ART EXHIBITION

Auckland Star, Volume LXXIII, Issue 134, 9 June 1942, Page 3

ART EXHIBITION

THE WATER COLOURS

YOUNGER PAINTERS TO FORE

(No. 2)

(By A. C. HIPWELL)

The general standard of the water colours exhibited at the annual exhibition of the Auckland Society of Arts gives cause for ' satisfaction. Many excellent examples of work in this favourite medium are on view, and it is interesting to note that the younger painters are well to the fore. * Most of the work is by. local ,painters, but the display is supported by well-known exhibitors from the south. T. A. McCormack, of AVellington, makes a very welcome contribution with his large painting "Still Life." which is an excellent example of this artist's free and individual style. His smaller picture. "Raumati Beach," is a fine piece of expressive painting and one of the highlights of the show. A strong lead in this direction is taken by a team of younger Auck- j land painters. In a few vital and significant washes Helen Brown gives a splendid impression in "Stormy Afternoon," and with freedom and spirit presents two works of considerable merit in "After the Fire" and "Derelict." May Gilbert exhibits some particularly good tree studies, which are full of sound drawing and rich colour. Her command over the brush is shown to full advantage in "Titirangi." Margaret Thompson is another young painter whose work attracts attention this year. She has drawn inspiration from the bush and gives spirited impressions in "Nikaus," "Bush" and "Sheds and Trees." Her '"Foundry" is a well-handled study of old buildings in a colour scheme of reds and browns. Jocelyn HarrisonSmith has developed a bold style, sweeping in large masses of colour and eliminating all but essentials, an appropriate treatment for the subjects she likes to paint as seen in "Road Cutting." "Storm Over the Ranges" and "Rough Country." The work of Madge Clayton is worthy of attention. She works with a full brush and shows considerable promise in "Daisies" and "Landscape." She has an interesting sense of design and exhibits a series of compositional studies, using abstract patterns. Life and vitality is the "raison d'etre" of the works of these

young artists, who are rapidly establishing a tradition leading to the creation of higher standards of taste. F. H. Beckett is represented in a wide range of subjects, including a very interesting decorative study, "Kitchen." A very pleasing and weilmodolled "Tree Study" comes from the brush of E. Goodfellow. Attention is also attracted by R. Tizard's "Line of Trees," a study in low tones. F. P. Worley's "Happy Valley, West Coast," is broader in treatment than previous work he has shown, resulting in a considerable gain in quality and interest. F. Thorpe maintains a steady progress, with sincere work along sound lines. Strong work in landscape is contributed by such well-known exhibitors as Minnie F. White. Frances Wright, Peggy and Ella Spicer.

Among the southern exhibitors the Canterbury School is well represented. Olivia Spencer-Bower's "Kaikoura Country" has all the technical quality associated with Christchurch painters, and Ivy Fife uses a cleancut treatment well suited to convey the crisp atmosphere of snow-capped peaks in "Mountain Range." Rata Lovell-Smith is another well-known contributor from the south. E. Wallwork, a Christchurch portrait painter, has sent in a sound study in "Fair Lady," and also exhibits some sketches from Egypt.

It has been perhaps an unconscious tendency on the part of some of our painters to adopt a formula at the expense of experiment and research. This, coupled with conservatism, has undoubtedly tended to destroy many fine qualities of individuality, and for some years has resulted in tedious repetition. The fault is still apparent and compels one to observe that an almost faultless grammar is of little avail if one has nothing new to say. At the other end of the scale we have witnessed courageous, if not •always successful, efforts to break new ground and explore the possibilities of abstract or wholly subjective painting. There is little this year of this exacting and controversial work. Sina Woolcott has successfully fused abstract elements into an interesting design in "Bronze Cast," and carried much of the same feeling into her vignette landscape "Houses."

The delicate tinted drawings of abstract landscape by M. Crookes have a peculiar charm and make excellent modern wall decorations. The number of drawings, etchings and lino cuts is small but worthy of inspection. A collection of handmade pottery by Olive Jones is included. As a craftsman Miss Jones has developed considerable skill, and her work is an interesting addition to a very creditable exhibition.