ART REVIEW.

Auckland Star, Volume LXIX, Issue 119, 23 May 1938, Page 10

ART REVIEW.

AUCKLAND DISPLAY. THE WATER COLOURS. GRAPHIC ARTS SECTION. (By ARTHUR C. HIP WELL.) No. 11. After glancing over the water colour paintings at the annual exhibition of the Auckland Society of Arts, it is impossible to begin a review without a pang of disappointment at the inferior quality of the bulk of it. Each year we witness a superabundance of work produced in this medium, but happily the 1938 exhibition is better balanced in respect to mediums than has been the case previously. I imagine it would be better, in viewing a mixed exhibition, to begin a tour with the water colours and smaller works. Passing directly from the oil paintings, the slightness of so many is strongly emphasised. A closer inspection reveals the deceptive nature of the water colour medium. It appears to be the refuge of inferior and immature painters. Provided the colour is handled cleanly, there is a surface charm which tends to obscure other defects. Ease of manipulation and incidental effect become a source of self-satisfaction to the painter who does not feel • the urge to wrestle with the more difficult problems of sound drawing and tonal values. In subject matter, too, we get a monotonous repetition of sundry glimpse* of landscape with little or no effort to present more than a reasonable copy of nature. No still life could be so dead. Dismayed at the deficiencies in draughtsmanship, we turn with relief to Mr. James Cook's "Les Angles." Here is a solidly-constructed piece of work. In my opinion it is one of the best Mr. Gook has exhibited here. The use of a restrained palette unifies the composition, and there is less stressing of incidental detail, a feature that has marred some of his previous works. Abstract Qualities. John Weeks shows two small water colours which are of outstanding interest. The first, "Cut Hill," is a gem. It has a spj>erb quality, conveyed with a surprising" economy of statement. One can imagine it remaining forever fresh and interesting. His second work is an interesting departure in technique. The title "Summer Sunshine" provides the motive for the employment of spots of colour which impart a strong feeling of vibrating light. It is in the abstract qualities of such works as these that the layman will find his clue to worthy work, and as such they are commended to his earnest consideration and comparison.

In this respect also we turn to the paintings by G. E. Fairburn. In all his exhibits he gives full consideration to the limits of the water colour as a medium of expression, and with commendable economy of means he searches for expressive qualities in rhythm of desifrn* and harmony of colour. These qualities are well displayed in his study of trees entitled "Landscape," in "Farm Buildings," and in the firm design and pleasing colour in his second "Landscape." An exhibitor who attracted my attention by his refreshing vigour of handling was A. N. Ooldwater. Provided he does not indulge too freely in technical tricks, he should produce some interesting work. Although it appears that he has used a paste method, I rather like the spirit of his "Mangatangi Stream." Turning to more literal landscape impressions, one finds proof that Olivia Spencer-Bower has considerable command over her brush. All her pictures possess a pleasin? quality of light. She chooses her subjects with considerable care for compositional balance. Her "Road by the Bay," "Morning Sea" and "Golden Bay, kelson," all reach a uniform standard of accomplishment. Characteristic Landscapes. Of the paintings by Miss Gwyneth Richardson I would consider "Summer Evening. One Tree Hill," to be her best this year. It has more qualitv and less insistence on obviously picturesque factors. Peggy Spicer has caught a pleasingly direct impression in "After Rain." It is a happy piece of work.

Ella Spicer exhibits a number of her characteristic landscapes, of which "Hilly Country, Bay of Plenty," is well handled. Other painters in a similar vein who are represented are Dorothy Vallance Young, who brings to us some strong impressions of the English countryside; Frances H. Wright, who uses a free and full brush to good effect; Enga Washbourne, who successfully captures subtle effects of atmosphere, and Hilda Wiseman, one of our most consistent exhibitors. The work of Bessie Christie, in oils and water colour, and the graphic arts, has already received favourable attention, and her work this year continues along sound lines and the development of a personal outlook. F. H. Beckett is well represented. Among his water coloiirs I consider the most successful to be "House Tops, Newmarket." It holds together well in design and colour. One should not pass without mention of "Edwardian Days," by Lorna Reyburn. Each age develops its own curious idiom, and this is a clever and amusing sidelight of that period. It is interesting in both design and colour. So far as the graphic arts are concerned, in New Zealand we have developed certain aspects of technique to a worthy standard, but nothing yet that is really exciting has come forth. Most of the established methods have been attempted here, more or less as a side issue, as far as the artists are concerned, or a curiosity to try out a new medium. Prints and drawings seem always to be relegated to a spare corner in our exhibitions as if apologising for their presence. What should be a vital and important part of the show becomes but a meagre section on a screen. Lack of Serious Study. I have endeavoured to stress the desirability of continued, serious study. The deplorable lack of examples of good drawing proves that this work Ms not done —that is, if any further indication than what is shown in the painting is required. Remove the pretentions of paint, and the true standard of our artistic accomplishments would provide an amazing revelation. Therefore, more credit, is due to those who, in all seriousness, have applied themselves diligently to expressing themselves in black and white. We have a small but varied collection of exhibits embracing etching, aquatint, wood and lino-cuts, colour prints and a few drawings. For skill with his graver, E. Merv. Taylor is to be congratulated. In his "Dark Valley" we have a woodcut of considerable merit, making very effective use of the white line. The transition at the top may lack harmony of design, but it still remains a fine effort. The same artist exhibits an aquatint of good quality in "St. Mary's, Karori." Lino-cuts are exhibited by A. Lois White which contain attractive elements rrf design. Those by Nancy Steen have not the same quality of design, but are interesting in their direct and very simple statement. Joan Dukes uses her pen fluently in two-line drawings, and her miniature painting "Chinoiserie," is capable craftsmanship. R. Tizard's landscape drawings in pen and ink and May Gilbert's wash drawings are sincere studies, and Lesley Brown has a quite interesting drawing. This type of exhibit could with interest nnd value be considerably extended.