THE ACADEMY EXHIBITION

Evening Post, Volume CXXVI, Issue 80, 1 October 1938, Page 6

THE ACADEMY EXHIBITION

When the New, Zealand Academy of Fine Arts was founded some fifty years ago, it was by men and,; women who, after battling with Nature, wished to devote some time and attention to the higher things of life. Theirs was a vigorous culture of a high standard, I built on a sound British tradition, and the foundation of the Academy was with the object of enlarging and fostering this, culture. Art in New Zealand has largely remained traditional, as a visit to the academy's fiftieth annual exhibition which is now open will show. So far nothing new has evolved, and even that which is termed "modern" is not j new. It is simply imitative of work being done abroad. But the fact that New Zealand art has hitherto been built up on tradition is no detriment. It is good to have built up on a sound tradition, brought; first. hand to this country by such artists as Petrus Van der Velden and James Nairn, but it would be pleasing to be able to point at the same time to signs, of the beginning of a distinctive school of New Zealand art. That, however, cannot as yet be done, although by the time the academy has centennial celebrations perhaps a different story; will, be told.

In the meantime there are Hundreds of. young people attending classes in New Zealand's schools of art, but very few seem to emerge with-distinction. Between the artists who have gained a standing in New Zealand and the younger painters there is a big gap. If there were more true amateurs in the realm of art in the Dominion, and not so many- who. endeavour to make a precarious living put of art, the best might develop more fully and continue the good work commenced so wqll in days gone by.

The annual exhibition .of the New Zealand Ag^demy of Firi^ Arts presentative, of; the work of artists right throughout the Dominion. Most of the artists who usually exhibit are doing so again 'this year, the two most noticeable exceptions being Sydney L. Thompson and H. Linley; Richardson, both of whom are abroad at the present time. It is a pity that they were unable to send something for the jubilee exhibition so as to make it absolutely representative of the Dominion's art. The present exhibition reaches a high standard, arid gives an.impression of brightness and vitality. The grouping of the pictures in panels is a distinct aid to serious scrutiny, since the continuous. long line usually adopted, can become very monotonous. The most important, oils are hung in the main gallery and occupy the north wall. Groups of brilliant watercolours are arranged on the two/south walls. The pictures in the smaller galleries have been grouped according tp ■ outlook, and some of the very fine drawings in No. 5 Gallery should not be overlooked.

The centre panel confronting the visitor on entering the main door is very rich in colour, with a dignified portrait of Professor J. Hight by Mrs. Elizabeth KeIIy,;JVLBiE, occupying the place of honour. This difficult subject has been treated with restraint;,"character is. given to the sitter, and. .the scarlet academic gown is not allowed to detract from the. portrait.

Mrs. Elizabeth Kelly is a very consistent artist; who has riot" been led astray by.the-many phases of experiinentalism which ijasj'taken so many off the right tpackr vShe^asvgone- ori successfully -. doing. ,her ;work - and ; ad-; vancirig , year, .by; year.''' Honour: does not come easily to -artists in this country and all New Zealand rwas gratified when the distinction of ''MiB.E. was granted this year ,to; this well-known painter. No. 65, "Miss -Edith Macs" is another example' . of Mrs. Kelly's work. It is simple in .composition, fine in colour, and contains all that feminine charm which is essential to a portrait'of a "woman* This work has been hung in, the Royal Academy Exhibition, and received a silver medal when hung in the Paris Salon. That versatility belongs to this painter is shown' in No.- 66, '^Autumn, Christ, church." The facade of the Museum provides a very picturesque subject,' well handled. The colour is a delight; quiet greys with the bright tipts of the autumn leaves as accents. .

Cecil Kelly,, of Christchurch, exhibits an oil painting of houses in sunlight Which will be one of. trie really bright spots of the show. It is lovely in colour and carried through -with consistency and charm. No. 68, "Sun-i lit Headlands," by the. same artist, is not quite'so happy. The sea somehow refuses to fit in* but there is some good painting in the cliffs and foreground. Nugent Welch has on this occasion given more oils than ; water-colours, and very robust oils they are. No. 6% "Land Breeze" is vigorous and fresh, with such moving, drifting clouds as one sees on a breezy day. The dark masses of tr^es are beautifully placed. "A Fordell Landscape" is Very. well designed and has grace -and dignity. No. 62,: "A Bend ip the Road," is weR conceived and carried out fit has a definite quality and vitality. These oils bring out the truth of the - countryside, and show distinctly that they have been produced by-a true>lover of nature. •••-.....-,.■

Archibald F. Nicoll., always '■ has something to say, and, although his works are npt large, they. are admirable. No. 61, "Brown's Farmyard," is well composed, the dark masses of the hayricks forming .a fine pattern. A luminous^sky is, a: satisfactory bacfe ground. No. ,53, "West Welton Road" an avenue of treesgiving shade, makes a very pleasing picture. The whole picture has decorative quality and serenity. "September" has a very vigorous quality. The moving clouds throw shadows on the pasture and this happy arrangement of light and shade sets off the landscape to perfection. VITAL FIGURE PAINTING. • ' A,'„^« P'Keefe does not often show l in- Wellington. His two figure subjects are among the most vital in the whole exhibition. No. 35, "Charlie" lis delightful in its truth. Here is a boy, quite natural, no attempt being made to .dress up, clothes rather in a S? I?^*!^ ?# carefully brushed. But it is full of life, it is flesh and blood. The colour is. lovely, the background harmonising with the pure greys used in the jumper. "Study in a Mirror", has the same fine sense of colour, but is not quite as successful as "Charlie." This artist knows how to handle paint and sees things in a less conventional manner than many portrait painters.

Basil Honour shows a versatility of subject and his work is always looked forward -to in these exhibitions. He has a remarkable ability and tackles subjects which are riot of an easy nature. The large canvas, "The Cockayne IcefaU" is well carried out and rings true. : It.is a very fine effort, the feeling of depth in the abyss very telling. No. 87, "Canterbury Hills" reveals careful observation on the part of the artist, and the.picture is truly typical of New Zealand. No. 88, "Evening, Routeburn Valley," charmingly depicts in colour that peaceful hour of the day, and "Puponga," with its colour scheme of blue and gold, will I be a favourite.

Of the two portraits shown by Mrs. M. E. R. Tripe, No. 77, "The Corner Table," is the more complete. The colour scheme of warm browns is carried well through, the darker colour in the gown being brought out by the

DEPARTURE FROM ORTHODOXY

marigolds, repeated, again-in the brass jug, and the' gold stripe in the -table cloth. The backgrpinid is quiet and helpful. No. 45 seems to lack solidity, and the drawing of. the eyes and mouth are not satisfactory.". , ;n Three. decorations of flowers by this artist" have charm and distinction. ■'•"'■: J. Cam 'Duncan shows three "small canvases of delightful subjects." They are all carried o'tit-" thoroughly, '"• and possess a distinction-of their QAvri. .£he colour is restrained; "-.'but. nothing is lost because Of this. -.';. . .- THE WOULD-BE "MODERNS." Work which will bo termed' -^'modern" by many visitors: to the eithibition has as far as possible been/group-, ed together. The New Zealand Acad-

emy always encourages my work which it feels to be sincere, no iriat»: ter what the artist's outlook or method of approach may .be; Much of.V/bat. is exhibited in: this.-"modern"^group-is by artists who, until quite-recently, painted in a more academic manner . but who have now been, influenced' byy certain artists who are experimenting' in new phases of art.. "Copyists" rather than "modernists" .might be .-the,: termto apply to soirie of. them., la :spme" ; cases it \Vould appear that the^Object which has been, chased has 'eluded them: and in some cases the ability to use paint seems to have uhaccoun^ - ably vanished, v.?-".-:.- - '' ':Ar -/ John Weeks shows a;giroujp" of a work 'X. sufficient enough to show his &dVahca into anothen school of thQuiht.vHis work hangs welltogether and is ias .-i, ; whole a very fine.colour scheme. ,N0.,; 201, "Afternoon On; the Seine," is a; pleasing arrangement but-Tacks; the necessary life, ; It is good iji; colonr, and tells its story quite plairiiy. ; No. 200, "Pots arid Paintrags," is Very 1 rich iri colour, but too scattered;. No. 202, ''Circus Camp, Avignon," -.an^ .No.; 198, "Jewish Women, Washing,'' -are the two most successful efforts,-with good colour and design.in,;both.- It dO<es!;ndt matter much whether the: iuJ^csef is immediately apparerit, the. c^y^s as a whole pleases. lii the iandsc'ape which v has been treated in-the same manner the whole truth is lost, it becomes > simply a '-dark.-m ass;." '■' ■'•:• --H Y--':.-

Evelyn Page, whose work m the past was eagerly looked forward to, has also embarked on an adventurous arid; exciting path. .As most; of,;the .subjects are of sceries abroad, it yroulcb appear that - during a recent ; sojourn outside New Zealand she has been'".:directly under the influence .bf a painter,;who has imposed his o.utlopk iipbn* iteri While under, that influence: all is fairly well, but when away from it the rer suits are not. so successful.. "Charles Brasch," No. .173,- is quite ,a vigorous portrait. It is good.in colour- arigsrell arranged; and is pairited freshly; tand courageously. 'No. 174, "Outskirts; oi Exeter" has consistency, a sense: of rhythm,, and again good colour.^-JNO. 172 is the most successful of :ail. It-is full of sunlight, contains life;arid'inct dent. But this is more; of "the type oi. work received from.-Evelyn Page .in the palt before she .commenced: to make Nature conforni tocher idea* of what it should be

Rita Cook gives tyvfb: pbrtraitei^One:':-;,: is very harsh and unpleasant injjblouf;; and the other is a plain vstatemeritiwith little: to support it. - The landscapes which have been, tiaken from %^ most unpleasant spots are .too v plain; ---raltogether..: They are so. Ximsyo6p^ v every mark: on the- hillsicie -Jihdr;,/Jriil^ay stattiori being; giye£ifu!t and ail. backed by 'raging skt^s,r^Thy , should. Nature, be; niade^o, as?eatf;- so: , unrelenting? .-" - ~: Ar-Ai-'A :,:kAt ' •"- ; Russel Clarke work: IsKdisapoemUy;

ing. It would be better' if': this; artist devoted more time tb seribiis ftudy than trying to adopt "the/butltfok of •">- ---other people. Every,; work -is iroita* tive, and unhappily crude in colour. Xy. Louise Henderson; is; working} but a way wb ich is individual;.; She Simpli-: fies very well and uses the; essentials to the best Of their advantage. -'Her colour is good, delicate, buY harmonious. Her work has some relation, to the subject chosen,; but is not too ; traditional.' .-..,"■ . ;"U--; >-"- ■;' '""";";-; Owen I^e depicts:the clarity :_ IJew Zealand: atmosphere Avitft^fiitfc. / His work is sound ;arid-carefull^?cori-sidered. At the present, tinfti-bri^- can ; : ice the influence of ; ce^aiA/Smatpre r painters in it, but;with-such' sincerity : he must develop alopg,his own lines.

GOQD WA^EItqOLOUES^ The watercolour /section: xot ;ih^«riii» bition is particularly interesting^ alt if, numerically: stronger than, the; oils, and perhaps pictorially- < $OQi yAl3v*. medium suits the New ZeidariCligbtt and gives a brilliance . which. -Other mediums often lack. Triers ase works . which surpass anything shown before and which will: give great^ jen^pymajty and pleasure to the visitor^; ,-.-• It is good .."to- see:the-work oft^one artist grouped together. ,Thi* allows:; the onlooker to see whether it ttrcorisistent or not. Often one- briUiant work appears and th^t shown la|ie'r is disappointing. This is not -the,'case;-. with T. A. McCormack. AU his. watercolours have a fresh .qtxality- ,and s££rkle; and each one can stand up to the other. The still lifejvhich i» centred is a happy starting off for surrounding work. -It"is beautiful «v colour, the' lovely colour and snapesx of the spiky flowers being well, set, bff by the dark notes introducediby, me fruit and leaves,,and the, delightfully freely-painted plate. ±.:On-. either: side .. are a landscape, and a seascape, both quiet' but : rich in'■ colour;v No.-11, "Across the Straits," is veftT tedftiplete and satisfying, '" The:" ha^^"Of browns and greys, is delightful,-,/me green of the sea being a-perfect complement. Distant hills /bathed;;.ia atmosiShere add a feeling nf iSlmour No. 15, "The Poplars.'-is dignified and serene. It 'gains considerably thrbugh its restraint of colour,.. No. "./Geraniums" is crisp and well c<»ceived. The manner iri which the..foliage as treated is a good lesson to any student. ■ The crystal vase; shows SUality P^texture.- Both the cloud, subject an* the seascape on either side of "Qera^iuinsr have beautiful colour, very carefuUy observed. .There is great luminosity' in «^, seascape. , v ,o^^ James Cook Ms only colours on exhibition, but No. 103- Les Angles" makes up for lack.mnumber!' It is a very fipe ■ dtawipg, thoughtfully approached iu>d w;eUncals Sed out. One would like toaee, more of this sort &f work; by the younger painters in New Zealand,-- : /: " 4 Nugent Welch shows-three,: v watercolours only, fresh"and charming*.-His. work is jdways looked forwatd ;to at these exhibitions. "J :; """". '""""-;". I Esther Hope is irio'st successful m her works where the native nikau palms make the motif. They arg.both - very ilow in tone,-but giv^';a;.;tiling of the density ahdjsombreri^ss-'bf bur native bush. -.-$76-. 127, "^yGardehif is lovely in colour, bt^t ratheif'iscattered. Jean McKay has'spveral floAverpiefces on view. These, are bright ; ijri '. colour and show skill intexecutic^TA'-iW^e. more thought regarding- -composition

would help them along. , X y'Xx) • Olivia Spenser -Bower, hafe i^sed -the ballet for subject, arid is most successful in **Beau- Danube", This XHM *cry rich colour and a good sense- of

rhythm.-; ■y.'-x'^'Ai Beatrice Seddon* shbws a bunchy of vivid rhododendrons which enliven the end panel. '■'■ A,\ '■■■■AA* -'XX- . F. H. Coventry exhibits some scholarly ; drawings,- and. Eric? Lee. 4£hriStO!V some excellent lithographs. " - ;/: