ART GALLERY

Evening Post, Issue 122, 26 May 1933, Page 8

ART GALLERY

AUTUMN EXHIBITION

TWO OUTSTANDING WORKS

AN* ARGENTINE AETIST

The autumn exhibition, or sketch exhibition as it is sometimes termed, of the New Zealand Academy of Fine Arts will bo opened tonight in the WJiituioro Street Gallery by the Mayor, Mr. T. C. A. Hislop. There arcs in this exhibition considerably fewer pictures than usual and comparatively few of any size—not that the dimensions of a painting are any criterion of its worth as a work of art. Not having overcrowded walls makes for better appreciation of the pictures that are hung. Comparatively little- work has been submitted from outside the Wellington district, so the exhibition is almost a local one in character. It is pleasing to find a dozen or so new names among the exhibitors, and one of the newcomers is reputed to bo only sixteen years of age. This advent of ue"w talent, and some of the newcomers show promise of very good work to come, is an encouraging sign, and indicates that art will survive the depression. It is also encouraging to see that some of the regular exhibitors have not been content to let their art stand still and are showing examples of work which contain unmistakeablo evidence of advance. NOTABLE LOAN PICTURES. The exhibition as a whole may fairly bo termed an average one for an.autumn exhibition, but it is rendered notable by tho loan of two large oils by Quinquella Martin. The only claim that these have- to bo included in a New Zealand exhibition is that they are two out of three works by this artist which have been purchased for tho Otago Museum in Dunedin by Mr. P. R. Sargood. Quinquella Martin during the last few years has, by sheer originality and merit, forced his way to become a scintillating star in'the firroa-" ment of artists whose works are eagerly sought by the large galleries and collectors. He has exhibited at the Royal Academy; most of the chief art galleries of the Old World now contain ono or more of his works; American galleries aro eagerly buying his pictures, and the Prince of Wales has bought one. Quinquella Martin was a coal lumper on the wharves in the Argentine before he abandoned sacks for tho brush and palette knife. He has had no academic training, and, being entirely self-taught, has assimilated no tricks of the trade and has developed a style of his own. The only modern painter to whom he may be compared is Van Gogh, but the similarity is only superficial. Reared in an atmosphere of dockyard life, with gigantic cranes clutching and • lifting, with fiery . factories belching forth flames and smoke, with huge ships growing to completion under the ceaseless activities of pigmy men, toiling from daylight to dark, Quinquolla Martin actually expresses in his paintings tho experiences of his life. Dockyard life has before now made a.formidable appeal to painters of pictures, but they have viewed it from outside, so to speak. Quinquella'Martin _ is, however, no painter devising pictures so that his craft may have exercise, and few painters before have ever been so intensely inside their subjects.. The examples of his work exhibited, and of which photographs appear in today's "Post,'' are called "After the Bain" and "Filling tho Castings." -Eaclvreveals upon, study the fearless and forceful way this painter transfers ..■Jo-canvas what he has experienced, tho palette knife obviously being used in ■preference to the brush. His compositiohs are bold, with a tendency to sacrifice mass to detail. His colour is brilliant, almost to garishnoss, and yet tho whole is entirely satisfying. His robotlike figures resemble human beings, but they are not literal representations, yet play aii essential part in the expression of something bigger, than themselves. All parts of his pictures are subservient to the whole. "After the Rain" shows wharf labourers unloading barges into waiting drays, the pools of oil water on the wharves suggesting the title. "Filling the Castings" is a foundry scene of feverish manipulation of a molten mass of metalT—lurid and forceful. In looking at the)e two canvasses ono realises tho difference between a work of art and a mere painting. This can be said without In any way disparaging what else there is on the gallery walls. New Zealand is but a young country in the world of art, and all her artists cannot aspire to being Quinquella Martins. FOR THE LOCAL GALLERY. If Dunedin has been fortunate in securing two such important works of art, the. Dominion as a-whole is also to be congratulated. The New Zealand Academy has not been able to aspire so high, but it has secured.for tho Wellington collection a water-colour by the late Murray Fuller, as a fitting tribute to the memory of ono who did so much for art in this country and elsewhere. This artist's work had much improved during recent years, and his colourful eastern scenes bear the stamp of thoroughly artistic work. Several are shown in'the present exhibition, No. 31 being the one that has been purchased, and this was exhibited recently at the Royal Institute of Water-Colours. Visitors to tho exhibition who hope to see something really "modern" in the way of art will not be disappointed. Several examples are there to be scoffed at, misunderstood, or appraised, according to taste. In one or two there is almost complete emancipation from commonly accepted rules and canons of art: with what result must be left for each to judge. The chief perpetrators are Helen S. Blair and John Hutton. There are no outstanding portraits, but if the palm is to be awarded to any one portrait-study it will very likely go in-the judgment of many to "The Alien" (100 a), by Jessie Elliott. This very charming picture of a Chinese Girl in European dress is marred only by the rather obtrusive table-top upon which the girl is resting her arm. There are other portrait and figure studies of interest, particularly, those by Gwendolen Hansell, Nancy F. Adkin, W. Tiller, E. L. Prince, Maurice Kerr, Betty Bland, G. H. Chamberlain, Lcn Watkin, and Julia B. Lynch. MANY LANDSCAPE STUDIES. • Landscapes naturally predominate in the exhibition, the water-colours outnumbering the oils. Amongst the many that will be admired aro several by Sydney Higgs, who has the knack of capturing sunshine whether he is working in oils or water-colours; a group of oils by Marcus King, distinctive for their.rich colouring; colourful water-col-ours by W. S. Wauck'op; dainty and more sombro studies by Nugent Welch: some pleasing effects in water-colours by Gwyneth Biehardson; a pair of oils breathing spaciousness and colour by W. Tiller; half a dozen sketches by R. J. Waghorn; and three studies by A. F. Nicoll. Other exhibitors, whose work will not pass unnoticed include M. O. Stoddard, Ella Spicer, Jean McKay, G. E. Lewens, C. Langesen, Erie N. Gully, Esmond Atkinson, C. Hay 'Campbell, and Joyce Cross. Two well painted interiors by E. Doust are worth attention.'There

will be appreciation too of the work of T. A. McCormaek, G. C. Macquarrie, and Ann P. Hewitt. In some, of his sketches John Moore shows more colour than has previously been his wont. Upstairs will be seen several examples of work by Gwen Nelson, who has been studying abroad, and an examination of her unusual technique is worth while. Another New Zealander who has been painting in England is Corideven Thornton, and her water-colours, also upstairs, are well worth notice. A. S. Paterson shows his versatility in quite a number of pictures. An etcher of great promise is Phyllis Kerruish. Her work is on the screens, together with some by Aileen Palmer, K. W. Hassall, M. Matthews, E.J. D. Turner, Roland Hipkins, Mrs. A. D. Crawford, and others. Mrs. Crawford's contribution is a flower study in fine tapestry work. Still life subjects have claimed the attention of quite a number of exhibitors, Zinnias being the flowers most frequently chosen owing to their brilliant colours. Exhibitors who have met with success in this line are Miss D. K. Richmond (who, in addition to her usual beautiful flower studies, has made an excursion into the circus tents to obtain studies of elephants), W. S. Wauchop, Stella Hudson (skilful painting of glassware), Clara Cockerill, E. L. Prince, Julia B. Lynch, Margaret M. White, C. Hay Campbell, Betty RMnd. Beatrice Partridge, Elizabeth Perry, and A. L. Avery. Other exhibitors, who contribute to the success of the exhibition, lack of space prohibiting more than the mere mention of names, are F. R. Alexander, S. N. Bade, Y. Bendal], P. M. Bolland, E. Boyes, I. Calder, J. Campbell, B. K. Chappie, E. O. Chapman, B. Christie, M. Clapson, F. de J. Clere, H. L. Cole, C. Coster, A. T. Craven, E. Cresswcll, E. Dalziell, E. Danby, M. Dayman, A. E. Douglas, L. A. Fielder, G. 11. Garnhani, M. M. Gawith,. L. Grant, F. D. Gray, E. F. Gyles, B. Harvey, J. A. Hoginbotham, .r. Hiirsthouse, D. Joblin, E. B. Lattry, IT. Lynneberg, N. Maudsley, F. P. Maunspll, J. Maunsell, K. C. Mc.Dougall, M. Melntosh, Ross McGill, R. Nelson, F. G. Ockendcn, C. M. Paterson, A. Paul, J. C. Peare.c, E. Perry, W. If. Pratt, F. A. Price, H. H. Pulleine, W. E. Rice. E. K. Robinson, B. Seddon, R. Self, T. Skinner, D. M. Y. Sommervillo, M C. Stewart, H. H. Tombs, M. E. Tylcc, G. T. Ward, C. L. Watkins, V. E. Whiteman, A. F. Whytc', E. F. Wickenden, L. Williamson, M. C. Wilson, and H. P. Wrigley.. Architectural drawings are exhibited by Bernard W. Johns, W. Fielding, and J. S. Swan.. -