THE BAILLIE GALLERY.

Dominion, Volume 5, Issue 1431, 4 May 1912, Page 6

THE BAILLIE GALLERY.

AMONG THE OILS.-NO, 11, Coniinning through (he second gallery of Mr. Haillie's picfure coliecilon we come (o Xo. 21, "The Young Draughtsman," which can fairly claim ii((eii(ion. 11. H. Shepherd, the artist, has succeeded in representing a. very interesting study of a boy student, at work, who h-ciiis to realise that he has something lo do (lint is important. Tho details of (ho studio aro there. It is a good lesson to look and reflect on the Ihen'.e. In No. 2,"i, "Once upon a Time," the lesson is of another order. There'is a good deal of realism, from the look nf eager, intent on the child's l'nco to llio pattern of the chintz sofa cover. This work is by Mary Young Hunter, whoso' name is fa'uiiliar'in the annually-publish-ed Academy pictures. "Hvening," by Arnesby Ilrown, A.P.A. {No. 20), depicts a. pastoral scene. Tho cattle grouped together at the close _of the day are well drawn, the composition is good", and (he calf that looks at yon as though you might be an intruder is tho touch of nature. The foreshadowing is very good, and tho play of light just glinting through the foliage and flecking the beasts in spots is a master touch. Tho distant colouring of tho horizon and toning of the whole picture aro instructive qualities for special observation. A Brangwyn Picture. "Tho Card Players," by Frank Brangwyn, A'.1!.A.,(N"0. 33), is the largest canvas in tho gallery, and has attracted a great deal of attention. The scone may be Neapolitan or Florentine. It is a powerful picture, comprising five figures in a group, all. of whom arc interested in tho game going on. The cast of the next card will determine a good deal. Each face in the group is expressing a measure of dread, hope, or recklessness—tho passion or the humour of tho moment. Henan wrote of Brangwyn's pictures that "the eye rejoices before them: they swim in colour." One can only say that each eye forms ita own beauty. This picture is characteristic of that aspect of, and for which this artist is famous. From 1890 his ■ works have become well known. There is one of his pictures in the Luxembourg Gallery (Paris); ono in the Sydney Gallery, and a panel, entitled "Commerce," in the Royal Exchange in LonI don. After Brangwyn left William Mori ris—for whom he worked with designs for I tapestries, etc, wiiSh quite a young man— i ho went to sea, and probably it was in the rourse of his voyages lie developed tho I faculty for that form of art for which i he is distinguished. Nos. 3"? and 30, by Harold TCnight, E.A.. representing "Sunlight" and "Clematis," come as a rest after No. 33. These are both charming studies of a head mid a full length drawing. The girl's head and shoulders in No. 35 are in the glare of the light, and 'the effect is admirably secured. Note tliemoulditig of the neck and shoulders. No. 3G is an exquisitely contrasted bit of colouring. A clematis vine is tho suited background which serves the purpose of emphasising, tho grace and charm of the figure—the true theme of the picture. The pink light (exturo of the dress resolved into easy simple folds, the play of sunlight on the whole figure, and tho delightful modelling; of the flower gatherer places their picture quite properly amongst the best in tho gallery. "The Dining Room," by P. W. Adam, U.S.A. (No. 41) explains itself by its'title. The attraction of the work is in the delicate beauty of the details. Tho accesstories of the table, napery, glass, etc. Then when the observer has contented himself or herself with tho appropriateness of all that' is delineated, let the eye look aip ami note the double perspective that is so clearly obvious. This is quito an uncommon tiling to be seen in the ordinary picture of an interior. It is somet thing to attain to. - '

"The Green Linnet." "The Green Linnet," by Melton Fisher (No. 41), is one of the pictures the visitor wants to see again and again. The subject is a young girl, simple, attractive, and unspoiled. The charm is in tho easy natural attitude. Quite 1 unconscious of anything but the song of the bird she is listening to its song. The artist is as free and unfettered as tho girl, and the treatment of the subject is as charming as tho model. It is instructive to observe' the way tho hat and veil are drawn. Up to the present this picture has escaped the eye of tho selection committee. One is tempted to ask why. In No. 47 we return to landscape with a picturo by Oliver Hall named "Salta Xfoss." This is a view in Cumberland, and is filled with a mellow tono that appeals. It is a work that well repays a careful study. The more you look at it tho more convinced you .are that tho artist has got hold of something to convey. There is n quiet impressiveness. Nothing, unusual has been introduced to distract one's attention. But, if ono has any imagination, hero are suggestions in plenty— a charming picture surely. "Playmates,"' by Henry S. Tuke, A.R.A. (No. 48) is quite a characteristic example of this artist's particular forte. Two boys in a boat are paddling out for a swim. The essence- of the picture is its freedom, from conventionality—tho ■ occupants of the boat have no constraint. From _an artist's point of view the forceful drawing, the graceful lines of the boat, tho consummate accuracy of the modelling of tho figures—all these convey lessons which have to be learned.

"Quiet Evening" (No. 45) is perfectly oppressed in. this case by Terriek Williams. The day's work is over tind only the sea is restless. There is the salt atmosphero pervading:, a smell of the sea. The prey-green tone of the picture conveys tho sense of calm and quiet, it is a lull in the stress of life and ceaseless competition. We next come to No. 5(5, which gives another expression of quiet of a different order. A portion of the interior of "St. Paul's Cathedral," by P. W. Adam, R.S.A., is the subject. Tho picture needs no commont. Tho artist has simply secured tho moment when the beams ot light from the high windows stream into the building. There is a sense of peaco as well as quiet.-

A Fine Gallery Picture. A fino gallery picture is found in No. S2, by Robert W. Allen, •.-lititled "Home From the Sea." Needless to say, this picture will five more than ordinary cogitation to a committeo of selection. Sea-subjects on a largo scale must bo good of their kind to win a place in agallery. This one possesses the needed qualities. There is movement throughout, each boat is very busy getting homo. The artist has not forced anything. There is the message, clear and distinct— a light, favouring breeze, a run homo. The way the water is painted is very fine. "His Only Pair," by Frederick Bauhof (No. 58), is tho pathetic presentation of lifo which touches a common note. Tragedy and humour are close together. Study the boy's face, and that of tiie natient mender, and anyone can read tho lesson. This is a good picture with n moral. "The Sleepy Model," by Kuth Hollingsworth (No. C 9), ""ill, doubtless appeal to many, the subject being three children at a window, tho youngest of whom, overcome by quiet, has fallen <wl?ep in his ' brother's arms. It is an overydny scene, but none the less noetic because simple, '{'lie artist lias wisely excluded everything that would mar the simplicity of tho scene,- and has saved if from commonplace! A vorv human massage told in a human wav by means of a clever picture. "On the liorie Burn," by Campbell Noble, U.S.A. ■'No. T-). is « very interesting exam »lc of the values of colours. There are striking contrasts, but the complementary colours aro there also. Therefore we get real harmony with no sudden shock and no forcing for effect. Distance, light, atmosphere are all there, and there is perfect balance between the rich warm tone of the middle distance and other parts of the picture. If tho clouds are massive they must not bo condemned, for it is a. temptation to paint skies, and a high aim, though we may not succeed in convincing our public. Another picture by tho same artist (No 77) is entitled "Chill October." This artist" is essentially it landscape painter, and has the faculty for expressing what lie wants. He has in this instance Mtc-cc-pded in conveying the thought that autumn feeling is in the air, and Ihe chill is csp ros -™ ' ~ r '»e jight in the sky without the common failure of producing a cold picture. The whole landscape iu Ihis example is true to nature, mui is line art. _ - ■