Akron’s Women’s Art League has been around for 80 years, beginning when a small group of women got together in mutual support of their interest in making art. As the group picked up speed – and members – they were able to hire professionals to assist in the development of their skills.

The women got better, and the group got ever still larger.

Some of that same sort of history is apparent in the 80th anniversary show that’s on exhibit in St. Paul’s Episcopal Church’s galleries. Just taking a walk through you can see that some of the artists seem to be pretty new at it. It shows. Others, who have been around and have had better honing of their technique, stand out.

The judge for the exhibit, Gary Grether (arts advocate and member of the Akron Area Arts Alliance, a Knight Arts grantee), probably thought the same thing as he picked out several winners. Although there’s no judge’s statement other than some words about having a hard time in selection and that all art should be on view, it seems he ended up with images of flowers, landscapes and portraits, with the “Best of Show” nod going to Kathleen Harrington.

Kathleen Harrington, “The County Fair.”

To be honest, you can pass through the exhibit pretty quickly. Some of the pieces simply don’t draw your attention.

Some do, and they aren’t necessarily the winners and honorable mention folks. Honorable Mentions went to Elena Ward Weldon, Marcia Mazak, Barbara Johns, Christine Paringer and Nancy Wilson.

Top notices were given to Elizabeth Clark (1st Place) for her acrylic “Castle Cats;” Diane Talmadge (2nd Place) for a captivating and eye-catching oil portrait called “Angelina in Red Hat;” and Elinore Korow for her oil work called “Hollander Clown.”

Talmadge’s take on “Angelina in Red Hat” didn’t evoke glamour or sophistication of the subject as much as it exudes style.

Diane Talmadge, “Angelina in Red Hat.”

Another standout in the show is Bridget Anthony’s collage, “Consecrating the Ordinary.” What is remarkable about this work is that Anthony frames the essential subject of the work (a young man as though a priest consecrating the eucharistic host while having an idea of himself doing it in a kind of reverse image), but then she exceeds the boundaries of the work with swirling lines as though to show the subject could not be contained.

Bridget Anthony, “Consecrating the Ordinary.”

Judith Salamon, “Ritual Reverberations.”

Judith Salamon’s mixed media “Ritual Reverberations” is an interesting concept in oranges and blues depicting what seems to look like some kind of ceremonial robes with arcane symbols suggestive of some sort of sacrificial rite. It’s as if the robe bleeds its history and purpose.

My favorite in the exhibit though is Deanna Clucas’ acrylic work “Bright Light.” Simply a wooden chair on a bare floor with a yellow spread on the seat along with a teapot, it is deceptively understated. Flooded with side light it takes on a graceful forlornness (if there can be such a thing).

Deana Clucas, “Bright Light.”

Women’s Art League’s 80th anniversary show is on exhibit from 9 a.m.-5 p.m., Monday-Saturday, through October 31 in St. Paul’s Episcopal Church galleries, 1361 W. Market St., Akron; 330-836-9327; www.womensartleague.org. Admission is free.