ART EXHIBITION

Evening Post, Volume CIX, Issue 120, 23 May 1930, Page 11

ART EXHIBITION

STANDARD HIGH

NOTES ON SOME PICTURES

' Tho autumn exhibition of the New Zealand Academy of Fine Arts, opening this evening for members' private view, will be open to the public on Saturday and for the ensuing two weeks. This autumn exhibition has ceased to bo the sketch exhibition of former years, and finished works adorn the walls. On the standard of work displayed this year there can hardly be two opinions. It is more than up to the standard of many previous exhibitions, and tho selection committee-deserves congratulation for its courage in rejecting works association with which is no compliment ■to tho painters of real pictures. It is entirely right that the aim should be, not to crowd the walls, but to present to tho public only what is worthy of a place in an art gallery. To'a greater extent thsm usual tins has been achieved, probably, however, not without giving offence in some quarters. But that is tno way of the .world, and the majority of critics who have no axe to grind will applaud the selection committee's choice. Art, like education, is in a continuous state of flux, hence tho momentary scintillation of peculiar cults, cubist, futurist, and ,the Jike. But Art, unlike education, has no Minister to formulate a policy or to suggest a bias, therefore Art, unfettered and untrammelled, is free to pursue whatever course it likes. Unfortunately, as far as.the present^exhibition is concerned, it is difficulty to sec any very definite signs that New Zealand, artists are' developing an art distinctive of their corner of the globe. Time and again this has been appealed for, and it is to be hoped that it may yet come. In the meantime perhaps more than usual interest will be evinced in what is now being shown in the Whitmore street gallery. Critics will express the usual divergent opinions and agree to differ, while the ordinary public, unmindful of tho accepted criterions of art, will look at the pictures, covet some, admire many, and pay little heed to the remainder. It is the purpose of the following notes to help this public, rather than to criticise tho artists and their work; to give a brief indication as to what is on view, without necessarily mentioning all that is worth mentioning and without bestowing criticism where criticism would be superfluous. Hung on the line in the best place over the dais are three portraits that at once catch the eye upon entering the gallery. The centre one is of Lady Alice Fergusson, who posed in a coloured shawl over a black dress, and the artist, Mr. A. F. Nicoll, has succeeded admirably in the treatment of his subject. To the right is an even bettor portrait by the same-artist, one of the., lato Mr. T. G. Macarthy. This has been purchased by the Academy as a momorial, ancl will have a permanent home in tho gallery. Tho third of the prominent portraits is one of the late Chief Justice, Sir Charles Skenett. It is painted by Mr. W. A. Bowring, 8.0.1., and is an excellent likeness. Viewed at close quarters the flesh tints may strike some as not being quite happy, but such a portrait, of course, needs to be appreciated at a little distance. AMONGST THE LANDSCAPES. Of the landscapes over the dais, an oil painting by Mr. W. Menzies Gibb, "Mt. Philistine, Otira Gorge," breathes the West Coast atmosphere. The same artist has -been honoured by having his "Sandhills, New Brighton," purchased by the Academy.. This veritable; little masterpiece in water-colours will be found on the loft-hand wall, not far from the door. On the end wall prominence is also given to four attractive oils by Mr. A. F. Nicoll. "Rural Canterbury" is a cheerful and arresting study in greens and blues, and "May Sunshine" an equally pleasing study in which autumn browns and yellows find their place. The two others are "In the Pubi Valley" and "Harewood." On the right-hand wall another of this artist's pictures .will attract attention. This- is "Huglnes Bluff," in which grey storm clouds arc ably depicted. . n The merit of "Chums," by Mr. G. E Lcwcns, will be easily recognised. The seated girl's figure with the head turned away is cleverly executed, and beside her aro two dogs. The rural setting of tho group is enchanting, supremacy being obtained in' the. masterly treatment of light and colour rather than in the drawings m the animals, This latter remark applies also to two other examples of his work, "April Afternoon" and "Turning the Plough," both of which are on the end wall. Mr. W. S. Wauehop is well represented, and his water-colours will receive attention from the discriminating. "Holutika Eiver" is perhaps the most striking of the group, with its mountainous •background and flowing stream. "After Rain" is another very pleasing example of Mr. Wauehop's.work. Two of his oils are very attractive. In' "A Summer Afternoon," depicting two figures against a haystack, the sunlight is cleverly caught. More subdued, but equally, pleasing, is "The New Stack." Mr. Nugent Welch is very definite in las paintings, and amongst his water-col-ours on the left-hand wall nouo is better than his "Canterbury Landscape" with its predominating warm greens. Others of his pictures show his skill in painting the sea, particularly "From the Cliff Top" and "Kapiti and the Cloud." ■'-~, No Wellington exhibition would be complete . without representatives of Miss D. K. Richmond's work. Apart from her still-life studies, of which there are several, there are half a dozen or so landscapes very typical of this artist's work. Several of these have for their theme the North Island's .central group of mountains, and those who know Miss Richmond's Mount Egmont studies will easily recognise tho same hand at work. Included in her contribution aro some Canterbury farm scenes, pleasing ancl distinctive. "In Otira Gorge," "Low Tide, Akaroa," and "The Brushwood Shelter," aro typical examples of Miss M, 0. Stoddart's bold treatment. Many will appreciate the cheerfulness of Miss Ann P Hewitt's summer seeucs, such as "Tho Bathing, Pool," "Wangamu Eiver," and "A Summer Day." A gem, high up on tho loft side wall, must not be overlooked. This is "The Old Bridge," by Mary S. Adams, perfect in drawing and colour. Gwyneth Richardson's several contributions will repay study, especially the two views fcoin the top of Mount Victoria and "Manor Park Bridge." Mr. E. J. Waghorn has also found inspiration along Wellington's coast line. Ho exhibits, amongst others, "From the Hill, Day's Bay," and "On. the Road to Pencarrow," as well as a couple of studies of snow-covered mountains. Mr. T. A. M'Coraack is bold and free in his treatment of "Inner Harbour, Napier," and also shows some vivid work upstairs. Also (Upstairs are Mr. J. X Palethorpo's water colours, which should not be passed by hurriedly. His "Cambridge Landscape" and Waikato Landscape-" aro both refreshing. Ndar them will bo found Mr. Esmond Atkinson's "Brown Study of Venerable Trees," the title of which speakers for itself. Upstairs, too, is Mr. Cranleigh Barton's masterful "White Horse Close, Edinburgh." STKONG SENSE OF COLOUK. In no respect lias Mr. Marcus King lost his vivid, albeit truthful, sense of

colour; and would that some other artists would emulate him in the realisation that colour is of deeper import than form. Working in oils he seems tq fix on his canvas tho glowing sunlight, iliis is seen in "Tho Edge of the Bush, "In a Rock-strewn Valley," and in. tuo smaller "Seaward Valley." W" purple tones are evinced in two evening studies by the same artist. Another exhibiting artist with an eye to colour is Mr. Sydney Higgs, who shows a number of examples of his glowing art. "Easter Camp" (near the door) is autumn par excellence, and amongst others will be admired ' Hint River," "Tho Blue Bay," and ' Ine River Bank." Alice F. Whyte also knows how to capture sunshine. "Sunlight" is alive with colour, and equally effective is "Old Identities," old buildings at Onehunga. Colour, too, is not lacking in the many excellent water colours shown by B. Munro Wilson, who paints i- distinctive style. . . No catalogue is issued for this exhibition, -which makes it harder to ensure that nothing worthy of study escapes notice. In these cursory notes no mention can possibly bo made of all the pictures that deserve mention, but a brief reference must be made to the following:—E. Washbourne's "Sand Dunes, Nelson," and "Walcapuaka Koad, Nelson"; G. Thornton's "Still Morning, Wellington Harbour"; K. It. Handyside 's several and varied contributions; two little gems of Wellington Harbour by jtfrs. Stowc; three unsigned oils ovor tho dais; R. A. Lovell-Sniith's three bold and somewhat gaunt sketches; "Kapiti from Kauihati," a delicate and pleasing work, by H. M. Gore; several soft harbour studies by Lcn Watkins; Hoy Hunt-r's bright autumn studies; several pleasing water colours by Ella Spiccr, an unnamed valley vista being perhaps the pick; two very soft and charming studies by Mrs. Malcolm Ross, "Mount Ruapelm," and "Blue Bells. Kent"; F. B. Alexander's sketches, notably "On tho Marine Drive"; "Tl|o Waste Corner" by M. Compton Smith; E. Hay Campbell's broad treatment of "Tho Crest of the Hill," "Whitchureh Bridge," and several others to be seen upstairs; a couple of W. J. Rush's distinctive water colours; colourful contribution by D. H. Jones, "Mangaroa," and "The Diver's Rock, Hutt River"; sketches by Jean Mackay; and two Swiss scenes by B. J. D. Turner. STILL LIFE AND STUDIES. Probably most controversy will range round what Mr, Christopher Perkins exhibits. The merit of his "Whale Chasers" no one will gainsay. It is a virile and colourful study of a chaser, on the parent ship. His "Study of a Child" is provocative. The bright pink dress against the vivid green background is striking, but tho general treatment is what will arouse interest. This remark applies also to the uncoloured utudies upstairs, "Lambton Quay on a Sunday Morning," "On the Cobar; Girls Returning from a Picnic," and "Automatic Spades," a happy title for pneumatic drills, Mrs. M. E. Tripe's portrait of Mr. G. V. Hudson will bo acclaimed an excellent likeness, and "Portrait Study" by John Hutton has much to commend it. "Hodge" by J. W. Dickson, upstairs, is the typical country yokel, quite a humorouj gem. B. E. Chappie in "Serious Reflections" has made the most of the mauve dress, black fur, and yellow beadj on the sitter. Constance Bolton's study of a young girl is striking in its arrangement and execution. "Tho Pink Beret" by Betty Kliind will also come in for notice. "The Reader" and "Sunday Afternoon" arc two clover conceptions by J. L. Roeburn. W. Tiller's "Nude" is a, praiseworthy bit of work, strong in colour. "The Model" by Mary M. White is also full of colour, and in "The Red 1 MantiJla" a bright note has been struck by M. E. Richardson, ' : Amongst the flower studies, Miss D. K. Richmond is to the fore with '■marigolds, zinnias, and roses. Two bunches of zinnias arc also successfully painted by Clare Coekerill, and Mary M. White's "Petunias" is excellent. "Roses" by Salome Coombs is also full of merit. "Hydrangeas'' and "Delphiniums" by K. M. Handysido arc both perfect bits of flower painting. "Gladioli" by E. M. Waterworth, "Nasturtiums" by Helga Lyndberg, and several flower studies by Jean Maekay are -all worthy of' note. In Constance Bolton's still life group, in which a methylated spirit can and a saucepan figure amongst other objects, is clever in tho extreme. On the screens are a few etchings and pencil drawings. Pride- of place must be given to Mr. H. Linley Richardson's drypoint "The Moving Picture Thoatre:" Pleasing arc Mrs, Sawtcll's studies of New.Zealand trees. ''Hyde Park Corner" is a successful bit of work by E. J. D. ■ Turner, as 'is also a pencil drawing of the whale chasers by W. L. Palmer. Stuart Peterson lias a number of etchings of scones of Maori lore upstairs. Also on tho central screens is "Busy Boo," a charming little episode by Nancy Messenger, and Jean Mackay's imaginative, "In Ike Land of Toadstools,'' which the academy has purchased.

Two fine works of art, recently introduced from England by Mr. Murray Fuller, are also on view. These are entitled "Sunny Morning," by Harry Watson, and "The State Dining-ltoom" by Campbell Taylor. Both wero d«scribed in "The Post" when they were first exhibited some weeks ago, and tlio public are now being invited to subscribe for their purchase for the public gallery. As representing some oi tin) best contemporary English art they uro worth acquiring.