CANTERBURY ART TRENDS

Press, Volume LXXIII, Issue 22045, 19 March 1937, Page 4

CANTERBURY ART TRENDS

♦ ■ Changes in Manner WORK SHOWN AT SOCIETY'S i EXHIBITION J [By CONRAD.] A gradual change is coming over the pictures shown at the annual exhibition of the Canterbury Society of Arts. Seven years ago scarcely anything painted with the modern palette, or with the strong contrasts, emphasis on draughtsmanship and simplification of forms of the younger school, was shown. In the 1937 exhibition, which was opened at a private view last evening, the new manner predominates, and it appears not only in the work of younger painters, but in subtle differences in paintings by artists who have been long established. . It is this quality, in an exhibition which has fewer striking works than usual by oldor painters, wnich makes the present show interesting. The general standard of achievement, as usual mainly limited to landscape, is high, and there are far fewer lnd-eli-nite and amateurish exercises. A Elizabeth Kelly's portraits have a quiet sureness of handling, and No. 157. a girl in a green frock, is in h-er characteristic manner. It is admirable for the handling of fresh colour, and impresses as a lively portrait. 'The White Shawl" (No. 153), in crayon, is colder, v but its drapery is effective and is expressive of a mood. Sydney L. Thompson's "Head in Sunlight (No 60) is delightful for its use of light in the modelling of the face. It is a portrait that repays study. Ida Carev's "Mrs R. O. E. Carey" (No. 282) has a gnarled expressiveness. Outstanding Portrait's Two portraits by younger artists attract immediate attention. They are Rita Cook's (No. 191) and Ethel Fairthorn's (No. 280). Rita Cooks impresses by the masterly quality of its drawing and its care for design. Ethel Fairthorn's is highly decorative, and its strong colours are in keeping with thei mood presented. It is smoothly done, but it is much more than a photographic likeness. Leo Bensemann's three portraits are highly mannered Nos. 31 and 32 having the quality of caricature. "Portrait of a Young Man" (No. 30) has a compelling quality of strength. , ~ Of the other portraits Ivy Copeland s "Rita Hikeora" (No. 70) has an exotic feeling in keeping with the subject. The face is admirably expressive. Daisy Osborn's "Portrait of My Mother" (No. 271) admirably conveys the quality of age in the quiet gaze of the sitter. Of Elizabeth Wallwork's portraits "H. J. Otley, Esq." (No. 184) is most successful, and No. 186 is a pleasant study of girlhood. The inclusion of four paintings by S. J. Lamorna Birch, R.A., of New Zealand scenes, gives interest to the landscape section. Two paintings of Whangarei (Nos. 104 and 105) convey a dramatic brooding mood. The careful close working of the medium is notable, and both have a specially decorative quality. A typically New Zealand subject is treated in a straightforward manner* in "Pohutukawa" (No. 106). Leading Landscape Artists Sydney L. Thompson for the first time since his return from France shows a group of solely New Zealand subjects. All reveal his skilled handling of paint, so that his pictures seem painted with light.' "Roadman's Team" (No. 58) is full of warm colour and subtle gradation of tone to give form. "Puki Puki Valley" (No. 61) is a study in tones of blue and green, and in spite of its distances, it has an intimate feeling. Archibald Nicoll's landscapes can be recognised by his characteristic palette. k "Misery Farm" (No. 129) is a very successful study of dappled shadows and warm light on a haystack beyond. "Halswell" (No. 127) smoothly pre- ; sents downland under a summer sky, and "Gray Valley" (No. 126) shows variety in a darkened landscape. Cecil Kelly's "North Canterbury Pastoral" (No. 161) is a broadly treated landscape in warm colour, painted in masterly fshion. Behind its smoothness there is a great deal of strength. James Cook's work has been eagerlv looked for since his departure for Europe, but in spite of his masterly drawing and handling of water-colour, his architectural studies of terraced rooms have become monotonous. This year a small study in oils (No. 205) shows what he can do to convey a mood, and "Sketch in Catalunga" (No. 202) is delightful for its crispness and luminous warmth. Rita Cook 'has assumed the manner of Guy Kortright's Spanish landscapes, and that this manner can be effectively applied to Canterbury mountain country is shown by "Cass" (Np. 192). Satisfying Comparison Russell Clark's "Plantation" (No. 27) is a clever impression, but his real mastery appears in "Cactus" (No. 23), with its satisfying composition and carefully thought out use of colour. T. A. McCormack's characteristic manner of drawing with the brush is illustrated in his admirable water-colour, "Iceland Poppies" (No. 87). Jenny Campbell's "Lake Taupo" (No. 36) is in the modern romantic manner. The landscapes of Ivy Fife are among the most impressive in the exhibition. "Looking up the Valley" (No. 118) is broadly treated, but never harsh in colour. It has an easy strength, which appears also in "Bush-covered Bank" (No. 133), with its heavy tree shapes. Rata Lovell-Smith's "Farm in the Hills" (No. 55) is a smoothly painted pattern of hill shapes. Her still life (No. 52) is a study in liquid blue with a pattern of red poppies. Colin LovellSmith's "The Kahautara Valley" (No. 142) has less hardness than earlier landscapes by this artist, with a bloom in its colour. "Amuri Bluff" (No. 144) is a dramatic seascape. A seascape by Nugent Welch (No. 101) has a clean brilliance. Hill Shapes and Colours Louise Henderson reveals in "Staircase Gorge" (No. 267) a skilled blending of hill shapes and colours into a decorative pattern. A similar subject is treated in water-colour by Olivia Spencer-Bower in No. 93, with an emphasis on curly forms. A study of nikau palms (No. 92) is notable in her group. A. A. Deans is a young painter whose down country landscapes this year, and especially "Mt. Torlesse" (No. 136). reveal a great advance in technical mastery of colour and composition. A quiet skill is shown in Enga Washbourne's "Grey Afternoon" (No. 218). Eve Poison's skill in handling colour for flesh tints is shown in the well conceived "November Morn" (No. 281). This year W. B. Honour's landscapes are less starkly brilliant in their lighting, Nos. 252 and 255 being quieter in tone than usual. Gwen Knight's "Drying Sails" (No. 243) is one of the most pleasant things in the exhibition, for the free and simple treatment given a subject that lends itself to decorative presentation. A related subject is handled by Marcus King in "Summer, Day's Bay" (No. 173), but with less freedom. R. Wallwork's "Water Meadows" (No. 177) is a richly green landscape with blue mountains beyond. Other paintings of special interest are K. Arini Vane's South African buildings, Phyllis Drummond Bethune's and Esther Hope's landscapes, and Jean McKay's, L. D. McCormick's, and Daisy Osborn's still life and flower pieces. In the sculpture section works_ in plaster are shown by W. T. Tre-l thewey.. ]