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THE ART SOCIETY’S EXHIBITION.

FIRST NOTICE. On entering the gallery the visitor will notice a small panel picture by R. Hawcridge, No. 1. It is called ‘ The Departure,’ and represents a cavalier and his bride starting, we presume, on their honeymoon trip, he in all the pride of a blue coat, buff boots, and heliotrope feathered beaver. She, as “ Myra ” would say in her journal, is attired in a going-away gown of “old canary,” but without any headgear that we can discern. The bridegroom’s off leg seems to be a trifle short for bis body, but that is a mere detail, and not to be considered in the light of the evident happiness which beams in the mutual glances of the happy pair. The shady lane down which they are riding is well painted, and the picture will have many admirers among those who maybe that way inclined. No. 2, ‘Moonlight, Oamaru Harbor,’ should not have been placed on the walls; it is weak in drawing and incorrect in color. No. 3, ‘ Olive,’ by Miss Lingard, represents the head of a young girl drawn in profile and painted in shadow; both drawing and coloring are good and in keeping, and the picture is creditable to the artist. No.4,‘Evening’(A. S. Wood). lathis work the painter has Succeeded in successfully representing the effect intended, the sunset sky and reflection in the pool being very well produced. No. 6, * The Nuggets ’ (Miss Kirkcaldy), is unequal in its execution, a sad falling-off being observable in the representation of the distance; indeed, the foresea looks as if it had been put in by another and very much more competent band. No. 7, ‘ The Ead of the Day,’ is Mr Nairn’s chief exhibit, and shows all his well known technical skill to advantage. The subject J.s,full of interest, and the difficulties in giving a true rendering of the waning light have been successfully surmounted by this clever artist. Though low and subdued in tone, and at first sight appearing to be somewhat sombre, ftho picture is really full of color, and it is one that grows with looking upon. No. 10, ‘ Elm Grove,’ is a great improvement on Mr Melvin’s last year's work. No. 11, ‘ Youth.’ Oar knowledge of the human form divine “mid nodings on” is not, we - must at once confess, sufficiently good to enable us to say whether this figure is correctly drawn or not. If it is, then we don’t admire the pose ; if it is not, it seems a pity that it should have been shown. There is a want of cleanliness about the flash tones, especially in the lower limbs, which is disagreeable to the eye. Miss Joel’s next wonc, No. 27, ‘Onlv We Two,’ is much better, and shows the ability of this undoubtedly clever young lady to much better advantage. No. 19, ‘The River Bend ’ (R. Hawcridge), is an admirable piece of drawing, representing very characteristically a scene on that pretty stream the Waitati. A little pool, apparently formed by a dam, reflects the surrounding and distant bush, while the main stream flows by. The otherwise excellent quality of Mr Haworidgo’s work is, however, somewhat marred by the blackness of his foreground, the forestream lacking that pellucidity which one expects to see in water of this kind. No. 22, ‘A Little Maid of the South’ (Miss Blacke), is a new departure for this artist. The figure and its position arc not without merit, but the drawing is defective, and the rendering of the child’s dress is capable of improvement, there being a want of sufficient indication as to texture. No, 28, ‘ Lake Manapouri,’ filly represents one of the many aspects under which this wonderful lake is occasionally seen. The artist has in this picture chosen a day of gloom, and has carried out his motif fairly well. No. 31, ‘A Fisherman’s Cottage,’ is by one of the clever members of the society (0. H. Howorth), and is a very good example of his wellknown manner. The picture would, we think, have been improved by the suggestion of indoor life by the introduction of a little smoke from the old wooden “lumb.” No, ,32, ‘Gatlins River’ (G. W. Carrington), is a charming representation of this ' well-known locality as seen under an evening effect. No. 36, ‘ Afternoon in the Fields,’ is another of Mr Nairn’s contributions. It is painted with skill, and shows his : usual careful drawing. Mr Butler’s ‘A Southerly’ (No. 38) is a seascape fairly well drawn, but wants that essential quality in all scenes of this kind—atmosphere. The same observation applies to Mr Walsh’s picture ‘ The End of the Reef’ (No. 68). Miss Joel’s small sketch No. 49 (‘Motherless Bairns’) is a pretty little conceit. With a few apparently random touches of her brush she has given us a suggestion of a very pleasing subject. At first sight it is a little difficult to make out the picture, but a closer inspection brings out very well the faces of the two little mites which have furnished the artist with her theme. No. 54, ‘ Mount Egmonl,’ scarcely does Mr Payton credit; it is weak in execution, and suggests in more than one part poor drawing. No. 58, ‘A Spring Morning,’ a clever piece of outdoor effort, is by Miss Nina Jones, a lady whose work we do not remember having seen before. Mr L.. W> Wilson’s ‘Mouth of the Arthur River ’ (No, 64) is a representation of a subject of which we have had many examples. Mr Wilson here shows us Milford Sound from a new point of view, and the giant Mitre and Lion. Mountains, andj although subdued by mist, are still the dominating key of this wonderful locality. No. 66, ‘Matanaka Point,’ by Miss M, Smith, is a well and faithfully drawn view of a most picturesque headland. The color is a little cold for the class of cliff, composed, if wo recollect rightly, of broken down clay strata, but in the. presence of the good drawing this is but a detail which in time she -will successfully master. We suggest to this artist as well as others that she and they should look at some, sketches .in. the- side room' by the late Mr Cousins, where this particular locality is shown with great truth and skill. Mr Payton in Np. 71, ‘After Sunset,’ quite retrieves his reputation. This is a delicious bit of evening color, and does him every credit. The landacapeof thegallery is without doubt No. 80, ‘Among the Reefs,’ by Mr John Gibb. Properly-speaking‘it is'

a seascape : it shows the tide racing round a number of kelp-begirt and sea-washed ricks, and the effect of the swirl of the waves is given with that fidelity and artistic skill which might be expected from an artist of Mr Gibb’s standing. A bold and broken coast line carries the eye far away to the distance, and the atmospheric effect is well rendered. So good an example of Mr Gibb’s artistic power has not, so far as we can remember, been seen on the society’s walls before. No. 82, ‘ln the Meadow,’ is by Mr A. S. Wood, and is the picture to which the society’s silver medal for this year’s competition in landscapes has been awarded. It shows artistic skill in some parts, the distance for example ; but the foreground is lamentably weak and conventional, and the cattle are—well, rather poor. No. S3, ‘Halfmoon Bay, Stewart Island’ fMrs Whettei), is somewhat wanting in draw* ing, but the coloring is very fair. Miss M'Dougall has a couple of pictures- in proximity to this—No. 81, ‘ A Bush Study ’ and No. 86, ‘ Mount Cargill.’ Each of these is executed with her accustomed care, and the latter especially will be well recognised. Mr Gibb’s ‘Entrance to the Port Chalmers Harbor.’No. 93, isawell-knownsubjectwhich he has favored with representation before. With No. 96, ‘ A Rocky Coast,’ by O. H. Howortb, which is clever but sketchy, we conclude our present notice.

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THE ART SOCIETY’S EXHIBITION., Issue 10469, 12 November 1897

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1,328

THE ART SOCIETY’S EXHIBITION. Issue 10469, 12 November 1897

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