ART REVIEW.

Auckland Star, Volume LXVIII, Issue 127, 31 May 1937, Page 10

ART REVIEW.

N.Z. PICTURES.

WATER COLOURS SECTION.

MUCH COMPETENT WORK.

(By ARTHUR C. HIPWELL.) (No. 2). Whereas the oil paintings at this year's exhibition reveal, generally, a break from established practice, the water-colours appear to have gained considerably in sound draughtsmanship, handling of the medium, and a growing strength of composition and design. It may be that wise selection has curbed those dilettante efforts we used to see. The more serious aim of the painters represented in this section is revealed in a display of considerable interest. There is still a wide gap between painters of vision, such as T. A. McCormack and A. R. D. Fairburn, and those newer exhibitors whose work has progressed sufficiently to secure for their pictures a place on the walls. Between them we have a range of competent work, expressed in a variety of styles, and a not unappreciable number who, overcoming the difficulties of technique, are beginning to show evidence of a deeper penetration and a concern for more important aesthetic ? factors. Convincing Interpretation. It is impossible to overlook the work of T. A. McCormack, of Wellington. His large picture "Tapu te Ranga" should attract thoughtful attention. Mr. McCormack does not concern himself with the rendering of positive colour. He is not absolute in his values, but through his own interesting style he gives us an interpretation that carries conviction. Hanging next to this picture is Gwen Knight's "Cactus By the Sea." It is a summary statement of essentials that conveys to the mind much more than is contained in many of the other more complete renderings. It is just the type of picture that illustrates the superiority of selection to the over-statement of visible facts. Vernon A. Brown, again in an individual way, selects certain essential elements in his picture, "Waiwera," and with a restrained palette gives us a thoroughly pleasing and convincing result. Subjection of Detail. A. R. D. Kaii-burn's three pictures, "In the Back Country," "Hill near Waipu," and "Brickworks," are good examples of the subjection of quite unnecessary details to an expression- of those larger factors which separates the artist with perceptive vision from the facile and clever technician. More poetic in feeling, and charming in its economy of means, is "Willows, Suffolk," by Gwenda M. Jones. Here again, one realises the gap that exists between sensitivity and feeling, and severe literal transcription. Of a different type is the work of James Cook. His undoubted ability as a draughtsman is demonstrated in a series of water-colour drawings in which technical methods overshadow liner sensibilities. One is impressed by his skill, but left cold with matter-of-fact statement. One finds the mass of detail disturbing and longs for some focal point on which to rest.

Pleasing Tone and Colour. The paintings of Gwyneth Richardson will make a wide appeal. She combines many good qualities in her work and represents probably the best expression in a purely representational outlook, in which is incorporated pleasing tone and colour. Her brushwork is free and, although she carries her painting to a complete statement, she in no way oversteps the limit of the water-colour medium. As a result, there is a freshness in her work that gives dash and spirit. Although she chooses the more obviously picturesque aspects of nature as her subjects, that choice is carefully made with a keen eye for composition. Ella Spicer has made a steady and consistent advance in her painting. She is represented this year with four pictures, all showing the improvement that comes with continued effort. She, too, chooses for her subjects those pictorial bits of landscape that make pleasing pictures rather than extracting from natural forms such elements that indicate a searching perceptive attitude. F. P. Worley in "Manukau" has achieved something of a victory in pushing his medium to the extreme limit in the production of a complete picture. Other painters have attempted it, but Mr. Worley has caught that subtle tone, colour, and atmosphere with no little success, and in this respect there is much to be admired in this piece of work. Strong Lines of Design. D. Vallance Young has an entirely different attitude toward Nature. She seeks for strong lines of design, and with conscious intent gives her compositions life and growth. Her "Piha Valley" is a characteristic example of her work. The employment of a limited range of colour gives added strength. John Weeks exhibits two watercolours. His "Edinburgh Castle" is a small picture of much charm in colour

and design. It is one that could be hung without fear of ever losing its appeal, a sure test of sound values. In his "Frosty Morning, Paris," Mr. Weeks exhibits one of the most appealing pictures in the exhibition. It has a strange quality of strength, combined with delicacy, and is painted with a reserve of statement that shows an unerring choice of essentials. As an exponent of the art of handling water-colour his work is a valuable lesson to all. He gives the medium a chance. Delicate Colouring. Olivia Spencer Bower makes the most of the decorative shapes and colouring of nikau palms in her "Path to the Blowholes." The handling may be somewhat ethereal, but the delicate colouring has a certain charm. "The Mountain Stream" is less pleasing in its composition, although the colour has been handled with a directness that is refreshing. Rich tone values characterise the picture of boats by R. T. Little, entitled "Waterfront, Auckland." It is strong painting, but the subject matter has become tiresome through being repeated so often. Water-colour painting allows considerable latitude in treatment, and the individuality of the artist is definitely shown in all examples. But there is still a tendency to consider the medium above what it is desired to express. Thus, the medium may dominate the artist on the one hand as much as the subject may dominate him on the other. Only when the painter is fully master, only when he sees beyond the superficial appearances of the subject, and ceases to impose a rigid handling or engage in tricks of putting on colour, will be produce work of aesthetic value. An Indifferent Section. There is little among the graphic art section that is worthy of mention. Indeed it is the poorest we have seen for several years. The etchings are only of fair standard. Two monotypes by Tom Garrett, of the Royal Art Society, Sydney, will interest by reason of the unusual process by which they are produced. This artist also exhibits a watercolour which is characteristic of the Australian school. Among the wood and lino-cuts, Nancy Steen has attempted colour work. Her "Mushroom Fantasy" has merit. The etchings by Trevor Lloyd and aquatints by Connie Lloyd reach the usual standard of the artists, but exhibit no especial departure. "Cinema Queue," a lino-cut by Lorna Reyburn, is a good example of appropriate handling of this interesting medium. A. B. Barns-Graham exhibits another set of his interesting conte drawings of portrait heads. R. Tizard has a pen and wash drawing that is as good as anything shown in black and white.

The lack of work in pen, pencil, wash and similar mediums calls for comment. Too much emphasis is laid on painting. The attitude that drawing is merely a framework or preparation for a painting is entirely wrong. All painting is but drawing in mass. Technique is an expressive factor, not a filling of defined shapes with carefully careless colour spots. The work of our painters would advance considerably and our exhibitions gain, appreciably in interest by the fuller practice of drawing.