FINE ARTS ACADEMY OF NEW ZEALAND.

Dominion, Volume 7, Issue 1877, 10 October 1913, Page 11

FINE ARTS ACADEMY OF NEW ZEALAND.

THE OILS.—II,

(By The Lay Figure. )

Tho animal studies of Miss Flora Scalos, notably "After the Day'B Work" (175), command attention, and evoke special admiration when they are known to bo the work of a young local artist. Miss Scales bids fair to merit the name of tho Lucy Kemp Welch of New Zealand. Two or three years ago attention was drawn to the line promise of her then immature but distinctly original and suggestive work. Since then Miss Scales has, I believe, studied in the Old Country, and her work has acquired a breadth and vigour and quality of technique lacking, as was only natural, in her earlier efforts. This study of the two horses, whoso every movement connotes patiently-borno fatigue, is, to my mind, one of the most notable of all the exhibits by local artists. Tho samo lady shows a study of a Sky Terrier, "Doodles" (163), which is dccidedly commendable.

By the President. The two contributions of tho president of the Acwdemy, Mr. H. M. Gore, are interesting, if not outstanding examples of his careful, always delicately tastoful, art. "Wanganui, from Putiki' (158) has a clever sunlight effect on the water, and the 'Torirua Harbour' (ISO), with tho Long Point, eo dear to Wellington artists, as a prominent feature, is a pleasing composition. If only our genial president'would but eschew mero "daintiness" and lot himself "go a little I With memories evor in my mind of that "ripping" large Silverstream picture of three years in which thero was such, a telling vigour, such a breadth and courageous cmpha-. sis, I cannot be satisfied with Mr. Gore s mere "pretty pretty" work of this and last year. Ho could, if ho only would, paint a really lino impressive and convincing landscapo. "Do it now," as the advertisements put it, Mr. Gore, and from no ono will there be roadier and more liberal appreciation than from "Tho Lay Figure."

Tho Kellys and Their Work. That pair of conscientious and capable southern artists, tho Kellys—C. F. and A. E. of that ilk —again contribute somo interesting canvases. This year a feature. of their work, especially that of A. E. Kelly, is a clever exposition of combinations of form and light. The figure study, "Springtime" (ib 6), of A. E. Kelly is a specially characteristic and charming example of a class of art which iinds but too infrequent an exposition at our annual shows. Here is a picture in which there are evidences of true grace, refinement, and of an artistic understanding, as delightful in it 3 sympathetic appeal to the admirer of the merely attractive as it is almost —the drawing of one hand, excepted—impeccablo in itß technique. This is' a picture which I should like to see acquired for the Pormanent collection. Of A. E. Kelly's other contributions, I prefer "The Yacht" (202). C. F. Kelly sends five oils. Far away tho best is tho somewhat ambitious laudscape, "The Evening Glow" (189). In this tno foreground is vague and skotchy, as compared with tho carefullypainted middlo distanco and background. So much detail bo far away, with so littlo detail nearer the onlooker, is hardly right; but there is in this picture such a sincerity of affection for Nature, such a gracious and graceful ensoinble that any moticulous quibbling ovor points of mero technique would be uncharitable. Of Mr. Kelly's othercontributions, I prefer his modest little study of a, seashoro, with its cleverlyplaced figures, "The Holiday" (172), m which there is quite a Whistleresquo touch. At two guineas, this ia ono of the bargains of the show.

Four Looal Men. Place now, after all those outsiders, for the work of some local men. Somo of the youngsters are "trying hard." Thero is less studio work, more ploin air, direct, sincoro effort. Tako, ior instance, tho work of Messrs Sedgwick, Bender, llood, a,nd Killick. But for tho obtrusivo, quite unnecessary sheep, stilf and clumsily placed, Mr. Sodgwick's "Homewards" (165) would come very nearly being quite commendablo. Tho moon is a trifle over yellow, inaybo, but tho hill background, with its dull blues and purple, is all light, as right as right can be. Mr. Bender still flops about midst varied styles. A year or twq the Brangwyn influenco was unmistakable. This year, in his "Springtime, Silvcrstream" (168), by far his best contribution, there is a distinct touch, in tho foliage, of the much-lamented James Nairn—departed, but not forgotten. _ Mr. Bender has fewer affectations this year, and is gotting nearer to Nature. For Mr. Hood's larger picture, "Sunshine and Shadow" (146), I do not care at all. I find it flat in. tone, crude and harsh. But thero is a modestly titled but telling little study, "Shipping" (191), which is ono of tho very best local renderings of a difficult lighting effect in the exhibition. Mr. KillioK's "Tangled Pastures" (1G0), a Silverstream study, will oome as' a perfect eye-opener to thoso who remember this painstaking young artist's woll-meaning, but palpably immature, efforts of last year. Mr. Killick has gone straight to Nature, "gone for it," and "got it ; " to use studio slang. Tho water in tho middle distance is exceptionally good, and tho atmospheric effects in the background arc very pleasing. Mr. Killick's other contribution, "tied Rushes and a Stormy Sky" (213), is just as hard and as dovoid of feeling as his other picture is reploto with evidence of a sympathetic vision. I would risk the opinlon—nayj I would wager on it—that whereas the Silverstream picture was painted, right through, in tho open, the second picturo is more than half a studio elaboration. From Sydnoy. Air. J. F. Scott, formerly of Wellington, but now residing in Sydnoy, sends two largo pictures which reflect the marked progress made by the artist since he left the Dominion. -The mournful note of the Australian bush is suggested very cleverly in "Evening, New South Wales" (156), the trees especially being well painted. In the second picture, "Tho Pet of the Farm (199), thero is some vigorous brushwork. Tho oow is well painted, but tho left-hand sido of tho girl's face seems to mo to fall in, as it wore. But the picture as a whole is a striking and successful production.

Some Lady Artists. Tlio contributions of Misses Vera and Hilda Chapman all exhibit considerable promiso. Tho largo portrait (223), by Miss Hilda Chapman, is, however, mnrred by a wilful extravagance in palette lenifo work, being spotted all over with "blobs" of paint which distract the attention and decidedly lessen the effect of tho picture. The "Portrait of a Boy" (223), by Miss Hilda Chapman, is less "painty," indeed, it errs in the extreme of flatness. Much better work in figure study is shown by Miss Elizabeth Perry, whoso "Alter Fran" (215), has been rather harshly treated by tho Hanging Committeo. Mis 3 Hilda Chapman has an ambitious, if hardly successful, "Interior" (133). Tho figure is well drawn? but tho tablo seems to slope so much that it seems as if tho articles thereon would slido off on to the floor. On the other hand tho vig-orously-painted "Bruges Sceno" (178) of Miss Vera Chapman, is an admirable produotion, with soeuJallv commendable

light effects. There is a sincerity and courageous vigour in this picturo which is highly creditable to' so young an artist. Mrs. M'Neill (nee Lingard) contributes a full-length portrait of a lady (219) which, but for thi sartist's old fault, of "paintinoss," would be ono of the best things in the exhibitoin. A smaller picture, "Leisure Hours" (206), bv the samo artist, shows good sound work. Miss Nellie Hutton, and Alias D. E. Chapplo contribute somo pleasant flower studies. A new-comer this year who sends in somo very promising work is Miss E. R. Mouldey, who is even better represented in tho water colour section. Hor small oil, "Fishing Boats, Sumner" (125), is ft very agrecnblo little composition.

And Somo others. Mr. D. Seward, A.R.0.A., fiends a striking study of a Maori warrior, "Toheriri and his Mero" (207). The flesh, however, is rather too red and harsli in colour. '" Mount Egmont, from Castlecliff" (148), and " A Marino Study, Wreck at Castlecliff" (128), are smaller pictures, in which there is some sound direct work. Mr. Madden, in one at least of his pictures, "Fish Market at Low Tido" (118), shows a curious change from his old stylo; there is far more atmosphere in this picture than is usual in this artist's work, Mr. Madden contributes several interesting Continental scenes, of whicli I like best his "Lake " (208), Mr. Pitkethly is disappointing this year, his "Nature's Garden" being a most uneven production, in parts terribly harsh. The skyline is noticeably hard. Mr. Meuzies Gibb, too, is but poorly represented in the oils. One misses tho admirablo marine studies of a year or two ago. Mr. W. A. Bollard's work hardly shows this industrious and conscientious artist at his best. Interesting work is exhibited by Messrs. Rayward, T. W. Smith (an. excellent littlo portrait study), J. A. Hefienbotham, whose work is distinctly promising, and tliat amazingly imaginative young amateur, W. A. Carter, Junior, whoso Turnoresque little picture "Of Othor Worlds" (217), so original in conception, so striking in its colour scheme, deserved a much better placo than it has been accorded. Wo sliall meet Mr. Carter again in the water colour section. i Altogether tho oils this year exhibit a decided advance, especially in tho work of somo of our younger artists, who are evidently studying to good purpose, especially in direct nature work.