N.Z. SOCIETY OF ARTISTS

Press, Volume LXIX, Issue 20997, 27 October 1933, Page 12

N.Z. SOCIETY OF ARTISTS

FIRST EXHIBITION OPENED STIMULATING WORK The purpose of art as a disturbing agent as well as a satisfying agent, was commented on by Professor J. Shelley at the opening of the first exhibition of the newly-formed New Zealand Society of Artists at the Durham Street Art Gallery last evening. He described the exhibition as the most stimulating he had seen since his arrival in Christchurch. The contributing artists come from all parts of New Zealand, and the work on view represented a very high standard of achievement. The occasion was not only the opening of an exhibition of a distinctive character, but the first public appearance of a brand new society of artists, said Professor Shelley. The society was representative not only of Christchurch, but of New Zealand as a whole, as the artists exhibiting came from Auckland. Rotorua. Wellington, Christchurch, Dunedin, and Invescargill. The modern movement was trying to do for art what, the disturbing influence of science had done for indus-! try. When people looked at an art j exhibition they were inclined to say i that it was a satisfying show. They | could not say that for the present_ex-j hibition, for they would find things that would irritate them. He hoped when they went away that people who had seen it would say that it was disappointing. It was just as much the business of art to cause dissatisfaction as satisfaction. Art, besides presenting the solid ideas which made people feel satisfied, and that life was worth living. had also at times to throw a bomb-1 shell, to make people feel that life could be lived better. Changing Ideas. That was the business of the exhibition and of the society—to represent the oncoming forces, the feelings and ideas which were disturbing the minds' of the people of the world to-day. At the present stage those ideas were disturbing, but no doubt in time they would come to be regarded as the stuffiest old-fogey ism. Formerly art had been regarded as a polite amusement for the rich, but now the point of view was changing, and it was now more of a necessity of the life of thinkers and workers. The last few years of depression had shown that it was impossible to dream in terms of mere material things. Values developed in times of prosperity were false values, but a time of depression trued them up. Professor Shelley hoped that _ the promise shown in this first exhibition of the society would be fulfilled in continued real vigour. He thought that the exhibition was the most stimulating he had seen since his arrival in Christchurch 13 or 14 years ago. He did not say it was the greatest exhibition in that period, but as far as stimulus was concerned he was sure that it was equal to, if not finer than, anything he had seen. Aims of Modern Art. Examples would be seen of the tendency to greater simplification in the work of modern artists. They were getting at tiie essentials, at the architecture of reality. That was the dominant character of modern painting. Even colour took on form, and was not used as mere rcpresentional variety. The artist's object was not to give a picture that looked like a thing, except so far as the looks expressed the things itself. Art was not in this sense a polite amusement. "We are extending the meaning of the term, 'Art.' " said Professor Shelley in conclusion. "There is a place in New Zealand for a society such as this, to represent the disturbing element in the scheme of things, which is just as real as the other side. I think you will agree that there is good reason for the existence of the society, that it has made a good start, and I am sure that you will join with me in wishing it success.'' He then formally declared the exhibition open.

STIMULATING ART

THE PICTURES ON VIEW The Now Zealand Society of Artists, which opened its first exhibition at the Durham Street Art Gallery last evening, is the legitimate successor of the enterprising "vear-groups" (1932 group and so on>. which have pleased Christchurr.h picuire-lovcrs by the stimv.lus. oriffinbiity, and sincerity of their work in the last five years. The work on view at the present exhibition is representative of the members of these groups, with the addition of many ot the best artists from the rest of the Dominion, and it is undoubtedly, as Professor Shelley said last evening, the most stimulating collection of paintings that has been seen in C'hristcliurch for many years. But although the contributing artists represent the younger school of thought, and ihe modern tendency in art, so far as that tendency has reached the Dominion, none of the work on view is revolutionary, or excessively "modernist" in manner in the sense that those terms would be understood even in Sydney. What is characteristic of it is that it is based, almost without exception, on originality of vision, sound draughtsmanship, and mastery oi the mediums of oil and water-colour painting. A Icepresentative Modern. Mr Christopher Perkins may be taken a representative of the' more advanced thought. His drawings are really masterly, particularly No. 228. His portrait of Professor von Zedlitz is alive with character, and his studies of Maoris are more than mere pictures of people. Mr Cedrie Savage has a group of island studies, ot which "Kiviti" (Ko. 151) is characteristic. It satisfies by the repose of its massive palm trunks, and the simplicity and righlness of its composition, which is a natter of colour as well as of form. "Spring" (Mo. 1541 and his water-colours illustrate the same sureness of technique. Mr W. Basil Honour s group lias a distinctive gemlike precision, but there is nothing niggling about his work. Here aeain colour is built into the composition, based upon excellent draughtsmanship. "The Waipara Valley" (No 134) and "Lake Telcapo" (No. 135) are characteristic. One of the most notable pictures in the exhibition is Mr T. A. McCormack's "Still Life" (No. 65)). Mr McCormack js a purist—he draws with the brush—and the result is simple strength, which, combined with his sure use of colour, makes this picture a delight. Mr Leslie Greener's pictures seem to be seen through light. "Tintageu (161) grows up as a massive rock seen through a blue haze, and both of his Nile scenes express an essential repose and warmth. Mr Alf Cook as always, demonstrates his ability as a draughtsman, and in his oil "Old Castle Hill Hotel (.7) his command of smooth colour gives a dreamlike qualitv. His etchings and pencil drawings show the same command, and the figures in "Watersiders" (4) are nervously alive. Younger Workers. Mr \V. J. Reed's water-colours have what might be called a "Japonesque" quality. He favours the pointilliste method, but in "The River" (146) and "Spring" he employs unusually pleasing simplification. Mr Leslie McCui-

lough, one of the youngest exhibitors, has a surprisingly able group of rock coast studies. "Brooding Sea" (225) is boldly conceived and soundly designed in colour and form. So also is "Black Rock" (220), while a more romantic mood (resembling Elioth Gruner) appears in "The Trees" (222). Mrs Rita Cook uses a flat perspective in her portraits and large cartoon, where the quality of her ■ drawing appears to effect. Her landscape in water-colour, "Duvauchelle Bay'' (120), is a simple and very pleasing study in light tones. | Mrs L. Henderson, known as a craft worker, surprises by the ability of her oil paintings, particularly by the wellcomposed "Industry" (128). The characteristic sense of pattern of Miss Olivia Spencer-Bower appears in "Landscape" (54) and the rolling sweep of "Waimakariri River Bed" (57). Her wood-cuts are among the best in the exhibition. Characteristic Landscape. Mrs Rata Lovell-Smith was one of the first to bring a true vision to New Zealand down-country landscape, and her broad treatment appears to advantage in "Hapuka River-bed" (98.. and in "The Wai-iti Stream" (102). Mr Roland Hipkins gives a large picture of the reconstructed Napier, but his oest work is shown in "Sheep Country" (U2) and "Study of a Tree" (93), and the oil "Champagne Pool" (96). Miss Jenny Campbell has unusual command of colour in "Port Isaac" (172), which is strongly built, and in her pointilliste treatment of woodland scenes. Others worthy of particular mention ai e Mr Ross McGill, obviously a pupil of Mr Perkins, with his strong drawing, Miss Viola Macmillan Brown, with the dappled light of her hills and tree tiunks, Miss Eve Poison, with the strongly conceived 246, and the landscape "Terraces" (249). Miss Ngaio Marsh, with the bold figures of "Native Market" (31), Mrs E. Rosa haw tell with a happy spring landscape (75), and Mr J. A. Jo'hnstone with a command of atmospheric colour m "The Road to Eglinton Valley" (89). Besides these the exhibitors of paintings include: Miss Lexie McArthur, Ceridwen Thornton, Yvonne Bendall, Miss Cora Wilding, Miss Margaret Anderson, Miss Madeline Vyner, Mrs Constance Bolton, Mrs Stephanie V mcent, Mr H. H. Tombs, Mr Rodney Kennedy, and Mr J. D. C. Edgar. Graphic and Modelling Work. The etchings, pencil drawings, and lino-cuts are distinguished by the draughtsmanship of Mr James Cook, Mr A. H. McLintock's etchings, and Miss Gladys Anderson's lino-cuts — particularly "Hedgehog" (40 >. Mr F. A. Shurrock's lino print, "Sale Day" <4B>, is a skilfully-drawn study of Kgures. and Miss Chrystabel Aitken's horses in the lino-cut, "Over the Rocks" (46), form a roll of movement. The sculpture section includes three examples (plaster casts for bronze) of the work of Mr W. H. Wright, all of which show exceptionally skilled modelling and sureness of touch, giving strong character to his portrait head and busts. Mr Shurrock's plaster for bronze of a child's head is a delight of chubbiness, and Miss Aitken's group of horses surmounting a frieze is boldly conceived and executed, as are her terra cotta groups. The exhibition will be open from iO a.m. to 5.30 p.m. each day until November 4, and on Saturdays from 7.30 to 9 p.m.