N.Z. ACADEMY OF FINE ARTS

Dominion, Volume 12, Issue 10, 7 October 1918, Page 8

N.Z. ACADEMY OF FINE ARTS

ANNUAL EXHIBITION (Notes by "The Lay Figure") "On tho whole a very fine show" must be tho verdict upon this year's exhibition of tho Academy of Fine Arts. There are, it is true, a few crude productions, (■xamolcs of mere nictorial fool-vg, which tho Selection Committee should have sternly ruled out, but there is a higher general average of honest, conscientious work and successful result. The placing of the water-colours in a separate room is a very welcome new departure. Tho inclusion of some notable loan pictures and a small collection ot Australian paintings and drawings adds considerably to the interest and value of the exhibition. Marked improvement in tho hanging is perceptible, tho instances-of unfair "skying" being rare indeed. Decidedly ono of the most attractive features of this year's exhibition is the strikingly characteristic and successful work shown by the solder-artist, Mr. Archibald F. Nicoll, S.S.A., now, very fortunately for the cause of arc in 'Wellington, permanently settled in this city. "The Citadel. Cairo" (No. 107) is 6leeped in the romantic glamour of the. East. The felicitous intergradation of its colour harmonies, the skilful placing of the figures in the foreground, the many evidences of the artist's combined decision and delicacy of handling all contribute to niako up a dignified and wholly satisfying composition. In 109, "Egyptian Twilight," Mr. Nicoll gives us one of thoso fender, poetic, crepuscular effects so difficult to achieve, so charming when capably rendered. The same artist contributes two portrait studies. In the first, No. 108, "Portrait of the Secretary of the New Zealand Academy of Fine Arts," tho essential elements, of the subject's personality are admirably suggested. Both this portrait, and that of the artist'B wife (No. 110) ire characterised by that reticent strength and grace in the handling of which are amongst the moßt valued fpMnrns of high-class portraiture.

By her fine portrait—quite a sneaking likeness—of Sir Joshua Williams (No. \ta\. Mrs. Tripe adds substantially to her already high renutation as a portrait painter. Alike in its modelling, especially of the hands, in thu flesh tones, nnd in the general harmony of the picture tbjs is a work of quite outstanding importance and merit. It will, I trust, remain in 'Wellington, as an ornament to tho walls of the Supreme Court or the library attached to that institution. Of Mrs. Tripe's other contributions, all portraits or fteure studies, T prefer the vivaciously painted "Dancer" (No. 1001. The handlinar of the dress In thin picture is ouito masterly. The still life work in "Tho Brass Gleaner" must at once command attention and admiration. Whether it is that the lower tones of this nictuvn, bung 60 close to "The Dancer," so -full of light, painted with w.h an alluring dash, are responsible or not I do not know, hut the picture soros to me jnst a trifle flat.

Mr. Bowring's portrait of Mr. Arthur Duncan (No. 114) will rightly interest and please all devotees of the roval and ancient game of golf. The golf champion, of whom the portrait is a positively speaking likeness, is represented in a characteristic pose. Mr. . Bowring also contributes a figure study, ''Reverie," No. 113. in which some visitors may find the reddish glow on the face slightly excessive, but which is, on the whole, a very attractive picture, a romantically-con-ceived, lusciously-painted woodland scene —with some graceful nymphs—and a delicious little landscape, "Autumn Girse" (No. 115). Mr. Bowring also exhibits some delightful water-colours, of which moro anon.

Mr. Linlcy Richardson, E.8.A., sends an exuviHiuiiuiiy laite canvas, nhicu at once cniuicuges attention and invites discussion. Three penectly deaghuul luduies stand behind a uacKgrouud and under a cai.opy of luschias. Tue picture may bo considered a trine strident in its general colour scheme, but tne children':: tacts arc beautifully painted, and the whom composition has a fine decorative ■cllcct.

Messrs. R. Wailwork and Cecil Kelly, two Cbristchurch artists, whose work is am ays welcomed in Wellington, are botn well represented this year. The former contributes a large canvas representing a weii-kiiown pastoral scene, a mounted shepherd descending a hillside driving a tiocK of Bheep. There is a specially line sense of distance in this picture, in which, also, there is a. good aerial perspective, in "Tile Heart oi' the Wood," ivo. 13, Mr. Wailwork once again displays that romantic pictorial fancy which has found such delightful expression in this artist's ctchiugß (by no means so well known in Wellington as thoy deserve to be). The subject is reminiscent of some of Mr. 0. Scnis's work, but Mr. Wailwork has his own methods, and these have been responsible for a graceful and poetic composition. The same artist sends two small landscapes. In one, "Eventide, the Port Hills," thero is a lino glow of solden sunset. Note, too, tho delicacy and ouiet charm of tho tiny canvas, "Tho Harvest Moon" (No. 16). This is a veritable little gem, very cruelly treated, by the way, by the Hanging Committee. On the uortn wall a broadly-painted coastal "scene, No. 106, is also well worthy of attention.

jiir. Uecn Kelly's most important contribution (nis year ia Wo. 32, 'The .estuary," a painting in which, this artist's wcll-uis-cipllued skill is favourably excinplilled. As ÜBual, i snail have uiy old grumble as to an uxcess of u.uiutcrestiug foreground, but tlb • personal note which pervarieß this artibt's always conscientious transcripts iroin lVature is again agreeably present, iue iiglit, cflects on the mils are delicately graduated, iir. Kelly also contributes several smaller oils, oi which, in particular, JNo. 34, "lu tlio Otirn, valie.t" ami rio. 3, "Morning by tlie Sea," 6hould not be overlooked.

Mrs: lilizabuth Kelly is perhaps better represented tins year in the water colours than in tho oils section. To tliia latter section her one contribution, )No: a, is a low-toned but graceiully-liauuled portrait of n Uhristchurch young lady, kiss Lyndall Booth. .It is a harmonious, wellmodelled picture, and, as usual, Mrs. Kelly displays great skill in her haudliug of tne draping. ' Unfortunately, Wo right hand sinks so low down on tho dress as to, suggest a uimmisning ot the size ot tlio hand almost to tho verge of deformity.

Mr. menzies Gidd, wnose sound and scholarly work is so deservedly popular, sends but one oil this year, i\o. Via, •'Sunrise at New Brighton." It is a broaaiypainted .seascape, which is right all through. It is with high satisfaction that many visitors wno iijtvo watclicd witn interest the steady progress made during tho last year or two by Mr. l'\ bedgwick will acclaim his large canvas, No. 38, "The i'ord," as a specially sueeesslul and pleasing effort, iicio is a simple directness which tells its own tale of conscientious ellort, and an utter absence of any meretricious or cheaply theatrical eltcct. 'ilic suggestion of "muudiuess". at one time apparent in this artist's work, has gone, the colour is puto and strong, never harsh. A fiuo: air of unfettered individuality pervades the whole composition which reminds ono of English landscape work of artists of estaklisued reputation, such as that of Sydney Watcrlou or Ycend King. Assuredly, Mr. Sedgwick "goes up one" this year. On the opposite wall the Bame artist quietly charming Silverstream BceiiOß, Nos. 87 and 88, a specially delightful little study, in low toucs, and No. 90, "A Grey Evening."

Vaintings of New Zealand mountain scenery aro too often based upon a certain convention of treatment which is responsible for a curious monotony. In her large picturo No. 30, "Bealey Glacier," Miss Grace Butler has shaken herself free from tho shackles of tradition. It is in every way a dignified and noble composition, instinct with a grave and almost aUßtcre beauty, which is quietly fascinating. The Permanent Collection is weak in the representation of such scenery, and I trust that before tlio exhibition closes this flue picture may be purchased by somo artistically-minded and generously-inclined citizen and presented to the Academy. Jliss Butler also contributes two small canvases, Nos. 33, "Lake Kanieri," and 92, "A Seascape." The result of English and Continental study and influence is evidenced in Jliss B. O. Dobie's strikingly efiectivo pictures, which form one of the most notable attractions of tlois oils section. Her portrait, No. 23, of Mrs., Goring shows iirm and vigorous handling, the face suggesting the possession of strong mentality, and the hands being full of expression. The two studies of swans, Nos. 24, ''The Three Graces," and 25, "Palace Gardens, Malta," at once challenge and arrest the visitor's attention. In both there is an agreeable note of pictorial bravura, the colour reflections arc ably managed, and, especially in the Malteso scene, the lijht cflects on the rippling water are most delightful. In a, larger and more ambitious effort, No. 23, "The Idler"—a girl lazily stretched full length in a canoe and holding a vividly scarlet parasol— there is some harshness and stridency in the colour, but there is a fine spirit of entrain, of "go," in the picture, which proves that Miss Dobie can carry out a courageously conceived motif to effective and successful result. For my own part, althoimh 1 may bo in a minority, I Bhould prefer "Three Graces" as a picture "to live with."

Near the entrance door, to the main gallery are live figure sketches by Mr. A. H. O'Kcefe, a Dunedin' artist, one of which! No. 9, "The Watersider," appears to mo lo be possessed of quite exceptional merit. Painted in a high, bold key, it possesses a rugged strength which compels admiration. In the treatment of the face there is a strong suggestion of the fine work done in tho "Rood old (lays" by Nerli and the late and justly lamented "Jimmy" Nairn. Mr. O'Keefe'B second contribution. No. 10. "A Heart-breaker," is n eood specimen of the anecdotic genre picture, lmt it lias not the strength and arrestive chirm of "The TYntcr6ider."

In his "Hutt Valley," No. 18. tho president of the Academy, Mr. F. ir, Gore, has a produced a picture.full of delicately-

toned atmosphere, and.a. fine senso of distance is conveyed. This picture, ruarlted I notice, ot the quite absurdly low price of £7 7s. (in Sydney such a picture would bo priced at quite double that sum), was one of tho first to havo the magic red seal attached to its frame. Lucky man, whoever tho future possessor! Mr. (toro'B two other contributions are in the main repetitions of those excursions into tho "pretty-pretty," which have such an attraction for many.

Miss Flora Scales contributes two of her well-known and ever welcoint studies of horses. Nos. 27 and 28. both painted with that fine, realistic grip of colour, and the relations of light to the objects painted which always characterise this lady's work. Note also tho little landscape, No. 29, "Elm Avenue, Tai*a"; in itß way a. little gem, although the brilliance of tho red on tho right of the roof may be a trifle overdone. Messrs. A. Bender and E. G. Hood are two young local artists who have mado substantial progress the last, year or two. This year the former has curbed a natural impulsiveness which in earlier work has sometimes borne fruit in an exuberance' of colour. He has got his brush under a better control, and his work, while still characterised by a strong personal note, is sounder in its craftsmanship in every way. In his largest canvas, No. 95, "Autumn," thero is not sufficient gradation in the all-pervading tone, but in "A Country Laric" (the sketch for which was so admired at the Sketch Exhibition held a few.months ago) Mr. Bender scores "heavily, tho work showing an originality of vision and a bold and firm handling of its details. A smaller picture, No. 9, "A Breezy Day," is also worthy of special attention.

Mr. Hood's most ambitious effort this year, No. 116, "Silverstream," for which, by tho way, the artist has been lucky enough to secure an exceptionally handsome frame, is a conscientious piece of work, more smoothly painted than is thiß artist's wont, and, to tell tho truth, .iust a trine disappointing. H oeems to lack unity in its composition. Its best feature is the background of farm buildings and the skilfully-suggested distance. A smaller picture, "Late Afternoon," No. 117, painted with that 6quare-brush effect Mr. Hood ordinarily employs, is a decidedly attractive canvas, and the light effect on the hills in No. 118, another Silverstream landscape, is very charming. The remainder of the oils, including the interesting col'sction of pictures contributed by Australian artists, will bo tho subject of a second article.

Passengers for the south by the Maori to-day are reminded that the vessel is to sail at 3 p.m. That monument to be known for ever as the "Greatest Mother of Them AH" springs from a foundation laid in thp pest-laden swamps of Scutari by Florence Nightingale, where liumanitarJj'n instincts for the first time were instilled in the minds of all to whom the care of the wounded and stricken were entrusted.