Howard DeVree also reviewed some of the new shows at galleries in "Among the New Exhibitions ." His assessments were generally positive so this read almost like promotional copy. DeVree himself complained about the huge number of new exhibitions an art critic was expected to visit each week allowing little more than glancing mention and he was famously kind in his capsule reviews.
The John Whorf watercolors show at Milch Gallery was an annual early spring event, De Vree wrote that Whorf's mastery of the medium was so well established it called for no further comment. Vieira da Silva, born in Portugal but residing in Brazil, was a newcomer. Her "highly individual work" could be seen at Marion Willard's gallery.
There were two new shows at Associated American Artists Galleries. The lithographs by George Biddle was "very rewarding show" that covered 30 years of his work. Biddle was a social activist, born to a prominent Philadelphia family, as well as an accomplished artist. There was also an "over-large" show of recent oils and watercolors by Georges Schreiber that DeVree felt did the artist a disservice.
Several years had pased since the last show by Joseph Barber whose watercolors were at the Allison Gallery. They included atmospheric New England coast scenes and New York vignettes and were "mature and accomplished work with nice feeling for light effects." Harold Baumbach at Contemporary Arts painted fishing vessels and Brooklyn streets with a "personal, earthy, lyric quality and a sober sturdiness." He was the son of an upholsterer from the Lower East Side.
A collection of oils and drawings of game birds by Lieut. Comdr Peter Scott of the English Navy was at Harlow Gallery. The first one-man show forElizabeth Model of the Netherlands was at Norlyst Gallery where a "finely realized feeling for poise and clarity are explicit in all her work"
A small but diversified group show at Henry Kleemann had a Cezanne, an Eilshemius, several paintings by Tamayo, a canvas of nuns skating by Louis Bosa, two colorful figure paintings by Corbino and more. A score of Brueghel engravings were in the print room. The Alfred Levitt watercolor show at the Babcock Gallery was his second. deVree noted his "use of big simple forms, some of them semi-abstractly stated."
Harold Bryant, a painter of Western scenes and types, was having his first exhibition at Grand Central (Terminal) Galleries. Bryant, who had been an illustrator in New York earlier in his career was about 52 in 1946 so not exactly a young artist. DeVree found the recent landscapes by William J. Potter at the Argent gallery to be "richly pigmented and deeply hued."
The art page also carried a large number of small ads for art galleries as well as for a few concerts.