The National Art Gallery: No. 2. Murray Fuller Collection A Lavish Display Of Present-Day British Art

Dominion, Volume 29, Issue 264, 4 August 1936, Page 8

The National Art Gallery: No. 2. Murray Fuller Collection A Lavish Display Of Present-Day British Art

NATIONAL PERMANENT SECTION

(By A.R.T.)

Now that the National Art Gallery of New Zealand is an established fact, the names of two men whose wisdom and influence have greatly added to the quality of art and art appreciation in this country should be rememberedThey are the late John Baillie and the late E. Murray Fuller. Through the efforts of John Baillie, who brought to New Zealand in 1912 a comprehensive display of contemporary British art, New Zealand, aided by the generosity of private individuals and various organisations, began to enrich its national collection of art treasures. Subsequently, similar exhibitions brought here by Murray Fuller have allowed other important additions to be made. AU interested in the development of art in this country will be very grateful to Mrs. E. Murray Fuller for carrying on this good work, in bringing so fine and well-selected a display of pre-sent-day British art to us on this grand occasion. The Murray Fuller Collection. This collection contains a veritable sea of important pictures, and visitors will have to determine what they are going to look at and study in quietness if they wish to avoid an art gallery headache; because, to properly comprehend the lot in one visit will be a physical impossibility. Gallery "H” becomes a place of importance as soon as it is entered, and a first impression is one of dignity, refinement and immaculate craftsmanship in paint, for all the artists here represented are giants in their way. Among those that command immediate attention here are “Apollo and Daphne” (No. 1), an animated composition by W. G. de Glen, R.A., in which a nude figure is beautifully rendered, and a joyous harmony maintained. “Georgina and the Budgerigars” (No. 4), a quiet masterpiece by Philip Connard, R.A. The handsome and amusing “Flower Sellers, Piccadilly Market” (No. 7), by Herbert A. Budd, R. 0.1., a dramatic “Self Portrait,” by Dame Laura Knight, R.A. (No. 8). Glyn Philpot’s brilliant achievement “A Youth in a Leather Coat” (No. 9), “Three Boys” (No. 10), from the clever brushes —and clever mind, too—of B. Fleetwood Walker, R. 0.1. “A Window in St. John’s Wood” (No. 13), in which Harold Knight, A.R.A., displays his most precious gifts, and numbers (11) and (12), “Haddiscoe Church” and “The Hamlet” respectively, which are by the inimitable Arnesby Brown, R.A. The above-mentioned pictures, any of which might grace the walls of a national gallery and give pleasure to succeeding generations of people, thankfully have little of the newfangled “worry value” in them —except, of course, that it is somewhat disturbing to believe that each has been evolved from a mere box of paints. The gems of gallery “G” seem to be “Farmyard in Winter” (No. 38), a panel of vital crispness by Sir Charles Holmes, “The Mirror” (No. 41), with which Helen Mackenzie displays her great knowledge in the manipulation of paint, and “A Berkshire Homestead” (No. 44), by H. Davis Richter, R. 0.1., R.8.C., a gem of merit which will remind us that few, if any, Now Zealand galleries contain as yet a really precious painting of an Interior.

There is, too, the very choice—that’s the exact word, I hope—“ Staff of the George and Dragon” (No. 30), depicted from sporting dog to page boy with both fun and exactness, by J. K. Kirby —a truly jolly picture. A nude study

(No. 148), by T. G. Dugdale, A.R.A., dominates gallery “I,” and its quality of paint. justifies its important place alone, though there is also here displayed a fine appreciation of form, while, in the same gallery are still-life pictures of high quality by W. J. Leech, R.H.A. “Flowers in a Mirror” (No. 159), in which dabs of colour in somewhat strange juxtaposition make a canvas vibrate with life, and Emily Court, who, with “Blue and Silver” (No. 139), presents a country bunch, gloriously. This last is a picture which our own painters of Howers might carefully study, for, if they do this, their own efforts should be less tedious. Charles Cundall, N.E.A.C., R.W.S., finally delights those who were unable to be there with his charming and comprehensive canvas (No. 154), “Jubilee Day, Trafalgar Square,” an oil painting. Water Colours. In the Empire loan collection there are, unfortunately, no water-colour drawings, and, as British artists down the years have excelled in this intimate medium of expression, this is to be regretted. It is therefore pleasing that water-colour drawings are a strong section of the Murray Fuller collection, and it is noticed that no draughtsman of front-rank importance seems to have been left out, gallery “D” presenting a very satisfying range of products from a series of very clever hands. Space will only permit me here to mention a few names, but they are names to juggle with. Sir D. Y. Cameron, Muirhead Bone, Dame Laura Knight, R.A., Henry Rushibury, James Meßey, Job Nixon, Leonard Squirrell and Charles Cundall, all of whose work reach a high level of attainment. Gallery “J” is made very interesting with a fine display of important prints which include examples of the work of Sir Frank Shorte, R.A., R.E., Frank Brangwyn, R.A., William Strang, R.A., Augustus John, R.A., Lionel Lindsay, Malcolm Osborne and G. L. Brockhurst, A.R.A., all of which are characteristic examples. How cleverly these distinguished fellows apply the etcher’s needle to the bald copper plate must be seen to 'be believed, let alone appreciated. A precious showing. Number 17, “Madonna and. Child,” by Sir William Reid Dick, R.A., is possibly the most satisfying things in a small group of sculpture in the same exhibition —if somewhat archaic in treatment, it is fine from all angles, as any piece of sculpture should be. The National Permanent Collection.

There is no need to write at any length about this collection, except to say that those pictures in it which are here displayed look quite 100 per cent, better in their new and permanent home. The thought also occurs to express some gratitude to the wise people who chose them for us to now properly enjoy in suitable surroundings —so few mistakes having been made. Gallery “M” contains the nucleus of what in time will be tihe national portrait gallery of this country. However distinguished the subjects finally admitted may be, care must be taken that the canons of art are not abused and that more truth and less garish paint is admitted. If this is done our future national portrait gallery will be a place in which to dwell at leisure and contemplate with profit. New Zealand art, as represented in the National Gallery by the Academy of Fine Arts Annual Exhibition, and the section devoted to retrospective art in New Zealand, will be the subject of a third article to appear on Saturday.