THE EXHIBITION.

Evening Post, Volume LII, Issue 1175, 15 December 1896, Page 2

THE EXHIBITION.

THE ART GALLERY. / THIRD NOTICE.

A clever, rising local artist is May Lingard, represented by six pictures in the Gallery, aild three more in the bay devoted to the Technical School's exhibits. Her work is all distinguished by a broad touch, gained as a result of good tuition, and she is prolific in the output of her brush. "A Bit of Wellington Harbour" (No. 66) is this artist's beet water-colour. It is a bold study, similar to one of Mr. Nairn's, and water and foreground are delineated with a firm touch, very pleasing in its result — another, example being " Harvest Time" (No. 24). A portrait in oils entitled "Ethel" (No. 80) is a vigorous bit of work, though there are faults to be found in the painting of the accessories of the feu*. Another portrait is that of Mr. "VV. H. Barrett (No. 118). A quaint and pretty study is the portrait of "Mousie" (No. 151) — a simple little maiden standing quietly and attentively to have her pof trait " took." This picture attracts by its human qualities. The only other example of Miss Lingard's pencil in the gallery is a view of the wharf, taken from " Near the Star Sheds " (No. 182) : In the Technical School bay, however, are three other studies by this clever artist. John Baillie, now at the other side of the globe, seeking the bubble reputation at the world's hub, has left three of his peculiar water-colour studies in Wellington. In none of them does the artist trouble himself with much drawing, but the effects he gets are original, and he paints nothing commonplace. " Sunset Glow" (No. 13) is aflame with vivid colours laid on in broad style. In "Solitude" (No. 68), Mr. Baillie has contrived to ably suggest the title, and the transparency of the water is very cleverly conveyed. "Island Bay" (No. 69) is little else than an " impression " of boulders and water, but is a clever little piece of work. The Valley of the Hutt has many charms for H. M. Gore. "The Swimming Pool" (No. 85) is painted on a cloudy day — by the way, this artist seems to avoid the sunlight— and, though a little "spotty," is on the whole a good, suggestive piece of work. The" locality is" evidently that of the Hutt. His best canvas, however, is "Morning in the Hutt Valley" (No. 140), The artist has nicely caught the effect of the rising morning mists, and has utilised this feature to give a fine sense of distance. "A Southerly, lowry Bay" (No. 112), ably suggests the gathering of a " buster." A peculiar fondness for purple is noticeable in the works of D. E. Richmond. " Washing Day " (No. 92), depicting a girl engaged at a clothes-line, is treated in too harsh a style. The artist might, however, justly complain at the way her "October Afternoon (No. 94) has been cornered. The picture is well composed, but the reflection of the inevitable purple clouds in the water is not happily conveyed. "Evening" (No. 102) and "Boat Haven, Bangiuru" (No. 115), the latter hopelessly "skied," are two other studies by this artist. Mr. M. H. L. Atcherley ha? four highly-coloured watercolours—" At Island Bay" (No. 3), " Point Gordon" (No. 34), "Gable End, Foreland" (No. 35), and "Plimmerton" (No. 15). The latter shows a view of the island of Mana, whose oblong shape does not offer many facilities for artistic treatment. Two very fine, though diverse, pictures are shown on the Technical School wall of the gallery. These are a water - colour, " Loch Ranza Castle, Arran" (No. 44), and an oil painting, "Sunrise" (No. 73). from the brush of W. Ayerst Ingram. No. 44 is one of the best watercolours in the gallery — the scene is conceived in a poetical spirit, the bold tower rising against the calm evening sky giving the picture a peculiarly effective touch. "Sunrise" is a soft study of waves and white light, which Mr. G. E. would do well to glance at. J, H. W. Parson's contributes two pictures, a portrait of Mr., W.F. Parsons (No. 150), the effect of which is spoilt by the too agressive patch of white reflected from the sitter's shirt-front, and "An Old Identity" (No. 156), a picture of an old lady knitting, which, though clever in conception, is treated in too hard a manner. Four noticeable water - colours, scenes about Kelburne, Lord Glasgow's place of residence in Scotland, are from the brash of Walter Severn. Fault might be found with No. 42, the foreground and the point of view chosen being commonplace, while the drawing of the fence is an obvious defect. No. 174 is perhaps the best picture of the series. C. S. M. Banks has a number of flower studies, including a panel of flax (No. 232). All the subjects are, however, treated in too stiff a manner. Some good work is shown by W. F. Barraud, who has chosen Kaikoura as the scene of , most of his exhibited pictures. There is much good colour and composition in his treatment of the bold sceneryof his choice. "Fyfe's Cave" (No. 6), " Evening, Kapiti," and " Iron Gates" (No. 70) are all carefully painted. In "Farm Lands, Kaikoura " (No. 47), the contrasting effect of the rugged mountain range rising in the distance above the flat foreground is well conveyed, and the same standard of capability is kept up in the scene, ♦• On the North Boad " (No. 63). The well-known painter of our mountain and lake scenery, L. W. Wilson, has on view only two of his canvases. A water-colour, " .Dusky Sound " (No. l);\t painted in that artistic style expected of Mr. Wilson, and a pleasing picture is the result. •' Cosmos Peak, Wakatipu" (No. 106), aptly expressei the massive grandeur of our mountain scenery. The scene is treated in confident style, and the only reason discoverable for its being " skied " is the well-conveyed idea of the height of the peaks which the artist has taken as his subject. C. I). Barraud has four water-colour landsoapes hung. " Mount Cook " (No. 19) scarcely gives us a true idea of Aorangi's grandeur. "Eaurakia, Wanganui River" (No. 87),- » nd "Pembroke Peak, Milford Spnnd" (No. 62), are conscientiously painted in a subdued haze, and all this artist's iVork speaks of a love for our scenery, and a desire for its truthful delineation. The result is always satisfactory. There is onty one picture on the walls from the brush of W. H. Hodgkins, but " Clutha River" (No. 17) is a delightful piece of subdued colouring, delicate greys, and atmosphere. Still - life studies and flowers are shown by C. B. Toumans. The two main pictures are companions,, and are called " Autumn " (No. 26) and " Summer" (No. 28). The first is a itudy of chrysanthemums and the second ft stndy of roses. There is faulty drawing to be found in the bowl containing the roses, but the main subject and the background are nicely treated and the general effect is good. F. P. Barraud shows a series of picturesque English architectural subjects. " Houses of Parliament, Westminster " (No. 57) shows delightful treatment of a hackneyed subject, the sketch being remarkably epft and the effects of distance skilfully rendered. " Tewkesbury Abbey " (No. 68) is another picturesque study. A water-colour that at once attracts is from the brush of Maud Williams, and is entitled "An Avenue, Bay of Islands." Its broad effects are refreshing to-sec, and the subject — sunlight and shade on a path beneath two gneat trees — is quite unconventional in treatment. "Sunshine and Shadow" (No. 22), a150 in water-colour, is similar in style. One would like to see in the gallery mdre of this artist's work. Two charming sketches are to be found on the screen. There are two views of " Otago Harbour" (Nos. 170 and 178) from the pencil of F. M. Hodgkins. One of the most noticeable portraits in the room is Tennyson Cole's large water-colour portrait l of " Lady Auguit* Boylt" (No. 27). Tha

picture is most smoothly and conscientiously worked, ana the pose is natural and yet not commonplace. The work reaches the high standard expected of the artist, but was evidently designed to be more a picture a portrait. Maud Battray has a number of landscapes in oil, none of which call for especial mention. _ " Back Beach," Sorrento" (No. 138), by the sanie artist, is, however, a fine study of breaking waves backed by a gloomy sky. J. M. Blackett contributes three landscape water-colours, the best being the one entitled " A Swamp " (No. 68), the artist's treatment of this forbidding subject, though a little smudgy, being characterised by a sweeping style and confident colouring. Maria Evans is not altogether successful in her two sketches, some muddy colouring vitiating ncr painting of " Kaikoura " (No. 184). A prolific contributor to the gallery is C. W. Foster, but, notwithstanding more pretentious pictures, his best work is a little sketch of "Taieri Mouth" (No. 187), one of the most delicate and taking landscapes hung. A large portrait entitled "May "(No. 243), hung in the approach to the gallery, is altogether too smoothly painted, the result being apparently waien features and limbs. This artist also exhibits a number of portraits, all examples of the minute and careful painting, which he appears to have made his forte, aud which, though charming in small studies, k not suited for his larger canvases.