Van der Velden exhibition

Press, 11 April 1977, Page 16

Van der Velden exhibition

By MICHAEL THOMAS The 100 paintings and drawings of Petrus Van der Velden on exhibition at the Robert McDougall Art Gallery until April 17 give a valuable insight into the total oeuvre ‘ of this much-esteemed figure in New Zealand, and particularly Canterbury, oainting. Van der Velden (18371913) was the first professional artist to settle in Christchurch, and although he lived here for only eight years, he was a major influential force in the development of Canterbury painting. Totally dedicated to his art, his example set a guiding light for many aspiring South Island painters. The exhibition is the result of extensive research by T. L. Rodney 7 Wilson, a senior lecturer in art history at the University of Canterbury, who organised the exhibition on behalf of the Auckland City Art Gallery. It is now touring New Zealand under the sponsorship of the Queen Elizabeth II Arts Council. Although but a small portion of Van der Velden’s total output, the

| works are a representative selection and include some of his finest achievements as well as lesser pieces. The exhibition does not include just his best works, or set out to I idealise the artist — it I shows Van der Velden as ' he is. I Rarely seen pencil sketches and water-colours of Dutch sailing ships are ‘ followed by depictions of | ordinary people and their : surroundings in the imI portant Marken series. ! Genre in style, the best of j these works catch the : mood of the different asI pects of life at the time; I in particular the sombre I and moving funeral paint- ' ings. Van der Velden then ; moved to The Hague and later to Christchurch, in 1890. I Sumner, where the art- ■ ist spent much time work- ; ing after his arrival in New Zealand, is the scene of several pictures. The vigorous “Rock Study. Sumner” with its spiral movement into the cavelike shadow in the rocks is a monumental painting. It combines the almost unreal clarity of precisely seen rock formations in crisp light with a misty il-

lusory quality in the lower i part where strong lashes ' of paint express the artist’s romantic and restless nature. The painting is a combination of objective study and the romantic expressionism which is the hallmark of the well known “Otira Gorge” series. There are three paintings of "Mountain Stream. Otira Gorge.” All have the same stormy mood, and characteristic superI charged paint which ; catches the action of the i water as it thunders over . rocks. Perhaps the most I dramatic of these is the smallest water-colour in which light and dark unify I the whole picture in swirling movement. It is as if emotion has taken charge over reality. This is Van der Velden at his most free. Rembrandtesque handling of paint is a charac- ! teristic of the quick- ; painted sketches. The I small but vital study enI titled “The Culprit” is I typical, with its accents of I contrast and economical i rendering of the boy • against a simple back- , ground. I The style of the draw-

ings in the exhibition reveals the tie Van der Vel. den had with his Dutch heritage. The action and freedom to be found in some paintings is seen in the more spontaneous studies. especially “Woman with Viola” — a fluent, romantic sketch where the pencil seems to have been used almost unconsciously to express the artist’s feeling. There are some works of less individuality n the collection which are typical of The Hague school, and much Dutch painting and drawing of the era. It is important that these should have been included in the exhibition as it allows an examination of the whole artist to he made for the first time. As a result. Van der Velden is better understood His strength, and his limitations in comparison with the greats — Rembrandt and Van Gogh — become more apparent. His artistic development after arriving tn Christchurch, his achievement as a professional painter of great power. and his significance to New Zealand art are also brought out by this exhibition.