ACADEMY OF FINE ARTS

Dominion, Volume 21, Issue 184, 7 May 1928, Page 6

ACADEMY OF FINE ARTS

ANNUAL EXHIBITION NOTES BY “THE LAY FIGURE” There were not wanting those who expressed the fear that the recent exhibition of British contemporary art would exercise a deterrent effect upon the interest to be taken in the Academy’s Autumn Exhibition opened by Mr. Troup on Friday last; in that there would probably be too great a contrast between the scope and quality of the paintings and drawings on view at the two shows. It is therefore all the more pleasing to notice how well, on the whole, our New Zealand artists can, 'even should they rarely reach the general high standard of the English work, be said to hold their own. The educative value of the English collection will no doubt be fully recognised and exemplified at the Academy’s Annual Exhibition in October, but meanwhile it is good to see that, as Mr. Troup said the other night, there is noticeable a marked improvement in the local artistic effort. Many of the paintings and water colour drawings, more particularly the latter, can well bear comparison with, if not all, at least a very fair proportion of the exhibits at the Murray Fuller show'. And as time goes on, one hopes to see an even closer approach to the Home standard of quality. Especially is it agreeable to notice a really distinct advance in draughtsmanship. There are still some “awful examples” of bad drawing, and instances of a sad neglect of that regard for values which too many of the younger New Zealand artists have been wont to observe in the past. Once again let it be laid down as an axiom of true artistic effort that courageous colour cannot atone for weak drawing, and there are signs not a few that this fact is becoming more generally recognised. So much for introduction to a necessarily brief mention of some of the more notable or at least interesting exhibits.

Miss Richmond’s Work.

Place aux dames, and rightly so in this case. The glorious colours of Miss Richmond’s zinnias, daringly displayed against a flowered background, was the subject of not a few admiring remarks on the opening night. Special tribute to the fine, quality of the painting was paid by the Mayor and the president of the society, who both-advanced the opinion that this was the most convincing and finest bit of still life the Academy has had for many years from this artist. As a matter of fact, Miss Richmond’s flower study will hold its own in any exhibition in either London or Paris. In this part of the world it may be taken as quite successfully challenging the most fascinating painting in this genre that has come from the Australia —Hans Heysen, himself, so frequently styled the Australian Fantin Latour. Miss Richmond’s fine painting was at once “red-sealed,” two other would-be purchasers having to go away disappointed. The artist also contributes some welldrawn and effective studies of cattle, those of “Cows on a Foggy Morning” and of “Feeding Pigs” being specially successful. Two or three landscape studies, one a most engaging cloud effect, “The Passing Storm,” should also be noticed. A Good Portrait. Mrs. .1. D. Tripe, long recognised as being in the front rank of our local artists, is specially well represented this year by a well-modelled portrait of Mrs. Rosa Sawtell. This is an excellent likeness with successfully painted flesh tones. Mrs. Tripe also contributes a strikingly effective riverside scene, with courageously treated trees and foliage and a foreground effect which is almost Monot-like —a striking and very brilliant oil which will be much admired; and a fine still life, all hung close together. Mrs. Tripe sends in also two smaller landscapes, “One of Nairn’s Poplars,” and a telling little sketch at Haywards. On the southern wall Mrs. Tripe’s always interesting figure work is represented by a piquant head, “A Successful Immigrant” (note the well-paint-ed feathers), whilst upstairs the small study of a model, on the northern wall, merits attention. This is one of Mrs. Tripe's best years.

Mr. King’s Sunlight Effects.

Mr. Marcus King’s work, always strong and daring, to the verge of audacity in its treatment of sunlight, is seen to considerable advantage this year. His sunlight is too “hot” for my fancy at times, as in his “Bathers,” although I can quite understand the fine orange glow on the hills in his really brilliant “Decorative” study on the southern wall. But his important and striking picture, “A Sunny Hillside,” is an effort of which any artist may well be proud, the suffused sunlight through the trees on the left of the waters below giving a truly poetic effect. Perhaps there might be a greater suggestion of distance and there are local patches of yellow on the slope to the right which might be more subdued. But it is a fine picture in which Mr. King has done his best work for a long time. There is a gaily sparkling beach scene, “On the Sands at Seatoun,” and a fine “carrying” quality of his smaller landscape to the left of his more important picture. In the “Amateur Fishermen,” the figures seem rather unnecessary, but in his treatment of breakers no local artist can touch Mr. King. A decided advance all along the line, although I still question, the excess of cadmium.

A Delightful Composition.

Mr. Nugent Welch’s drawings had been seen to better advantage had they been grouped. A really delightful little drawing, of “Mana,” with the sunlight on the island, might, for example, be easily missed, being hung too low, on the eastern wall. Mr. Welch sends a striking rock and water effect at Titahi Bay, but I like best his “Upper Waimakariri,” on the northern wall, with its ethereal mountain range at the back—a poetic and delightful composition. Note, too, the powerfully painted sky in the smaller drawing, on the same wall, “Autumn at Silverstream,” whilst upstairs there is a pathetically suggestive drawing of a war desolated French town. Mr. Linley Richardson.

Mr. Linley Richardson is represented by two oulv contributions, his Spring Dav,” a beautiful study of cherry blossoni, being a notable picture on the. western wall. The “carrying” effect is excellent and some characteristically delicate pencil drawings of baby heads are to be found in the upstairs gallery.

Corners of Waikaremoana.

Increasing interest attaches to the work of Mr. W. Wauchop at these exhibitions. Last year more than one of

his Rangitikei drawings were deservedly admired. Mr. Wauchop this year goes even further afield, having found at Lake Waikaremoana rich opportunity in subject and atmosphere. Waikaremoana is becoming far more accessible, and is •’enerous in its provision of subjects, specially appealing to the water-colour Most visitors will find delight in Mr. Wauchop’s eminently fresh, clean plem air work, the dramatic quality of his “Stormclouds, Waikaremoana, where the shafts of light through the angrylooking clouds are of the approved Turneresque treatment, will be much aclinired. “By the Outlet” and “Ohinngi Bluff” and other scenes are all decidedly pleasant drawings, with a treatment agreeably reminiscent of the work of Mr. Wauchop’s old teacher, the late Mr. A. W. Walsh, of Christchurch. He also sends a still life, a buuch of guyflower, attractive in detail, but to my mind having a suspicion of top-heaviness through the seemingly inadequately large bowl.

Some Christchurch Pictures.

To Christchurch artists the show is not greatly indebted for exhibits this time, probably because this yeat the Auckland show clashes with ours. Air. Archibald Nicoll, the Kellys, and the Wallworks are not represented, but our old friends, Miss Stoddart, Miss btnd Richardson, Mrs. Sawtell, and .Messrs. Menzies Gibbs and Ronald McKenzie, all send interesting work. In Miss Stoddart’s case the drawings are specially notable, including a still life which is distinctly above the average of her previous work for the last few years, and one of the finest things in the exhibition. Alike, in the painting of the primroses and of the vases and bowls —note the cool, delightful blue of one bowl—is there a real air of distinction. The three landscapes, to two of which the red seal, was speedily attached by some discerning visitor, “The Lagoon” and the Otiro Gorge scene, are specially noteworthy for a firmness which, it is agreeable to sec, now accompanies the always present delicacy. Mr. Ronald McKenzie, at latest advices still studying in Paris, sends two drawings of Notre Dame; one, by far the more successful, giving the wellknown view of Moron’s famous etching, “L’Abside de Notre Dame,” the other,a view of the cathedral (far too deeply purple in tone) from the Q.uai de Montebello, with the lavoirs moored on the Seine, giving too crowded an appearance to that branch of the river. A much less satisfactory drawing, Mr. McKenzie s “Sardine Fishers’ Cattages at Gonearneau,” is rather “postery” in treatment, but on the western wall are two really excellent drawings, “Houses in a Breton town,” and a study'of a “Village Street, with fine shadow effects, this last probably Mr. McKenzie’s best contribution. But the whole set, save the fine Notre Dame drawing, is scarcely up. to the standard of Inst year’s drawings at Dinaii. , Miss Ethel Richardson errs always on the side of the conventional, and deliberately “pretty-pretty.” Her “Lake Mahinapua” is stiff ami flat, but there is good work, especially in the autumn yellows of the poplars, in her “Graham s Old Home, Waiho George.” Mrs. Rosa Sawtell appears to have launched forth into a new broader style of treatment. I like best her “Clover Harvest” and “From Scarborough. Sumner,” and there is merit in her “Sumner Baths” sketch. She also contributes a study of roses, rather over-framed, and two delicate pencil drawings, one. of a corner in the old Art Club studio, of historical interest to many Wellington artists. , ... Already a goodly number of pictures have found purchasers, and no doubt as the exhibition runs its course the sales will prove still more satisfactory. Ka rtrxnnlnzlo/lA