N.Z. SOCIETY OF ARTISTS

Press, Volume LXX, Issue 21308, 30 October 1934, Page 17

N.Z. SOCIETY OF ARTISTS

„ « ANNUAL EXHIBITION (II.) I By Conrad.J Qualiiies of draughtsmanship in the work on view at the second annual exhibition of the New Zealand Society of Artists at the Durham Street Art Gallery are naturally more obvious in the water colour and graphic sections, than in the paintings in oils, most of which were discussed, in the first article of this series on Friday last. Similar freshness of outlook and understanding of form, however, is shown in the best work in all sections. Of the paintings in oils not mentioned in the earlier review Mrs. Rita Cook's "Nor' West Day," with its solidity and carefully planned receding pat- ■ tern, is the most notable. Miss Edith Alexander has a group of three very ; pleasing figure studies. Both colour ] harmony and draughtsmanship are good, and there is a special appeal about the simple treatment of "Rsflec- : tions" (No. 234). Mr Gordon Torey's landscapes are spattered with light. Miss Margaret Anderson's group, includes three well-arranged still life : studies, marked by their solidity. Mr J. A. Johnstone achieves a quiet light ; on smoothly treated colour in Nos. 215 and 217. Of the exhibitors who devote themselves to a deliberate "modernist" idiom, Mr Rodney Kennedy is the most convincing. His colour is unusual, butwell planned, and his patterns hint at formal significance. Miss Flora Scales has a pleasing command of col- ' our composition, but her choice of manner and of formal elements is dictated by imitation of a fashion that has no real importance. Miss Lexle Mac Arthur's symbolic treatment of figures is not successful, and her colour is unpleasantly strong. Miss Madeline Vyner's rhythmical and symbolic studies make a great deal of pother about nothing. Of the water-colours, Mr Alfred Cook's "Winter Sunshine" (No. 190) is" probably the best. This picture excels by the qualities that really belong to the water-colour medium—by its lucent washes of colour —and it has a strength that in its repose is radiant. It is to be regretted that while others have chosen to exhibit up to 12 pictures, Mr Cook has limited himself to this one. Mr T. A. McCormack's work is always interesting, but he seems to have become fixed in the technique and choice of subjects. "September Morning" (No. 92). a study in a few lightly spread washes of blue, delights 1 by its free drawing. His work, however, is an example of pure water-colour technique, and of masterly drawing with the brush. Mr James Cook's water-colour "Early Summer" (No. 103) is a lesson in fine drawing and the skilled handling of colour to give variety to his surfaces. Mrs Rita Cook's "Landscape" (No. 82) is simply treated in broad washes, but pleases by its subtlety. Mr W. J. Reed's work is essentially decorative, but, like Mr McCormack, whom, he follows in three of his paintings, he to have become fixed in his manner. The most pleasing picture of his group is the quiet and simplified | "Monck's Bay" (No. 75), which recalls ' his work of two years ago. His portraits are well drawn, but his use of colour in them is more suited to poster work. Miss Olivia Spencer Bower conveys a pleasant warmth in "Ploughing" (No. 98). and her colour in "Hill Road" (No. 101) is lively. Miss Lexie MacArthur seems not at ease with her colour. "The Pool" (No. 77) being the most unified of her group. Miss Tui Macfarlane's "Landscape" (No. 119) has a pleasant diversity, yet the green hill slope and scattered red housetops are well held together. Miss Jessie Lloyd's portrait (No. 136) is admirable for the drawing of the head, and the strength that underlies the treatment of the surfaces. Mr H. Horridge's' "Clouds" (No. 171) make a pleasant pattern with the broken shapes of trees, and Mr Leslie Greener's Egyp- ; tian houses, are bathed in warmth. Mr I Roland Hipkins paints effects of light in "Waikokopu" (No. 122), but his

treatment in other pictures is rather indefinite. Miss Jenny Campbell presents several studies in green, of which No. 131 is the most pleasing-. Miss Ruth Perry sees landscape in large patches of colour, but the absence of gradations produces a scattery effect. A similar lack of unity is observed in the work of Miss Myra Shaw Thompson, whoso l landscapes are romantically treated. Four interesting paintings are shown by J/Tr Sydney Thompson, all of them being marked by his charactenstic glowing light and rich colour. ' In the graphic section a group of heads in pencil by Mr Ross : McGill is outstanding. All are ■ strongly conceived, and the artiste skill is shown in his ability to present character. The diversified treatment of the mouths of his sitters is particularly interesting. Mrs -Rita ; Cook's pencil study of a head (No. 29) 13 loveliest things in the exhibition, and her finely sensitive line is managed with admirable economy, suggesting texture of sur- : face without shading. Miss Jessie < Lloyd's pencil portrait heads are also admirable, showing the effect of a study of Holbein, but there is unnecessary emphasis on underlying muscular str ucture. The fine draughtsmanship of Mr James Cook is shown in three architectural studies, displaying infinite gradations of tone. Other portrait studies in pencil are by Miss Eve Poison, Miss Ngaio Marsh. Miss Helen Cameron, and Miss Doris Lusk. Among the etchings, woodcuts, and lino-cuts, good etched work is shown by Mr Edgar Seelye and Mr A. H. McLintock. Of the cuts Miss Helen Cameron's "Summer Scene" (No. 44) is notable for restful composition and for the solidity of its trees and figures. Miss Jessie Lloyd's "Nosmo" (No. 43) is a satisfying lino-cut drawn in white line, and Miss Olivia Spencer Bower's "The Rug-Maker" (No. 42) is a satisfying figure study. Mr J. M. Thomas- i son's etching "Estuary of the Ashley" (No. 50), conveys the movement of water, and pleasing work is also to be found in his lithographs. Miss Chrystabel Aitken shows a fine decorative | sense in her coloured lino-cut, : "Tigers'' (No. 64), as does Miss Gladys 1 Anderson in "The Drowsy Owl" (No. ! 61). I An unusually difficult process is ! used by Mr Francis Shurrock in his i two colour-block prints, but In succeeds in giving an effect of soft colour, without any inaccuracy in the register of any of the numerous blocks (up to 12) employed. Other colourblock prints are shown bv Mr McL:ntock, but the work here is j.ot so | careful. i In the sculpture section Mr Russell Clark's "Danse Macabre" (JvTo. 334), a finely carved black wood figure, is vigorously alive. Of Miss Chrystabel Aitken's group, all of which shows an admirable feeling for the coarse featured stone in which she works, "Ducks" (No. 337) is sleepily solid. Her work in terra cotta is also successful. Miss Ruth Perry shows an amusing garden ornament, and Miss Lexie McArthur, a rhythmically carved stone figure. . In addition there is some well de- i signed jewellery by Mr J. A. Johnstone. Miss Tui Maefarlane shows a group of decorative panels, of which No. 5, j a tropical scene with figures, maintains an exotic mood with its su-ong colours and definite forms, ail cf which are well blended into a satisfying composition. A good sense of design as welt as technical skill is shown in embroidered panels by Miss Christine Rich and Mrs Louise Hen- . derson. The exhibition will be open each ; afternoon and evening until Thurs- : day, November 9.