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PERSPECTIVE PAGE 3

DAHLOV IPCAR CREATIVE GROWTH-Childhood to Maturity An exhibition of the work of Dahlov Ipcar, showing her development in art from the age of three through seven­- teen years of age. First shown at the Museum of Modern Art, New York, N. Y. in November, 1939. "This exhibition should be of great interest to edu-­ cators and parents because it shows the creative growth from infancy to adulthood of an individuaI who is neither a genius or a prodigy. She was a normal healthy child whose capacity for art flourished not because her parents are noted artists but because of their sensitivity and recognition of Dahlov as a creative individual. The exhibition shows the unin-­ hibited progress a child can make with proper stim­- ulation and encouragement from intelligent teachers and parents. At no stage does she seem to have been over-influenced by the teaching of school or parent."

Victor D'Amico, Director Educational Project The Museum of Modern Art Nov. 1939

This same exhibition, with several additions, opens Thursday evening, April 23 at the Portland Museum of Art and will continue through May 17. The museum is preparing a colored slide presentation of the show with a taped conversation with Dahlov and Adolph Ipcar which will be available to schools throughout Maine. Dahlov's parents were famed Maine sculptor William and Marguerite Zorach. The Ipcars make their home in Robinhood and he is director of the Maine Art Gallery, Wiscasset.

Commentary by Dahlov Ipcar "My parents never tried to instruct me, but they gave me endless encouragement. If they liked what I did, they were enthusiastic. If they didn't, they did not criticize, they just said nothing. "

" l did not experience the so-called "barren period" that occurs in most children's art, but I came very near it. At ten, eleven, and twelve my production dropped off and became painful. Some of the things I did at this time look just as free as any of the earlier or later work, but I felt rather at a dead end. Up to ten I was striving for realism, and at ten felt I had achieved it (!). However, I wanted to keep on drawing and did so, mainly by will power, not by real inspiration."

[image- Black and white image of woman with black hair in front of a painting.]

" By thirteen everyone else in my class had stopped painting. I remember pleading with them with tears in my eyes to please paint. I wanted the feeling that art was a group interest. I hated being set apart. But that year I started producing more prolifically than ever before. I began to be interested in people as well as animal subjects as I became interested in the world around me, in political and social events and questions. I suddenly realized, I don't know how, that the beauty and feeling of the whole picture was what mattered. For the first time I began to sketch ideas before painting a picture. In most of these pictures the mood and color was what was important, with finally frequent use of touches of humour."

" l have always done almost all my work from imagination. I frequently illustrated stories or ideas of my own. I never liked to work from anything in front of me. From about fourteen on I felt the need of accuracy in details in my pictures, but always tried to observe and remember, rarely sketching. I tried more and more consciously to train my visual mem-­ ory. I still consider this a great asset. My father explained the oriental appearance of much of my work by saying, 'This is the result not of any oriental influence, but because Dahlov, like oriental artists, was never exposed to lessons in anatomy or per-­ spective. The people and animals she draws are boneless but appear natural. She draws a horse as you write your name - through long uninhibited practice. '"

PERSPECTIVE April 1970 �