Subjects From Nature Dominate Autumn Show

Press, Volume CVIII, Issue 31660, 22 April 1968, Page 12

Subjects From Nature Dominate Autumn Show

A wide array of pictures showing cats, birds, mountains, flowers and so on greets the visitor to the 1968 Autumn Exhibition of the Canterbury Society of Arts. In spite of the variety of subjects, however, the works have a basic similarity of approach. For the most part they attempt to be representations of nature’s objects and scenes. They portray varying degrees of artistic capability but, in general, no very high standard is obtained, nor can it be expected from this class of exhibition. However it must be acknowledged that the show has a grace about it which would have been less noticeable had the exhibition been in the society’s previous rather tiredlooking premises. Some of the best work is in the water-colour section where Doris Holland shows herself to be a skilled practitioner. Landscape and its moods is the theme in her group of paintings. A good colourist and a fluent technician, she not only inquires into nature but makes effective comment upon it. Two small water-colours which deserve attention are Nos. 90 and 91 by Robin Kay. of Wellington. They are prudently rather than spontaneously painted by one well content to follow the path of pleasant realism. Mr Kay keeps his medium fresh and observes carefully, and his work is consequently easy to befriend. After contemplating a number of paintings, one naturally looks for change to the threedimensional section. Unfortunately there is not much of it this year—perhaps Rodin nd his contemporaries warned it off. What there is of worth is provided by J. T. Nuttall’s three pieces. Big Oil Painting No. 113 is an oil by A. A. Deans (illustrated). Entitled ‘Rangitata near the sky," this work by one of the society’s heroes compensates in

acreage for what it lacks in style. A Kodachrome-like effort, it tells us more about picnic spots than art., Deans has two other oils in the show. No. 13 is a theatrically devised endeavour begging too much of our sympathy. With No. 23, called “Bush,” it is hard to believe that it is by the same man for not only does it reveal a capacity to handle paint boldly but, as is hardly the case with his other works, the artist seems actually to have enjoyed painting the vibrantly lit foliage. Another Wellington contributor is R. J. Waghorn. “Aratiatia Rapids,” No. 21, is one of his best works to date. If the paint lacks some of the sparkle it could well have for such subject matter it is nevertheless sensitively handled and the work remains direct and convincing. The pottery department is not heavily stocked on this occasion but it has its share of effectiveness. A disappointing factor about the Canterbury Society of Arts is that while it can energetically and successfully campaign for membership its annual exhibitions get no better. In the past it has recruited some prominent artists, but it is to be regretted that they now seem little interested in showing.