OTAGO ART SOCIETY

Evening Star, Issue 15344, 19 November 1913, Page 5

OTAGO ART SOCIETY

A NOTICE OF THE EXHIBITS. No. 4.—Tite Water Colors. Two marine, pieces by H. R. Cole, fairly representative of his style, head this section of tho catalogue. Ho depicts ocean scenes with the truth that Brierly treated as an essential. He builds his vessels to type, he never misplaces spar or rope, and his craft ride the water characteristically and with individual motion. Mrs Field's name reappears on tho catalogue after an absence of about three years. Her exhibits enrich the gallery. She handles color masses confidently, and, like her father...Mr W. M. Hodgkin's, she gets from water colors tho sparkle that is the distinguishing glory of that medium. These merits stand out in 'The Sanctuary' (No. 1/7). a view of a marshy headwater with birds hovering, and another point about this picture is that it is a portrayal of one. subject instead of a- welding of the diverse. 11. H. Pattle possesses artistic, power. We maintain that proposition in face of some evidence to the contrary on tho walls this year. 'Pioneers." for example, could not bo relied on to make Mr Pattle's name. The subject is not well handled. It is hard to understand why a left-handed mower should be selected as tho central figure when so many right-handed mowers were available. But we find merit in other frames that cany Mr Pattle's signature. 'At Stewart Island' (No. 178) 'is one of these, and we specifically point to the liquidity of the smoothed bit of water as very cleverly done.

' Brighton Bay,' by Mabel Hill, is a singularly natural representation of ruffled water and ruffled sky, but we see more important works by" this artist a little ahead.

Those of our fellow-citizens who waxed enthusiastic about tho water colors that Miss F. Hodgkins exhibited here a fewmonths ago may be thinking, as they now lock on : The Market-place' (No. 180), that they would have acted wisely to dclav their purchases. In this charming sunny scene wo see the realisation of ideas that were but foretold in the earlier exhibits. It is a work that satisfies the judgment besides gratifying the senses. In other words, it is a very fine picture. F. Richardson deals in the indubitable. The grapes (No. 181) como from the vine, and the shells (No. 202) are from the seashore.

H. Linley Richardson, R.8.A., puts some other exhibitors to shame in the matter of drawing. 'The Hongi * relics mostly on form. 'On the Hill Top' (Xo. 198] has for its subject a delightful little girl on a floweiy ascent. Note how firmly she stands, and how spiritedly the figure is outlined. The face, shading may be rather dark; otherwise this is a little gem. M. Smith's flower study is very nicely painted. Full definition as to 'form is allied to much tenderness in this superior work.

• The Long Lookout.' by R. Wallwork, A.R.C.A., gratifies and at tho same time vexes the eye. The middle bit, showing tho point on Banks Peninsula, is charmingly treated, and has a fresh and openair feeling about it; but trees surrounding this view as a heavy sort of frieze seem to load the canvas.

F. M. Wimperis is represented this vear by • A Gipsy Maid' and 'Mv Molher Bids Me Bind My Hair.' In each we see at a first glance all that is to be seen. The painting is good—very good in the presentment of the gipsy maid, though the face hardly explains the title, hut tho artist makes very little call upon the imagination.

'The Lagoon' and 'The Cloud' are further worthy examples of Mrs Field's skill. Some may agree with us in thinking that 'The Cloud' is the most meritorious of the three exhibits contributed by this lady. The treatment of the trees calls up memories of famous pictures, and the qualitv of the work as a whole is undeniable.

M. S. M'Leod reaches her high-water mark in ' Mignon.' It is cunninglv planned. The white dress and the bunch of violets at the throat, the pert tilt of the head, the set of the straw hat. and its wonderfully well painted ostrich plume are the main ingredients in a picture which is artistically composed and very beautifully painted. The. feather is ' the real thim ?' 'The Evening of Life' iNo. 195) is not closely related to any other figure study that Mabel Hill has shown, so far as we remember. Without the signature we should not identify the painter. There is no need to institute comparisons, but this picture certainly reveals amazing skill. If pressed to state its points of superiority wo might mention the boldness of treatment, tho corporality of .the figure, awl the clever handling "of the lights: but it is safer, and it explains all we mean, to state that the garments evidently have a real man inside of them. We "have the same old man depicted in ' Waiting' (Xo. 226), but this time he does not impress one so much.

Mrs Ogston shows only one piece this year—a well-painted branch of the rowarewa or Knightia excelsa. It is the outcome of close, study.

H. E. Cole's ' Colliers' (No. 206) is conspicuous because of the accurate, painting of the unloaded big vessel. A. H. Dunstan's 'Schooner' (No. 215) is clever, though sketchy. Owen Mertoi), in his 'Basque Houses' (No. 217) just misses the mark. He gets a snowy whiteness for the glittering sunshine. But it is very promising work, and as a guess we should say that this artist is under the influence of someone ■who is leading aright. E. Bartley, of Christchurch, makes a brave show in this room, and there are some biggish pieces further on. Meanwhile we desire to favorably mention ' Dormer's Wells' (No. 221) as a capital composition, and a picture that displays a lot of quality. F. Wright's 'Near Lake Taupo' has some merits, but no one would be likely to guess that it is by the man who painted that glorious 'Morning in the Bush' (No. 254) on the same wall. C. Howorth's sappiness and bloom and freshness are all in this splendid bush scene, and we get a, reminder also of L. Wilson's true NewZealand shimmer. It is one of the landscapes of tho year. C, N. Wors'ley. R.8.A., lets us see his masterly style to advantage in 'Amalri' (No. 227). The dazzling whiteness of the houses on the cliff, and the blueness of thesky and water, are shown in such a way as to make one feel the Italian influence. ' Retlections ' is one of Mabel Hill's best examples of landscape painting. 'My Model,' by E. Bartley. attracts by the animation in the face. Tho moulding of the features is not faultless, and the background is smudgy. A nice bit of true drawing is shown by Dora H. Do Beer (No. 255). 'The Blue Kimona' is another successful figure piece by Mabel Hill. The dress is delightfully put on, and the attitude is not only striking, but such as to express a deal of meaning. Many visitors declare that this is Mabel Hill's masterpiece. Mrs Joachim contributes a nico little landscape, 'The Roadmcnders' Camp.' The edges are a bit sharp, but in other respects this is particularly true and clean work.

M. (X Stoddart revives some of her old power in 'The Orchard' (No. 258). The foreground is very nicety painted.