N.Z. ACADEMY

Dominion, Volume 27, Issue 189, 9 May 1934, Page 11

N.Z. ACADEMY

Further Notes on the Pictures AUTUMN EXHIBITION (By A.R.T.—Second Notice.) The pictures displayed at the present exhibition and now on view at the Art Gallery, Whitmore Street, have of course all survived the scrutiny of a selection committee, but some, one imagines, only just! Few contributors to the present show give evidence of approachment to subject from any new angle, and few artists represented seem to give any expression in their paintings of really original thought. Numerous works displayed are, indeed, lamentably dull and remind one of the perpetual habit of the average lecturer who, being well read and possessing what I will call the gramophone mind, contents himself with quoting the fine inspirational thoughts of other people rather than frankly stating his own thoughts, born of his own personal, experience. Unlike the orator, whos'e art is employed in stimulating the mind momentarily, with perhaps a faint hope of. leaving a lasting impression, the painter of pictures produces a tolerably lasting thing for many generations of people to enjoy or to be critical of. Lower Gallery—West Wall. There is something about the paintdig of Marcus King which is definitely personal and very convincing, and where his sometimes strange arrangements of bright colours do not always please, it is perhaps because of one’s own inability to appreciate. “Glass” (No. 77) is a very original painting, splendidly done, the intricate play of light on a variety of polished surfaces being quite remarkably recorded. Accomplished, too, is “Commerce” (No. 74), something seen and turned with skill into fine decoration. Brilliant, too, is “Clemency” (No. i-), a refreshing study of childhood perhaps a little too polished in its painting. The question whether this artist of note need employ his brushes with primary colours so persistently is happily answered by himself in “Meditation” (No. 75), a quiet, small, but very complete harmony. The question, too, of whether the brightest colours need be employed to give light and life to a composition is completely answered in the negative by D. K. Richmond, whose rich and quiet "Mexican Sunflowers” (No. 78) is so splendid an accomplishment. There is a welcome liveliness, too. in A. L. Avery’s "Mixed Bunch” (No. 98), which illuminates a drab section of wall as it would any dim back parlour facing south. Another still life of moment is Edith Kidniburgh’s “Spring Flowers” (No. 71). in which pussywillow is used to make good pattern underneath which polyanthus flourish. A wall which has displayed so many good portraits during the past feiv rears —-notably that of Sir William brpen, by himself—seems particularly nude this year, though “Joan” (No. 88), by E. L. Prince, commands attention, easy manipulation of paint and an appreciation of the subtleties of flesh tints and tone values being in evidence. Julia B. Lynch, also brightens this wall with Jean (No. 81) a perky little school girl who, one’ imagines from the excellent portrayal, might often demand an equal brightness from her teachers. There 15 character recorded well in numbers 61 and 83, by H. L. Cole, and in No. 04, by E. L. Prince, which hangs upon the same wall. Archibald F. -Nicol! is not well represented this year, his several exhibits being but small landscapes of a purely representational character, adequately painted. Marion E. Tylee in No. 82, an Interior of quiet charm and dignity, is very stimulating, however, and happy must the people be who know and enjoy the pleasures of this tasteful room. I like, too, “Morning Haze” (No. 86), by E. O. Chapman, which is unusual and in no way purely imitative—indeed, it is a striking picture. ’ North Wall—Lower Gallery. This wall presents a veritable little symphony of colour, Esmond Atkinson providing the quiet introduction, and Beatrice Seddon rounding it off with a flourish of gladioli trumpets. “Mainland from Kapiti” (No. 116) possibly finds Esmond Atkinson at his best, because the more one looks at this picture the more one obtains from it—this I think to be high and due praise. Betty Rhind seems to have discovered her own ability, and in “Pink Organdie” (164) and “Portrait Study” (112) admirably displays it, the latter being an extremely sensitive record of a commanding personality. Gwynneth Richardson’s several pictures on this wall combine shadow with substance in unequal proportions, her only substantial picture being “Hatea River, Whangarei” (No. 110), which contains some form and solidity and yet retains poetic charm. The paintings of Beatrice Seddon are both dashing and brilliant,, No. 102 particularly so, while Jean _ McKay with “Marguerites" (No. 105) and “The Swedish Bowl” (No. 113) displays a good command of the watercolour medium. Black and White. This section contains some strong drawing and some etchings of high merit. "The Wise Men (No. 142), by Yvonne Bendall, has a lovely rhythm and a splendid distribution of pattern, and No. 141, a wood-cut by F. C. Lipscombe, Is equally forceful, while "Gossip” (No. 140) is a wood engraving of considerable power by Jane Coats. Interesting, too, are the etchings of Mr. Matthews, and J. Armstrong Neame, whose "Limoux, South France” (No. 128) contains a lovely quality in its rich blacks. Of the drawings displayed, those of Rosa McGill (Nos. 134 and 117) are of high excellence, while No. 120, “Trixie,” a sensitive pencil drawing by Lena Williamson, is quietly powerful. The drawings of George Woods, though somewhat unpleasant in outlook, also prove rare ability to represent pure form with conviction. The concluding article will appear on Saturday.