family anywhere else, and it is impossible to recall another family which in any line has displayed talent for five successive generations, except perhaps the Adams family in public life. The Emmet men have been solid and worthy but undistinguished, save for one of the younger generation of today, Robert Emmet Sherwood, the playwright, who is the son of Rosina Emmet Sherwood, one of the five painters of the third generation.

The article focuses on the exhibitions of art work by women artist. According to a survey, 6 percent of the artists at the 1969 Whitney Painting Annual were women. It discusses several museums including Metropolitan Museum, Museum of Modern Art, and Corcoran Gallery, which includes work by women artists.

The article focuses on the death of artist Alma Gluck Zimbalist. She died at the age of 54. She has been long been ill, and all who knew her were deeply worried. Of course there are other great artists with rare personalities who have also fought their way upward with courage and determination, some who have graced the concert halls or the operatic stage much longer than she did. Zimbalist's artistic spirit, coupled with so vivid an interest in all that was happening in the world and with such an understanding sympathy. Her mind was as attuned to the winds of the times in which she lived as her artistic soul to the music which she so movingly interpreted.

The article discusses the book "The Insider," by Alice Beal Parsons. Here, then, is a study of two artists, one a woman writer, lovely, gifted, sure; one a small-town business man, quite unaware of the fire within him and at the same time unable to say why his life returns him nothing for all his activity. These two persons are bound at the beginning of their lives by a brief love affair.

The article features Beverly Pepper, a former vice-president and art director of an advertising agency in Manhattan, New York City who quit her job because of advertising's occupational diseases. In December 1952 in Rome, Pepper had her first one-woman art exhibit at the Zodiaco Gallery. She studied painting at the Painters André Lhote and Fernand Léger in Paris, France after quitting her job in Manhattan. She has also written a book on cooking.