ACADEMY OF FINE ARTS

Dominion, Volume 18, Issue 194, 12 May 1924, Page 8

ACADEMY OF FINE ARTS

ANNUAL EXHIBITION NOTES ON THE SKETCHES (By* “The Lay Figure.") 1. Visitors to the annual sketch exhibition of the Academy of Fine Arts will not be able to complain of lack of exhibits, as the main hall of the Art Gallery is literally packed from floor to ceiling with sketches, and every available corner even on screens and pedestals is filled. The council of this exhibition has endeavoured to hang every work submitted of any pretension to merit, and if, owing to lack of space, a few have been crowded out, those disappointed at not having all their works hung will realise that it is entirely owing to lack of space. Generally speaking the show is up to a very fair standard. Indeed, many works are not sketches at all. but completely finished pictures such as would be exhibited at the annual exhibition. As might bo expected in such an exhibition, the great majority of tho works are landscape sketches with or without figures. Portraiture and genre work are not much in evidence, and whqt still life is exhibited is disappointing in quality. The general impression to the visitor is at first somewhat bewildering, and the eye is rather drizzled with tlie display of white mounts, which prevail. I am, however, glad to see that a tendency to excessively wide mounts, resulting in the picture being subordinate to the mount, rather than the. mount to the picture, has been generally abandoned. It is impossible to mention all the pictures in the space of a short article or after a brief inspection, and wo must therefore content ourselves with drawing attention to a few of those which catch the eye on a cursory examination. It is not always the picture that attracts the eye at a first visit that one subsequent.? considers the best, but often some quiet and unobtrusive work displaces it in the judgment on a second or third inspection. ■ . There will be probably great discussion concerning the merits of Mr. Sydney Thompson's work, which is quite a new and modern departure. Years ago Air. Thompson had considerable local repute as a sound and accomplished portrait painter, and there is no. doubt as to his ability. I find it difficult, however, to enthuse ati much as I suppose I should over his two centre pictures, “A Brazen Sky,” and. the "Alarket, Concarneau, neither of which quite “sort themselves out” or explain themselves. Moreover, the raw, positive colour I find unploasing. The first-named, however falls into place if viewed from at least fifty feet distance, and though all good pictures should carry well, yet one cannot always get fifty feet away from a picture to view it. I must prefer Air. Thompson’s "Covered Street” and “Old Bermese,” which, though, just as strongly painted, convey a more satisfactory impression. The effect of light which plays over the latter especially is very attractive. _ Tho other “Market, Concarneau,” hanging to the right of “The Brazen Sky,” has attracted much admiration, though this again, to my mind, is rather confused in its impression. A sketch by Air. Hans Heyson, the well-known Victorfen artist, shows a robust and soundly painted landscape, with which, however, a. sky of no particular ly outstanding merit somewhat conflicts. Framed, glazed, and hung alongside a collection of somewhat tame and thinlypainted sketches, the picture commands attention, and apart from the conflict of attention between the landscape and the sky (ths picture certainly not being intended as a skyscape) there is little doubt as to the outstanding merit of the work.

Air. Esmond Atkinson shows a collection of water colour drawings, pleasant in their general design and execution, but not sufficiently robust to call for any particular comment. To every artist, however, must be conceded the right to record his impressions in his own manner, and no doubt there, will be many found to admire the delicacy and quietness of Mr. Atkinson’s work. Air. Bowling's landscapes will certainly repay close study by ths student in oils. His work is particularly sound and free from all mannerisms, affectation, and modern attempts at cleverness. “Sultry Alid-day, Muritai.” though not quite conveying the feeling of the title, is a particularly sound and taking piece of work, and retains its charm on a second inspection. In “Mullion Cove, Cornwall.” there is a pleasing looseness and freedom in the execution, which in no way detracts from its feeling of completeness and solidity. "Heretaunga" is a straightforward and convincing little sketch, whilst "Gull Rock. Aful.ion Cove," has a good sensation of light and carries well. “Chelsea Old Church” is hung too low and requires looking for, when it well repays the search. It has a quiet, restful feeling, the colour is pleasant, and the execution impeccable. Mr. Bi.wring is too well known as a portrait painter to need any special mention in this direction. He exhibits three richly pa nted, yet delicately exe-cu’-i'l, heads of girls, and incidentally we would draw attention to the handling of the still life in tho shape of the roses which each one displays. In a pastel seif-portrait we recognise an excedeM- likeness of tho artist, conveyin’, '.n a particularly natural manner, tne expression ol attentive oliservatioii with which the artist is regarding his SU Mrs. t ’Tripe exhibits a well-painted head of tho old model, and also a crayon nude which is a good study in line work. Her landscapes. ? ‘Waikaine Fields ” “Lengthening Shadows,” and “The Hutt River all show that atmospheric quality so often lacking in landscape sketches. Mr H Linley Richardson shows a very ' successful, if slightly forced liehv effect in “Summer Alorn.” which discloses a glimpse of the harbour from Goidie’s Brae. His seascape. “The Southerly." is a vigorous and successful record " of the impression received, and there is considerable merit and a toe feeling of diffused light in hjs ‘ Bush Welch exhibits a panel of w.itei colours consistently painted to a very high standard. It would .be diffi-cc-t to select any one for specia. mention as m each cara the treatment is imnec-abie, the co'our in each case pleasnl P the cm-toosinon good the aerial perspeerive properly understood, and theie is a satisfying sense .of unity in each work, in none of which does the eyo roam rctlessly ircm one spot to another If there were any fault at all,, ye might sav that they were to tho slightest extent trite and ultra professional, adancer this artist, however,, will no doubt careful to guard against. Air Gore, whose output ot recant years ha's not been as prolific as his admirers would desire, shows a landscape Hit - niately observed and set down, which reveals the true feeling and character of tlie Now Zealand country landscape. His only other work, a sketch on the Paekakariki beach, is a typical and pleasing impression oi the place. . Mr C E. Kellv’s work is painted In rather a low key, though it shows a pleasing breadth in handling. Aliss Polsen also paints in a low key. Her largo sketch “Blue Mountains" is. a vigorous’ and brilliant work, and is quite a successful effort. . ... Miss Gwynnoth Richardson is a talented'artist. with a penchant for expression of literary ideas. Her illustrations of Stevenson’s lines: "From ghoulies and chatties and longleggity baieties, Xnd things that go bomp in the night fluid Laird deliver us.” . is clever and amusing, and her Kaiwarra Gorge” is a strong and richlypainted water-colour, though a little flat in its effect. Air. Tiller is always a trier nnd often’ succeeds in getting light and atmosphere into pictures otherwise painted in rather a low key. This is due, possibly to a habit of lowering the tone of iiis sky so as to concentrate on light effects elsewhere. His "Cliffs at Red Rocks” and "Trees, Silverstream,” are probably his best . In some of the others the interest is rather scattered. A new member, Mr. Roland Vaughnn, shows sign of considerable promise, throe little soberly coloured sketches in tho

corner repaying inspection. "Tahuna Beach, Nelson,” for instance, is quite a sound and satisfying piece of work. Of Air. Killick’s panel, I prefer "Hills and Gorse,” and he would do well, as he has done in this, to concentrate more on tlie larger effect and be less meticulous in regard to detail.. Air. Menzies Gibbs exhibits a panel of sketches in his well known style. Air. Gibbs’s work is painted on n sound convention, and many of his sketches, viewed individually, make an appeal to the eye, though viewed en masse a certain sameness is apparent. , , Air. AV. H. Carter, Junior, exhibits several designs in pastel. This artist has departed to a very great extent from the aspect in which nature reveals itself to most people, but there is a harmonious quality of design, in most of liis work, and though low in tone, a certain richness in colour. Aliss A'iolet Nelson is an able exponent, more particularly in pencil or pastel and a high standard of draftsmanship pervades her exhibits, together with a pleasing quality of line. Her drawing, “The Nude Model,” is very delicate and pleasing ip execution. Her portrait of the well-known model who is in evidence amongst many other artists’ works, entitled "Old Joe.” shews n breadth of modelling and finish with all the quality that could be obtained tn a highly finished painting in oils. Ths pastel, "The Fugitives,” is a vigorous and decorative piece of drawing, and "Aleditation” will doubtless have manyadmirers. (To be continued.)