HERE A STRIVING.

Auckland Star, Volume LXVIII, Issue 120, 22 May 1937, Page 10

HERE A STRIVING.

NEW ZEALAND'S ART.

AUCKLAND SOCIETY'S SHOW.

OILS AND WATER COLOURS.

"What do you think of it?" asked an artist of one school, speaking to an artist of another school at a private view this morning of the annual exhibition of the Auckland Srx-iety of Arts, which will be opened this evening by the Governor-General, Lord Galway. "Am I competent to judge?" sakl the other; and to that the first speaker gave answer: '"Who is?" That view has influenced the society in a grouping *f pictures of a wide variety—some showing the polish- of the experienced, travelled, artist, some the striving of the student, not yet fully developed. That striving is the major impression of the visitor to the salons that have been established temporarily in three lecture rooms on the upper floor of the University, and it is an interesting, instructive, and generally pleasing impression.

A View of Art. It is the collection ■ of artistic work garnered from a country which in the world of painting has not yet definitely found itself, but there is work there which given a name—a name that is recognised in artistic circles in the Old World—and given, too, a setting in an overseas exhibition, would bring honour to the painter and substantial financial returns. There is work, too, that might not find a place in an exhibition at all were it not that such an exhibition as this cannot have rigid standards.

The tolerant art teacher viewing the assembled works with a technical eye will find praise for each . . . This one has form, a nice use of colour, a grouping that ie pleasing, rotundity, richness, good drawing, and so on . .". and will be resentful that an untrained public eye will condemn on first viewing. The composer of music, it is stated, ie allowed to exprees himself ae he wishes, as long as the complete impression of his work is pleasing to the ear and the mind, jggrky not allow the artist the same freedom ?

The real artist, not the photographic imitator, the lecture continues, will eee in a particular landscape, seascape or other subject not merely the outline of the things that are before him, but an idea, and it ie the idea that he tries to capture on canvas. Be he a realist, a cubist, or of any other school of paint-

ing, hie work must be judged from the standpoint of the realisation of his idea. For the rest it is a matter of competent craftsmanship in form, in design and in colour. And, declares the exponent, the modern art school is getting nearer to the standard of the old master than any .preceding school. Pleasing Array. All that is by way of introduction to an exhibition of New Zealand art that is showing definite movement along the line of the new standard. Not that it is a . collection of works of startling deviation from the old standard. There are some paintings that stand out as expositions of an artist's attempt tc capture the ideal of a new school, but in the main it shows the new tendency in a modified treatment and the result is impressive in its promise.

Among the most promising work exhibited is that of I. M. Richdale, formerly of Canterbury and now of Hamilton. In three studies, one a landscape of bright sunshine, green pastures and the shadow of trees, a second, a scene in Hamilton of bold outline and excellent colour treatment, and the last, the figure of a boy reading against a scenic background, "he shows a warmth of feeling and a richness or conception that impresses. As a contrast there are the landscape studies of W. Basil Honour, of Christchurch, which, while competently executed and of a decided beauty in their colouring, have not the same feeling of vitality.

Rata Lovell-Smith is another artist who is developing in the field of landscape painting. Her picture, "Snow," is alive in ite intensity, and she is represented, too, by several other landscape and seascape works of pleasing quality. Colin Lovell-Smith, though his work is also pleasing, does not show the same advance. A representation of a sunset over Peterson Inlet, Stewart Island, by a Dunedin artist catches the eye with its richness of colour and artistry, though the foreground has faults. Allegorical Studies. Against the assemblage of pastorals an allegorical etudy by Lois White, "The War Makers," has vigour both in line and idea; and "The Adoration of the Shepherds," by Gwenda M. Jones, is aleo competently executed with much use of ehadow. A distinctly modern note is struck by John Oakley in "The Courtyard," which has an idea behind it, and is quite well executed, thoujrh there will not be many to whom it will appeal.

The water-colours are once again dominated in quality by the Wellington artist, T. A. MacCormick, represented by two landscapes and a flower-piece. The delicacy of his work, both in design and use of colour will find it many admirers. For the rest there i* undoubtedly a definite development which lifts tlr* section, on the whole, rather above the section in oils.

Generally the affect of this exhibition is pleasing, not only in the examples erf outstanding work, but in the improvement shown through all sections. The New Zealand artist has not the benefit of the European sclioo'* to aid him in his development, but he has a wealth of subject and a freshness of approach that must lead eventually to recogni--1 tion.