CHILDREN’S ART

Dominion, Volume 31, Issue 242, 9 July 1938, Page 13

CHILDREN’S ART

Choice Examples From

Other Lands

NATIONAL GALLERY EXHIBITION

A.R.T.)

(By

The exhibition of children's art now on display at the National Art Gallery continues to attract considerable attention. ■ . The promoters are justified in their expectation that such, an exhibition would make a universal appeal. People of all ages are entering this alician wcffiderland with justifiable expectancy to discover not only that child loves are somewhat similar to their own, but that children themselves are very similar the whole world over. With inimitable daring an apple tree in India can as swiftly be robbed of its fruits as one in our own land, and a ladder to rescue a precariously suspended child becomes a matter of equal urgency in both countries. Fire brigades, it seems, turn out to answer alarms as efficiently in Japan as they do in our. own home town. Honest workmen prod! the fabric of out-of-date buildings with, pneumatic instruments as well in Switzerland as they do in London town or New York city. Magnificent trains glide along in most countries, and aeroplanes seem to fly everywhere. To use the words of Lewis Carroll—there’s everything "as large as life and twice as natural.” Canada. A signal display is provided- by Canadian children of all ages whose exhibits of Infinite variety reflect a vigour which is less evident in the work of children who live in more confined spaces and a colour which is immediately refreshing. From a lovely conglomeration of very competent childish effort one's eye catches a hand-printed fabric of original design, radio valves and lattice wireless masts exuding short waves of a rich pattern. Edmund McKenzie is the designer. Portraits of character and decorative landscapes of astonishing beauty keep one’s eyes on the move.

Outstanding subject pictures are "Cain and Abel,” an illustration for “The Green Pastures” admirably done by W. Penovacy, 15 years, and E. Macmillan’s "Country Fair,” done at the age of 15 years. Many boys will be attracted to the very real Red Indian scenes which are from the Manitoba and Saskatchewan Indian schools and so are authentic. Australia. ( The children of Australia explain by their .exhibits that their efforts as yet are somewhat restricted by guidance rather than encouraged by stimulation, and that the hard struggle for technical perfection is insisted upon everywhere. This is not to say, however, that Australian children have failed to send us a good message in line, form and colour. It is only that more spontaneous glimpses of life on the other side of the Tasman Sea are not yet forthcoming from this rising generation.

“Kukkaburros,” regimented by J. Doyle, 14 years, every feather in place, illustrates splendidly this forced maturity. Keith Dixon, with '‘House on Fire,” gives some active relief. Beryl Isemonger, seven years, is unconsciously ironic with her "The Surf Club,” in which seven magnificent specimens of manhood parade a strip of sand while a bevy of equally drilled maidens in distress are left in the angry breakers patiently awaiting rescue. India.

On entering the gallery which contains the Indian exhibition, visitors will feel a marked sense of transportation to a different world—so mystical and so elegant is the display. It will be found, too, that the walls of India present that rare phenomenon, the child genius, in Manorama Valsh, 12 years, whose sister Sharada aids in impressing the fact that “East is East” and that "West” by comparison is somewhat blunt and clumsy. Elegance and refinement in human form and draperies are here recorded with delicate touch and immaculate skill to a degree seldom approached by childish hand. Intricate Eastern patterns invented and painted by others form a suitable surround. Smaller Groups. Standing alone are exhibits from a school in Nova Scotia which, during the winter months, is in complete isolation and which has a cultural background only newly established. From this place come a fine rug made by Alma Sanson, eight years, and community efforts in numerous forms of needlework which should mightily please. On the same wall original hand-printed verse conveys a message of goodwill to the children of New Zealand from the children of a school in Newfoundland. A boy of 15 years composed the lines and a girl 16 years has printed them gracefully.

Japan provides a series of pictorial gems rich both in colour and invention. Older age groups employ traditional subject matter and treatment as in the choice panel painted on silk by Akiko Oishi, 11 years, which has a delicate charm, while • the younger children of six and seven years record with startling virtuosity scenes both grim and gay done in rich colours, war scenes being predominant. Swiss children from Zurich schools contribute a small but commanding display which by reason of its unfamiliarity of dress will not perhaps be as well looked into by us as it deserves to be.

The minute snow scene by A. Weidmann, 11 years, and “Goose-herd,” cut in coloured paper by Eritz Stussl, are brilliant and characteristic samples. This display is matched in excellence by the children of Vienna, whose background of traditional artistic culture is much in evidence in the same gallery. Here also are animated and colourful scenes of national festival and demonstration, carnival scenes and Hower studies, all of which baffle description. This display of childish wisdom is very delicately done.

Au expected air of solidity is in evidence when the calm and competent products of two London schools are reached. Town and country scenes are depicted with a spirited if unemotional air. American artists (unnamed) produce two of the most charming child portraits which the exhibition contains. These are very different from the jungle scenes of tiger shootings and crocodile slaughterings which are portrayed by the New York and Chicago boys not far away.