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Press, Volume LIII, Issue 15938, 27 June 1917, Page 6

Although we have from time to time received particulars of the torpedoing of Norwegian merchant ships, it is news that tho losses of the Norwegian mercantile marine havo included unexplained and mysterious disappearances. Apparently we are on tho eve of learning something fresh concerning tho devilish methods employed by the Germans, for the news that depots of .German explosives intended for the destruction of ship s have been discovered is followed up by tho announcement that an important and sensational official statement is to be issued. Norway

has suffered more severely from German lawlessness at sea than an J of tlio neutrals. At a dinner given to Norwegian sailors in London the other day —there were 500 guests, all of whom lmd been on torpedoed ships—it was stated that the Norwegian vessels sunk by the Germans numbered 450. Frequently tho U-boat commanders behaved in the most brutal manner, and Norwegian opinion hag grown very bitter. During last March alone, S2 ships were lost, and, of course, the loss of life has beon heavy. Norway i s not, apparently, in a position to challenge Germany. The "Dagblad," of Christiania, for example, while expressing bitter indignation that Norwegian ships and sailors should be attacked and destroyod, was yet unwilling to say that the time had come to arm the merchant ships. It would only go so far as to say that "the question must bo settled with due regard to all the interosts involved." The German plan of planting explosives amongst the coal is* characteristically villainous, and amounts to direct hostility.

It is significant of tho growing interest at Hoinc in the Dominions that tho well-known English art journal, "The Studio," should devote a special number to the art of tho British Empire overseas. Separate sections of the issue are occupied by critical comments on the growth and development of landscape art in Canada, Australia, New Zealand, and South Africa, respectively, accompanied by copious ongravings, and a few reproductions in colour, of pictures characteristic of tho chief aTtists in each. Dominion. "New" countries —those in which British settlement is of comparatively recent growth—are usually regarded as afforuing little scope or encouragement for tho artistic side of life, which is supposed to require for its support tho rich leisured class so comparatively scarce in Britain overseas. Tho art galleries of Now Zealand, and the annual exhibitions of paintings held therein, offer some proof that in this country at least, art is not without honour, or the artist without reward, though tho latter is perhaps not yet as ample as could be desired.

Mr E. A. S. Killick, who "writes in the "Studio" oil landscape art in New Zealand, points out some of tho difficulties that present themselves here to the artist accustomed, to English landscape—the extremo clearness of the atmosphere which gives an impression of "hard brightness" to every object, tho absence, except in the South, of twilight effects, "the comparative rarity of the still grey day beloved of tho painter," and the monotonous colour of the nativo landscape. The New Zealand countryside lacks also tho leady-mado picturesquo objects that meet tho eye in tho Old Country. But Mr Killick regards this last-mentioned condition as being really an advantage, since it compels tho artist to look for "the delicate colours, subtle harmonies, and values which gradually roveal themselves to tho discerning eye, undisturbed by gaudy colouring or mere prettiness.''

A just tribute is paid to the influence exercised upon art in the Dominion by such men as Van der Velden and James Nairn, and there are somo ap-' preciativo references to the work of such pioneers as John Gully, J, C. Richmond, W. M. Hodgkins, and N. Chevalier. Among tho modern artists, of whom mention is made, are tho Wrights (Frank ana Walter), Chas. Blomlield, W. R. Johnson, F. R. McCracken, David J. Payne, and J. W. Ash, of Auckland, H. M. Goro, Nugent Welch, Sedgwick, Jas. Mac Donald, and Miss Richmond, of Wellington, Mcnzics Gibb, O. F. Kelly, and Mrs Kelly, tho late Alfred Walsh, and W. S. Wauchop, of Cliristchurch. to whom may bo added L, T. Booth, known for his black-and-white ' work. Dunedin men receive no notice. We do not wholly agree with the spirit of Mr Kiliick'a remark that "tliero is no need to go to Paris to learn liow to paint New Zoaland landscape," for there are instances familiar to all who take au interest in our art of men who havo immensely improved their technique by a visit to art centres of tho Old World. But we believe with him that there will come, perhaps before many years, "an era of first-rato landscape art in New Zealand, conccding pride of placo to none, and owing allegiance to no other school." All that is necessary to produco it is tho support of tho public for tho artists who are already hero.