THE OTAGO ART SOCIETY’S EXHIBITION.

Evening Star, Issue 10782, 17 November 1898, Page 4

THE OTAGO ART SOCIETY’S EXHIBITION.

A NOTICE OF THE EXHIBITS. No, 11. Continuing our remarks on the oil paintings, we go back a trifle to do justice to Mrs T. M’Crorie in respect to her exhibit No. 41, 4 Old Quarry, Mornington.’ It is a simple and well-selected subject i treated in a painstaking manner, and there are not many better examples of evening effects on the walls. Mrs Whitson’s 4 Fernoank ’ is a rather crowded view of a house and : grounds. The tree in the foreground would have been of itself enough of a picture. Miss E Hill’s 4 Lilac’ is satisfactory so far as the blossom is concerned, but it is open to question whether the vase and other introduced objects are not out of place. 4 A Hallowed Acre,’ by Miss Hamilton, suffers by reason of tho ugliness of its frame. The acre itself—a rather large aero, by the way has been depicted with a considerable amount of care, and tho lengthened shadows of tho tombstones are moat cleverly done. It is to bo hoped that Mins Hamilton will choose a brighter subject next time. Mrs E. C. Reynolds’s 4 Anemones ’ is certainly to be preferred to any of the flower pieces hitherto referred to. Tho blooms look as if they could be picked off the canvas. E. B. Hayward, following his well-known hobby, presents a rather spirited representation of a yacht passing the tongue wharf, but we think that this artist lias something batter a little further on. Miss Kirkcaldy’s view of St. Clair takes in tho- inevitable baths and beach—a subject that is pretty well played out E W. Payton’s style is. illustrated to more advantage in No. 52 ( 4 In the Back Blocks’) than in the pajr of previously noticed. The comparative sombreness the trees and otheV Objects is a little difficult to understand considering the strength of the sun in the sky ; but, speaking generally, it is a good sound bit of woik, valuable particularly as a lesson in drawing. 4 A Study,’ by Miss Davey, has for its subject a girl absorbed in a story book, her playthings in a litter about her feet. It is a rather ambitious effort, and if Miss Davey has not quite hit the mark she has failed in good company. Miss H. Laudels has a showy study of daffodils and foliage. The stalks are too regular, but the blooms are decidedly good. The example upon which A. H. Fisher relies is No. off, a small view of Lawyer Head and surroundings, out of which the visitor can pick a rather nice piece in the middle distance. J. A. Shaw’s view of 4 St. Clair Beach’ was evidently sketched after the beach had disappeared, but he makes good use of the adjoining sandhill. John Gibb’s 4 In Port Chalmers Harbor ’ is an attractive scene of a fisherman’s house and its surroundings—jetty, nets, boats, etc. Mr Gibb thoroughly understands how to deal with such a subject, and though, possibly, he has worked a trifle stiffer than usual, there is an abundance of compensating merit in the correct drawing and the harmony of the color scheme. 4 Springtime, Governor’s Bay,’ also by John Gibb, is scarcely so satisfactory. A larger canvas is wanted to adequately depict the lofty hill at close quarters. The still-life study by Miss Mackie (No. Cl) is pretty, and that is about all that can bo said of it. Her 4 Spring Under the Quince Trees ’ is certainly preferable, being, indeed, a well-chosen subject treated in artistic style, though it may be remarked that tin quince trees are not those of New Zealand. There is too much wood in them, and the upright habit is not that of the New Zealand quince. Tim 4 Old Jetty, Stewart Island,’ proves J. F. Scott’s taste and skill as a worker from the object direct. It de picts a yacht at anchor close to a tumbledown pier, one yachtsman putting the gasket round the mainsail, his mate looking at the sketcher. Some think tho upright figure stiff and unnatural. Our opinion is that he is standing just as and just where he might be looked for under the circumstances. The main charm of the work, however, is in the beautiful and faithful water effects, it is a good example of genuine everyday work, free from studio fancies. Miss M. S M 4 Leod deserves credit for her figure piece entitled 4 Up to Date,’ the subject being a smart-looking girl in a sailor hat and veil. If wc do nob like tho veil it is because of the general masculine objection to this'feature-eelipser, not because lb c work is not well done. Miss E HiL’.- ‘ Clematis ’ is dcanly aud naturally worked. Mrs Whetter’s 4 Milford Sound’ does not, we think, compare favorably with tin smaller work (No. 28) preyiou-ly referred to, and the same remark applies to tiffs exhibitor’s Taieri Beach scene. W. Menzlee Gibb’s contributions are undoubtedly * feature of the exhibition, and we fake it at a generally-accepted fact that his ’Bank of the Avon’ counts as one of the mo-.' important works in the collection sent by this approved and conscientious artist, The river, a few trees, and a slope oi gra-a on tho bar.lts constitute tho theme, ami niff, ot these simple materials Mr GJib’s skill ha‘ made a pictur-i which is salisfiotory to the eye because of its fidelity to nature I' depicts tiui scene as one sees it in all the Vic'd as of a ium-hiny winter’s day. E R H .ywarn’s 4 From the Dock, Port Chalmers ’ wears an unfinished appearance, am; ,M rsWhi t son’s 4 Primroses’are rat her too prim ‘Diamond Likrq’hy Miss Ritchie, commands attention hy reason if the refinement with which I he furthermost mountains and the water are treated. There is no more delicate work than this in tho gallery. The foreground is not so good. The shadow of the overhanging cloud is made a bit too black. Mrs P-»yne has veiy nearly hit the i.xic' tiols of nature in tier ‘ Gallardias,’ and she would have done even better if she had Vudierl the fliwtrs in fheir prime instead of waiting till they were ,4 ft hit off'’ A little more afenlion to composition would hive improved Miss A L Davey’s 4 Chrysanthemum 3 .’ The flowers have a real look about them. John Gibb’s 4 Bowen Falls,’ treated in a broad and vigorous style, is effective when viewed from the proper distance. The Water i f Leith study by W. Menz’es Gibb may be accepted as a model by those who are commencing landscape painting. The trees and the stones stand out beautifully, and there is neither too much nor too little in the view. 4 After a Squall’ is one of tho best exhibits E. B. Hayward has ever shown. A pilot boat is on her way through rough water to meet a vessel standing in under shortened sail, Mr Hayward has very ably handled this subject. His unquestioned knowledge of seafaring matters, and his technical skill as an artist, have been brought into play, and, working with breadth and liberty, he has achieved tho happiest results. 4 The Halt Valley,’ by Mrs Whitson, is rather a pleasing little work. Miss MacDougal’s 4 The Tui’a Delight,’ a panel showing a tui on a branch of flowering kowhai, deserves favorable comment so far as the branch is concerned, but we are doubtful whether the tui is a tui. W. Meczies Gibb does himself full justice in 4 Morning, New Brighton,’ a large canvas portraying the beach, with a vessel in the distance. The breaking water is most faithfully presented, the lights are in perfict harmony with the partially-clouded sky, there is a splendid gleamy look in the waves, and altogether this is an agreeable and charming picture. G. W. Carrington has not, we think, quite gob the effects he was trying for in his Stewart Island piece, and the big rock is rather near the centre; but there is good work in the exhibit. Mrs Payne’s 4 A Quiet Day, Gatlins,’ displays no special merit, and of Miss Mackie’s 4 Wallflower’ all that need be said is that the piece is carefully done. ‘ She Pined in Tnought’ is the title of one of Miss Joel’s most important contributions, the subject a serious looking young girl, her hand on her chest. The face is limned with a considerable amount of power, but tho leading characteristic of the work is its coloring, and in this respect Mias Joel has no better example on the walls, though some visitors think that 4 With the Past,’ a painting which we accidentally overlooked in our first notice, runs it closely. Therecan .be no question but that in the popular opinion Miss Joel’s figure pieces this year are preferable to her landscapes, and No. 84 is the one we pin our faith to amongst the oil paintings. 4 On the Coast, Gatlins,’ is probably G. W. Carrington’s masterpiece this year, i It may be true that there is some little j want of definition in regard to the objects the seagulls are pecking at in the foreground, otherwise we think few questions will be 1 1

asked regarding this clever little the main charm of which is its capital distance. The study of wallflower by Miss H. Laudels is a large- and important contribution to the flower pieces of the gallery, carefully and skilfully executed. 4 Cape Tasman’ is the piece which most visitors select as John Gibb’s best this year. We see a high line of cliffs, reminding one of Banks Peninsula, past which a topsail schooner is scudding at the rate of knots through water that has the true coastal roll. There is no doubt about the schooner—she is a study in herself, and the rest of the picture is for the most part worthy of Mr Gibb at his best. W. Menzies Gibb is again to the fore with 4 Sunshine and Shower, New Brighton,’ depicting a range of low sandhills with a horse and cart in the middle distance. The work has hardly Mr Gibb’s power about it, still it will pass muster. Miss Ritchie could have improved her chrysanthemum piece by putting something about the flowers to relieve their bareness. There is no doubt, however, that the chrysanthemums are the real flowers. W. S. Melvin has two contributions, of which we much prefer No. 117 (’Near Middlemareh ’), one of the best things this regular contributor has ever sent to the gallery. In regard to Miss E. Simpson’s ’Primroses,’ the composition is somewhat labored, and this is a pity. Mies M. Fitchett has only one example in the oils department— 4 Mignon ’ a Jewish-featured girl with a pensive expression and in a somewhat constrained attitude. The hand on the breast is not quite satisfactory, but in other respects the figure is very effectively presented ; and, while most of the visitors will probably prefer this artist’s contributions to the water color section, it will be readily admitted that in ’Mignon’ she does herself justice. D. E. Hutton shows two pictures— 4 Early Morning, Hobart,’ and 4 Loading Timber,’ Kaiapoi.’ The latter, a large canvas, is rather overloaded with subject, aud it is somewhat roughly executed. The Tasmanian view, on the other hand, is treated with delicacy and taste, the early morning haze being quite a success, and we think this one of the best oils Mr Hutton has exhibited. J. M. Nairn is responsible for No. 96, 4 An Evening Sketch,’ concerning which there is a general feeling of disappointment, the opinion being freely expressed that he has not on this occasion worked up to his reputation. To the ordinary eye the sketch is a very painty son of thing, and the subject is puzzling visitors to the gallery. It might bo a bush fire, or the raising of Lazarus, or a runaway convict taking refuge in a cemetery. W. Menzies Gibb’s view on Lake Wakalipu has, of course, good work in it—it would not bo Mr Gibb’s if it hadn’t—but the peculiar light is against making a nice picture, and with all deference to the artist we think it would have been better had he cut out some of the rock in the foreground. Miss M. M’Leod’s 4 The Sailor’s Lass ’ represents a girl that, but for her blouse, might be the duke’s daughter. 4 The Cliff Road ’is perhaps the beat of E. \V. Payton’s contributions. If we except the cow in the foreground—a cow with one of its forelegs twice as long as the other—the picture is entirely satisfactory, the bit of bush being very daintily depicted and the pervading warm glow one of Mr Payton’s happiest efforts. Passing exhibits by Miss Mackie and G. W. Carrington, regarding these as inferior to other works by the same artists which have been already noticed, we come to a decidedly meritorious landscape by Miss K. Gillingham, called a 4 Summer’s Day.’ It is a pretty little view of trees and water in thorough harmony. Miss Adams’s 4 Spring Flowers’ will pass muster, and Mrs J Allan’s ’Ranunculus’ is quite a success. There is merit in Miss Ritchie’s Manapouri scene, though tho color scheme is open to question. 4 Marguerites,’ by the same exhibitor, is a painstaking and neat example of this class cf work. E. B. Hayward has douo himself fair justice in 4 Nearing Dunedin ’— a bold sketch of a somewhat disabled barque being brought to the City wharves A. Hamilton’s 4 Francis Joseph Glacier’ is not up to the standard if merit reached by this artist in his No, 3 J. F. Scott’s 4 Halfmoou Bay ’ reveals careful and correct study, but there can bo no question that the society have rightly preferred this contributor’s ’Sketch near Port Chalmers,’ which wins the silver medal in the landscape competition and is perhaps as worthy a sample of its class as wo have seen shown by non-profes-sional contributors. A real study of nature, ouch as this is, is worth a hundred fanciful productions conceived in a slud'o. Of Miss Smith’s pair the better one is No. 124 (‘ A Wet Day at Paradise’); and the only other exhibi-or in oils whose work calls for mention is R. Harrison, his special study being illustrated by a barque under royals bowling along on a wind.