Worthy Display By N.Z. Artists In 1944 Exhibition

Auckland Star, Volume LXXV, Issue 137, 12 June 1944, Page 2

Worthy Display By N.Z. Artists In 1944 Exhibition

(By ARTHUR C. HIP WELL)

THE sixty-third annual exhibition of New Zealand art, now being shown at the city gallery under the auspices* of the Auckland Society of Arts, contains approximately 350 examples of contemporary New Zealand painting in oil and watGr colour representing a very good cross-sec-tion of New Zealand painting to-day. The display is varied and interesting, and the selection committee has done a good job in maintaining a worthy standard, while not overlooking those less experienced painters who deserve encouragement. As usual, various interpretations of landscape predominate. Only a few examples of portrait and figure work are shown, and these only make us conscious of pur limitations in this field. There is an interesting section of decorative work and design which reaches a high standard. Commencing with a survey of the oil paintings, it is interesting to note that, apart from subject matter, the work falls into clearly defined groups which vary in approach and intention. These divisions range from the frankly representational to the strongly designed or decorative and the purely aesthetic. Each group had its protagonists, and no doubt its critics. However, it must be conceded that the line of cultural advance lies through the more profound aspects of painting. True Aesthetic Qualities.

Thus one has to turn _to those works which possess qualities within themselves to experience true aesthetic pleasure. Rich in these qualities is the work of John Weeks, whose subjects are always "motives" which he manipulates with unerring skill. His "Landscape with Houses" and "Landscape" are two diminutive paintings which could rightly _be named "mighty atoms." Similar qualities run through his larger "Pont Neuf, Paris," a composition akin to fine music. These, however, represent but one aspect of a wide versatility, for Mr. Weeks swings with equal ability into the realm of abstraction as seen in his "Composition (Music)." There are others who are seeking for the same emotive elements beneath the surface of visual phenomena. I would like to mention Helen Brown's "Low Tide, Mahurangi Bay," Vida Steinart's "Hills, Mahurangi," and Ron Stenberg's "Waitakere."-

James Turkington's "A West Coast Beach" is a highly accomplished piece of work, and possesses an intriguing quality of texture. Very commendable also is Margaret Thompson's "Symonds Street," which merits attention for the selection of essentials put down with the utmost simplicity, and her "Pine and Native Trees" for its unity of tone and colour. "Summer Landscape," by Jocelyn Harrison Smith is an excellent interpretation of a pano-

Rama of undulating hills. Special mention should be made of "Autumn

Study," by W. J. Capel. It will appeal most to a painter, but he has made an excellent job of it.

Craftsmanship Appeals

I pass on now to a group of works which exhibit special qualities of craftsmanship, a little more representational, but excellent in tone and sympathetic treatment. Outstanding here is Alice M. Whyte. Her pictures bear the hall-mark of a mature and sensitive painter. "Roses" conveys the very essence of flowers, and is will matched by other flower pieces from her brush. She is equally competent out-of-doors, for there is remarkably fine colour in, "Port Waikato" and "Jetty, Lake Rotorua," and she successfully masters a difficult tone problem in "Kitchen."

Ron Tizard is also sensitive to subtle tone values as demonstrated in his "Still Life." Another sincere and serious painter is A. J. Inglis, transmitting to his canvas subtle effects of atmosphere and excellent colour. Dorothy Fisher, a southern exhibitor, achieves a delicate charm in her "Across the Bay," and is represented also in a very good still life Magnolias." Frances Hunt does not appear at her best this year. She has a spirited sketch in "Autumn Morning, King Country." A. G. Funnell paints solidly, but on the heavy side.

Ida Else is in good form. Her landscapes are very true to the New Zealand countryside, strongly constructeed and painted with marked ability. She exhibits a full panel with a uniform high standard. Rata Lovell-Smith contributes some interesting studies of South Island landscapes very good in tone and colour and simple in statement. Her work is a variation this year from exhibits 6 treatment of previous

Wishart has an individual style of considerable interest. She handles the details of landscape in a very capable manner, and her work merits attention. Elizabeth and Cecil Kelly, two well-known Christchurch painters, are represented with typical examples of South Island landscape Mention could also be made of the work by Elsie Murant, Joan Blomfield and Alison Pickmere.

Emphasis on Design on design characterises the landscapes of Ivy M. Copeland She paints with directness and considerable strength. Her exhibits ina„ ,?P T un dly painted portrait f I+u • -i arie - Another painter with similar trend and equal strength ™ landscape is Minnie F. White The brothers, John and Charles Tole' make a notable contribution. The patterned landscapes by Charles are very rich in colour and strength of design His "Pirate Shippe" is excellent. John is as worthily represented Cottage " WBr PieCeS Snd " Garciener 's

Few painters are as versatile aq Bessie Christie, or have the courage to attempt the large figure compositions which she produces. There is an element of amusing caricature in Rmm'' mP a nT io "P° f 3 R adiologist's Room and Government House Canteen. Both are carried through }J}. a ve i;y commendable manner. Her Mrs. e. J. Spicer" has the merit of portrait mg 3S WSII 3S being a § o °d compositions of Lois white are always interesting for their rythmic design and rich colour. She had developed this type of work to a nigh degi ee which is shown to advantage in her striking painting "Collapse". and also in "Carefree." May Smith gives us an excellent example of modern painting in Halcyon Days." It is a most refreshing work, breathing an atmosphere of spi ing sunshine and gentle breezes That something more than a command over technique and the facilitv to catch a likeness is required in portraiture is demonstrated among exhibits in this class. Some of the small head studies contain qualities of form and modelling which are lacking in the larger painting, which appear to be mainly concerned with superficial aspects.