THE EXHIBITION ART GALLERY.

Evening Star, Issue 12965, 9 November 1906, Page 6

THE EXHIBITION ART GALLERY.

•"By Oru Own Uki-ohtor.] AniTi.E Xn. 1. —Tim British Com.f.cTTOX. There arc. twelve l-ooms in the Art ({alley—niile occupied by the British collection, three by the Commonwealth and New ZeaUnd pictures. Of the British nine, five are used for the oil paintings, the water colors fill two, another is assigned to- drawings, etc., a,nd the ninth to exhibits of art* and crafts--. As a matter of fact, the Homeland collection would have filled the whole of the space in the gallery if 6uch an arrangement could have been permitted, btit to allow room for colonial pictures a large hatch of l.ho British art work-—such as rfilatts to decoration and commerce—has been pushed out into the general British Court in the main avenue. Tho ceilings of Ihe Ait Gallery are about the, height oi an ordinary room in a large dwelling, so tlr.it none 'of the exhibits can be " skied " out of right. No fault can 1>» found with the painting of the walls. 'Hie overhead frieze js most 'beautiful, this being Pent rant by Mr Walter Crane, and constituting this. master's chief exhibit. The idea was to bring enough of thin frieze to top the English pictures, but the Homo ]>eople, doing everything on a generous scale, had plenty of the friev.o to spare, and Mr Longdcn furnished the Art Gallery throughout. The hanging of the British exhibits was not left, to chance nor made subject to local opinions. Befoie the pictures worn shipped Sir Isidore Spirimann, the director for the British Government, hold a. kind of dress parade, and with the ufeistanCß of one or two colleagues the hanging scheme was finally tixed on measured spaces correspondin;.' to the .size of the wn.l]« at Christehurch. As an aid to this preliminary, information liad been icceived that the light in the Kxhihition came in from the top. Sir Isidore could not, however, have guessed tliat it was a tricky light. Grave complaints are heard all round as to this matter. Some. of the fniff>t pictures are .so placed that it is next 1o impossible to t-ec them properly. Sir ,Tar««s Gutliric's masterpiece, ' A 'Highland Funeral,' suffers very badly iu this respect. A quarter of an hour's trying to obtain a. fa.rr right of this the other morning ended in totaJ fa.illire. Some •of the other pictures are almost as unluckv. The light is positively wicked. The total number of Brili.-li artists represented in the line, arts section is 567, comprising 398 pain-tens in. oils, 124 water-color artists, 59 miniaturists, 91 black-and-white artists. 39 (sculptors, and 56 architects, whilst the number of exhibitor- in the arts and crafts section is 170. Thus the collection Teaches a total of 1,696 work*, contributed bv 737 exhibitors.

Something has lxen said already as to the high merit of tlie British collection, and nobody who.se opinion is worth having can jxissililT suggest that it has lieen in the least ovWpraied. In this connection it may save disappointment to *ome of our friends from the South to mention—and it .an bo done quite, frankly—that tlie great ma- tens now represented have not any of their ksrge works on the walls. Neither of the throe LeigbtonH in this collection is so important as the one big jaunting that Ijord Leiehion sent to the Dunodin Exhibition of 1889-90, and the three pictures by G. F. Watts in this catalogue are small. But if the highest point of the Du'nedin collection is hardly reached at Christchurch, i: is equally true that the lowest is also not touched or even approached. Tho average- of merit at this 1906 Exhibition is better—much better, so far as one's memory is to lie truster! over a jieriod of seventeen years. Beyond doubt it is a safe collection "to buy from or to order from, for it includes* no rubbish. It may 'be added that all the pictures are suitably framed. Tlie one outstanding deficiency of the Ait Gallery is that thcTe i.s nothing to repicsent the. French or tho Dutch or any other Ooutinont.il methods. But it is to be hoped that noliody will construe out of thin remark any blame to the English directors. It is not their fault that the British coJlection is purely British. All that is meant is that, it would have been an advantage to the present Exhibition if some arrangement had been mado by our people to bring out a few Oorrtinenta' paintings at, the fame- time. Presumably, however, there were difficulties in the way.

"Now, raining to the exhibits, it may be ;i,--i well to say a word or'two about the iriezc above referred to. It. Ls designed and ha* been for the mast part painted by Mr Walter Cra.no. president of the Arts and Crafts Exhibition Society. The scheme consists of a scries of shields connected liy serolV; ot foliage. The Koyal Shield and the Prince of Walcx's Shield" form repeated centres, and are flanked each side, tlie Uoval Shield by the Prince's Feathers and the Thrive Leopards of England, while the Crosses Saltire of St. Andrew and of St. Patrick appear at each end ; bay branches completing the decorations. A similar arrangement includes the Shield's of St. Cfoorgc, St. Edward, and St. Edmund, the connecting foliago design being the rose. Ocen.siouaUv the frieze is broken, into .•.mailer panels, the Red Lion of Scotland and the Irish Harp being placed at either cr.d with tho Thistle and Shamrock. A centre panel shows the Koyal and Englisn Shields with the Rose, Shamrock, ujid Thistle combined, and those, of St. Edward anrl St. Edmund fill intermediate panels designed with branches of the Oak and the Rare. OaJc, Rose, and Bay recur--as the decorative foliago in the- other panete; and tho .shields already mentioned are varied by the Union Flag, the Red Ensign, the Blue Ensign, and the White Ensign. In alj. fifteen different shields are introduced, and arranged throughout the various rooms. Tho frieze is partly 6tenoiUed and partly painted. Mr Clcobury has assisted Mr Walter Crane in the work.

In the following notice of the pictures the catalogue order is adhered to, so at the outset wo consider THE OIL PAINTINGS.

Robert W. Allan has one exhibit. "The Return of the Herring Fleet.' It is a large canvas. To the left we see the berate at the gier, ti*o village folk assembled to <fo-

cufs the haul, and a flock of gulls hovering over tic fish. The other half of the picture is simply an expanse of open sea, but this is so faithfully painted, Nature's detail tones.being put in, as to make this part of the i>icture as interesting as the one that carries all the principal objects. Sir Lawrence Alma-Tadema. contributes two exhibits. The portrait of Mrs Kowland Hill, her son, and her daughter, stands out by reason of its directness and simplicity. The three faces, in a dazzling light, monopolise attention. If there are any accessories the spectator does not see them. Such a irank composition courts criticism in regard to matters that with most portrait painters are difficulties, but Sir Lawrence's masterly painting of the flesh tints and the hair, and his gift of expression, guide him to triumphant results, and, though the mother's and the daughter's eyes have not the light in them as the boy's have, the general effect is wonderful- A good point about the portrait is that it does not suggest flattery. Tho other exhibit by Sir Lawrence is a Roman interior, mast delicately worked on a minute scale. The figures in the foreground being of secondary importance, it is only a minor matter that the basket cradle'is slightly out of shape. The main thing is the apartment itself, and that is one of the firmest bits of drawing on the walls. Lady Alma-Tadcma's fascinating little work, "'The First Ear-rings,' is a gem, and certainly ought to be retained in New Zealand if for sale, but as it is lent out of a collection that is probably not the case. The chief glory of this picture is the perfection of the fully-exposed hands, occupied in fitting the gems to the ears, and everybody aL-'o admires the furriness of the sealskin "jacket and the softness :ind lustre of the light-gTey gown. It is a sinless picture, artistically sincere in the eschewing of superfluous accessories. ' The Scottish Borderland,' by J. Aumonier, is a noble landscape—an expansive view of undulating country with grey *ky effects. The clouds are not dense enough to take the color out of the vegetation, and one can readily distinguish, and, if he knows the borderland, can also name, the rocks and herbage in the foreground. Mr Aumonier is evidently a itudent of Nature, and needs not, to put on more than he has seen. 'The Homage Giving in Westminster Abbey at the Coronation of King Edward VTI.'" is by John Henry F. Bacon. It is ten impressive work, of great historic interest. Even without the title, one must recognise the King, the Archbishop of Canterbury, and the Prince of Wales, for these are all remarkably goal likenesses, and the incident seized upon by the artist is a good one for picture purposes, since, it being characteristic of His Majesty to be gracious, his assisting the aged prelate to rise reems quite natural and not invented for effect. The coloring is splendid, and the broad effects are not weakened by finieky detail. ' The Weeping Ash,' by Francis Bate, is a little picture, noticeable for the lighting in the boughs and between the leaves, and it seems almost a pity that the figures in the foreground were not omitted. The late Sir Wyke Bayliss must have spent an immense amount of time in painting ' The Sanctuary in the Certosa di i'avia.' He has chosen to bring in the lighting of this church interior from the rear, thus necessitating the showing of a tremendous lot, of detail which a lazier painter would have cast into the shade, and every tiny point about the architecture is most faithfully shaded. The mere finishing touches to such a work would exhaust the patience of most men. The priestly figures in attendance arc not so good. They are stiff and inanimate. " A Salmon ]joap on the Tunimel, Perthshire,' by Wni. BealtieBrown, seems somewhat open to the objection that the churned water is rather creamy. Otherwise this is a good view of Scottish scenery. H. Belluigham-Smith's 'Richmond. Yorkshire' makes fair use of a town that, by its position and shape lends itself to the painter. Tho houses are packed closely together en a rocky eminence, nnd this, with the comparative al>sence of occupation in the outskirts, suggests a French frontier town that is schemed with a view to defence. The artist has done his work carefully. 1/ota Boweu is leprcscnted by ' Mnonrke on the Lagoon, Venue.' A couple of men are idling in a punt on placid water. Some may urge that tho moonlight is rather intense, but, assuming the artist to be right in this particular, tho degrees of shade are particularly correct. One of the most striking interiors in the collection is Frank Bramicy's ' After the Storm.' Three women in a humble cottage arc watching a pair of wounded or tired birds that have been brought, inside, and laid in straw by the fire tor rest and warmth, one of the women holding back a chained dog that seems to bo half inclined to make hie supper there and then off the helpless creatures. Jhe conception of ibis work is original and highly interesting, the lighting scheme admirable, and the cxpress.on on the women's faces most lifelike. One .seems to read in ihoir eyes that decree of concern short of anxiety whicii women would feel under the circumstances. Edmond Brock's 'Portrait of the Artist ' is a satisfactory example of high-class, likeness-work of the style that brings all the interest, to the face. William Brook contributes ' Tiie Quiet Hour.' a stui haze- in Normandy. The coloring is a little cold. From Arnesk- Brown we have 'The Byway.' depicting a country lane along which three women are trudging from market. The subject is treated realistically, and is an honest, attempt tlvat has met with .'oine degree of success. Of die pair of exhibits by A. K. Brown, most visitors will probably prefer '.Uamioch Moor,' a bold landscape on wliich one can feel the wind and smell the grass and wild (lowers. Nobody but an experienced painter who has studied direct from Nature would dare to make a picture like this—a great stretch of foregroui»l destitute of feature —yet. by fidelity the repiesene.ation of the moor i.s full of interest, unci it was a happy idea to so pick the sketching point- as to give a ]>eep at the distant lulls. 'September in Arran,' by the same artist, is not so gratifying, though ' the sunshine is luminous. Sunny Hours,' by T. Austen Brown, commands tlie notice of all who visit the gallery. Several young folk are amusing themselves round a pool on the edge of a dark grove, the liory slanting sunlight that is on the houses in the middle distance partially falling on the faces and forms .is they flit about. Tho working of this picture may be and perhaps is a little nil the theatrical side. The contrasts are a bit violent. There is no attempt at grading tlie light bv distance. But, once this i explained, the rest of the picture is charmingly poetical. There, is ■ : figure in iho centre which is beautiful enough to make a picture by itself. Edgar Btindv's ' Gipey Fortune Teller ' was almost at once tecureil for the Sydney Art CJallery, and no wonder, for it is one of tlie m<ast forcible and attractive of the small works on the walls. A lady and Her gallant have met a gipsy on the road, and in response to the begging appeal the young man requires that his lady's fortune be told. All this is plain without any explanation in words. Each fa.ee. is a study, and tho coloring is peculiarly rich. J. W. Arthur Burgess's 'On the Beef represents a steamer submerged lo tlie rail, the waves bieaking over the lower parts of the rigging, into which the crew have ascended for safety till the vessel near by can relieve them. Li thus striking out- on a new idea about, ships tlie artist is necessarily at a disadvantage, and we may be thankful thai he has so much right from the sailor point of view. Sir Philip Burnc•]one's sends a pair of exhibits. The jxjitrait <>f the late G. V. Watts at work 011 his colossal equestrian statue ' Vital Energy ' is acceptable as a portrait, but the ropes and Ladders and beams, etc.. of the studio interior make so many linos a-s t<> it.-ll against the paihtiug'from a picture point of view, and if tlie artist -had taken a little liberty with tlie actual scene, to the extent of finishing the borso instead of showing it with half a leg no one would have objected- 'A Street in Asoio' is.much more grateful to the eye. Asolo is the town near Venice where Robert Browning lived. We see only one street, and it is an empty street, too, save for the one person passing along it, but it suits- the painter's purpose, for, having at his command the ability to reproduce Heaven's own lights and shades, and being wonderfully firm in his drawing, lie could make a picture out of anything he saw. W. Hounsom Byles sends 'Joie de Vivrc' a somewhat empty-looking canvas. The figure A the tody is well dnusn, and

she sits her horse capitally, but the foreshortening of the. steed is' fatally awry, and the r-and on which it

W. Frank' Calderon's ' Play.' depicting a big spotted dog toying with its puppy "appeals to everybody without the aid of aa interpreter. It is enlivened with a fine body of color, and the dog's hair is something that one might reach out to handle. From i). Y. Cameron's brush wo have ' The Bride,' a large work, showing ■ a young lady fully dressed for the weddingas she takes her last turn at the lookingglass. The artist has given the. lace veil the necessary filmLness. and the gown is nicely painted. Hugh Cameron's ' Brother and Sister' is a pretty little work of ita kind. The boy's face is full of meaning. As to James Charles's' ' Ancient Ramparts.' a certain amount of interest must always attach to such a work if it bo topographically correct, and in this case v.-e have in addition a comprehensive landscape. ' The End of a Glorious Eeign,' about the largest canvas in the gallery, is a view bv John Charlton of the funeral procession of Queen Victoria passing St. James's Palace on the 2nd February, 1901. The head of the procession 'is just turning a corner and facing the onlcoker, whilst, closa enough to be recogJiised. follow King Edward, the Kaiser, tho Duke of Conna'ught, the King of Greece, and other persons of greater or lesser consequence. The uniforms, tho trappings, the horses, and everything else within view are as it were only a fewyards away. Everybody is most carefullv and correctly painted, and the bright colors show up well against the gloomy front of the palace. It is a striking and impressive picture, guiltless of Uie least sign of weakness. From the same artist comes a most charming equntrj- scene,

' The Return from Cub Hunting.' Mr Charlton has been peculiarly happy in his delineation of the horse and hounds aa they wait to be quartered after tie ran. Each hound has its individual appearance, some fagged out, others sniffing about for something to eat: and the horse seems to be sorry for them. Pictures of dogs and horses are plentiful everywhere, but we seldom come across one quite so good as this. Gerard Chowne is content with a still-life piece of considerable, merit—a, simple and true study of a plate of plums. Jas. Elder Christie's "The Fairy Ring' strikes one as being a trifle labored in regard to tiie hillside and fairy accessories, and the girl is not half so real as the boy: besides, she ought to be doing tho talking if true to her sex and wise enough by her extra year or two. ' Flora and Zephyr.' by Robert Christie, does not carry its justification in its face. The figures are ponderous and earthy, and as nearly resembling each other as so many sisters who have been trained in athletics at a 1906 British school: moreover, tho flowers are all alike, and therefore present a weak and confused appearance. Georgo Clausen's ' The Rickyard ' is unconventional and refreshing. There is nothing else in the Exhibition gallery worked quitei like this. Looked at closely tho painting is coarse and entirely wanting in texture, and the fowls were smudges. Stand back about 15ft, and you see what Mr Clausen has tried for and zot —wonderful sunbeams glancing in from the right, and somehow the winter wind seems to be entering between the ricks at the same time, though nothing is being flown abont. Wo feel the wind instead of seeing it* Rex Vieat Cole has a Yorkshire angling scene (No. 34) thai- is quite satisfactory in most respects, the one thing lacking beinp a. clearer view of the water into which the line is thrown. P. Tennyson Cole's portrait of the Right Hon. R*. J. Seddori, painted from sittings given in London, is undoubtedly well painted, and in most particulars it gives a faithful presentment of the man as we have seen him after an arduous session. The eyes and the upper part of the faee strike one as peculiarly true to life, the pose is characteristic, and the clothes beyond reproach. Considered strictlv as a likeness, the questicmabla points are as to whether the jaws are square enough and whether the head i; not too much away from the shoulders, for Mr Seddon was' short in the neck. It would have Imt-ch bettor, too. to havo shown the right hand ungloved. The artist has done the left hand so well that there would have boon no risk in exposing (.he other. Nevertheless, on the whole it is a noble painting, and it is to be hoped it is to remain in the colony. 'The Prodigal Daughter,' by the Hun. John (.'oilier, claims general attention. The principal figure is not to be mir-tel-Ti for a Maedalen of the usual type. She is not » Magdalen at all. Aged alvoiit. thirty-two, and elabonatclv costumed, she seems to be a daughter who has shorked her homely father and mother bv taking to the stage, and on going haek to see the old folk ii •iot disposed to admit that she has been it all wicked. The expression on tho narents' laces is consistent with that idea. Father's attitude is no more than deprecative : mother seems to 1-e Irving te argiiei for the simple life. Neither is in the least shocked, and there is no note of remorse in the merlin:;. The picture, is very strongly painted - perhaps it is a trifle too dramatic. The Hirhi. from tho lamp is wonderfuHv intense. Bvrou Cooper has a nice example in ' The Harl«tr Bar. St. Ive's Bay." The sense -.f solitude is irresistible: th--> moonlight ami the gleams from the distant beacon arc in admirable correspondem o. and thi sdudL'o of the flats through which tho channel runs is the real slime itself. Edith Ridlev Corlwn has a vivid and iioe.tii-.il exhibit entitled 'A Goat Girl.' It, should have been called ' A Goddess.' The whole interest centres in the par-tiiillv-tlrniM'd figure, which is cr.nit.illv drawn, and the coloring is remarknblv striking and (lever. The goau look as if they were intended for sacrifice -they deserve that fate, anyhow. From R. M. G. Coventry we have a brilliant and in most respects beautiful naintinu' of 'Portsoy Harbor.' the sunshine effects being e.-i'njial. It the lonegroiind is somewhat ieehle. ample conipens.iti.-u is afforded by the radiance and ' strength of the grassy hill in the distance. Frank Cndogan ('owner s<t:ds to the cillery 'An Aristocrat Answering to the Summons to Execution.' We see a valine parlrician. costumed in all the completeness of the Paris fashions in the ei.rhi'nth century, steppine forth haughtilv attended by a nigtred gaoler and escorted bv soldiers, a crowd watehing the scene ircin Ihe rear, and a;iiu;iL r -t them a woman whose snd fa.ee, suggests relationship f. the doomed man. One -lefe-t ahem the picture is that tho central persona.-e teems somewhat too prominent, and m.i.vlw the clirmify which he is assuming is reswinsibl- to seme extent for the comparative coldness and lack

iif lorce that some sav are objections to the work, lint in th<- subordinate subjects, its for inst-aine the sniysprinj; soldior \n the left, the dosr a! (he victim's feet, and the relative in the baokcrronnd, wo discern a jrrcit deal of vitality and power nn the nail nf the artist, ami, taking it as a whole, the uaintin:r justifies its plarc on the walls. \Valu-r Crane's 'The Conojticrors' is a masterniecc in decoration. ' The Funeral of Qikvji Victoria,' by Kmest Crofts, is a jr«'at naintin<z. The sronc is sketched a-t close quarters, therefore railing for a creat amount of detail and exactness, v--; it i.s not in the least htirrl. (To be continued.)