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No. lll.—The Wateb Coiobs. Forty two trlists have exhibits Sn the /ater-colors room. In this article we jropose to express a fow opinions about the half of tho gallery up to Mr Worsley s biff piece on th« northern wall. Owen Merton'3 exhibits are mostly lmall and of a foundational character. Hs gives the broad features, and is therewith content. Such is his 'ln the Cotswolds* (No. which we take to be a fair sample, of this artist's contributions. More, detail appears in his ' Old House, and the work is so good as to make one wish that Mr Merton had shown the whole structure instead of a bittock. Sylvia Fell's ' Sussex Hayficld is a pleasing study full of feeling. 'The Glen',' bv Nina Jones, 13 well sketched and honestly painted, but the edgns rother offend tho eye. M M. Dnnortal is numerically the principal "shibitor in this room, he having 11 works hung. Thev aro mostly rich in color. He seems to have a fondness for glowing yellows and purplish browns. The Bunnse'vicw (No. 157) is skilfully planned and very v.-armlr- painted. In the Erittanv piece (N0.'165) the sky effects are somewhat metallic, but he has the real glow on tho ground, illuminating what would otherwise be a rather dreary stretch of We like Evelyn M. Munday s paintings more than her etching, though a second examination leads to the notion that in course of time the latter may become tho artist's stronger point. There is charming freshness and sparkle in her * Heathcote River.' . Frankly. H. 0. Fox s two attempts to depict a Swiss chalet do net give us entire satisfaction. One has to look a second time to make sure whether the whiteness is snow or sunshine. But there is nothing dubious about ' Vevey,* the Lake Geneva scene. From it exude the Bwell of the water and the sense of being in tho open air. It is clover and real. _ M. A. Park's ' Seafield Bay' is a delightful little corner on a beach, and her 'Sandhills' and ' Waitati Hills * are both quite natural. The best of F. Sykes's three we take to be his 'Near Pura'kanui.' It is the makings of a pood picture, but the suggestion of moonlight ia not quite convincing. H. .1. Edgar's ' Rangitoto' is in our judgment his best this year. The mountain is accurately drawn and the atmosphere is trulv Aucklandish. But why so Sim and distant? A fair sight of the channel water would be a great improvement. H. M'Lean is to be congratulated upon a success in ' Looking Towards Sydney.' The view is from a rise, the town in the distance. The idea is well developed, and the prospect is interesting, besides which we get the local sense of heat. > C. Bickerton's 'Trawlers at Sea is a. decidedlv successful moonlight scene, and the trawler in the foreground i 3 most faithful as to form and motion. Some mav say that the faraway craft are rather regularly placed, but we forgive that. * Sunlight, Whitby Harbor,' is a decidedly uncommon. The points about this that all must admire are the gleams on the walls and the light in the water. Of M. Bower's contributions to this side of the room we 3elect ' Autumn ' (So. 181) as the best. The avenue is quite interesting, and, though the coloring is a little strong, the conception is on the whole such as to give much pleasure. J. A. Toplis3*s work wants strengthening up a bit, and then it will be good. ' H.M.S. New Zealand,' tluj most important "f 'he three canvases under present notice, is really in the glare of the sun. and that is more than can be said of some more pretentious paintings. M. H. Meyrick'3 autumn study is not, in our opinion, so meritorious as ' In the Desert^' bv the same exhibitor. The latter would rank very well if we were not familiar with the subject.

M. Hartley hardly does herself justioe in her one water color, 'Auckland Harbor,' but, of conrse, it is only a. sketch.

Five of Mabel Hills contributions are within the scope of this article. Of thorn no have a preference for th"; .'tuny in :o!ored pencil (No. 205) and 'Mar' ("So. 240) amongst the figure piece*, and 'The Setting Sun' as the better of the two landscapes. 'May' is a. charming girl, and the artist ha-3 obviously felt net influence. It must bo nice to have, such an attractive subject. The sunset is of the iierv kind that one is. incredulous about until the rare occasion when Nature reveals it.

C. N. Worsley is seldom if ever commonplace; certainly he is not so in the tour paintmps now under notice. Hi* 'Misty Morning' is peculiarly successful in that it expresses the haze that is warm; nnd 'The Market Place' is one of those Italian, scenes in the portrayal of which Mr Worstey has few rivals. The mules, the olive-skinned peasants, the vegetables, the baskets, the sun-scorched buildings—these things are set forth with, indubitable drawing and an unerring eye for color. N. Welch can paint, and he can draw, and he can dare to put down what he sacs and trust to Nature to lead him. These, the qualities that cau.s?d N. Welch to be talked about a while ago, are all in eyidence in his beach scene iXo. 183). The atmosphere is splendid. Candidly, we d-~> not think hio ' Papatoetoo' nearly so good. The paddocks arc uninteresting, the. treelike rocks. 'Summer Sunshine' is also disappointing, except for the way it 'justifies its title. But ' The Hutt River ' is better, and in 'Fishermen* Whares' he comes vight back to th? form that we all admire.

R. M. Hughes displays a tendency to overload his canvases, us. for instance, in ' Stacking Corn,' the picture being fevered in the centre by a row of ugly stones. 'Past and Present" avoids this fault, and. if the mills are a bit ghostly, the idea is in other respects well carried out.

C. Sawtell's study of roses pleases the eye in ruoat respects, and eo does the study of rowans, though in the latter a common cunt to tho right looks queer.

H. It. Cole is a past-master in marine picture-making. Every subject he chooses has some plain motive. Ho has something to say, and he makes the paint .say it. '■Such is the caso with ' Commerce " and War.' There is the- tramp, diving into it, and there is the cruiser telling her what to do. A sailor can look for a. long time at such a work.

Mrs Joachim shows only one work this rear. 'Mount Peel,' and. though this is not in her best style, it has the open-air fe«l about it.

yi, S. yVLvcd's. ' Tranquil Hour' jo capitally drawn, and the old knitter is pitifully feeling r;ither than seeing. Perhaps the'coloring is a little vivid. R. Herdxnan Smith's contributions are all of value, though not ct equal merit. Dealing with these- inside our present limits, we think that ' The Old .Suspension Bridge' (Xo. 214) is the most meritorious. But there is action in all this artist's work, and he is not afraid to handle high toned. J. W. Brock had skilfully portrayed 'A Village Street,' and, without hiding its ugliness, he has made a really interesting pictnre. I. H. Burton's half-length study of a young woman is nicely thought out. Thereis much expression not only in the face, but in the whole presentation. 'Roberts's Court * sets the style for treatment of a very simple subject. A. J. Rae seems to ho coming on. There is testimony to that effect in all his exhihits. E. Woodhouse ha* this year contributed a largish canvas, tho subject the parade on the- water front of the Sydney Domain. "It is rbplote with interest, and quite bathed in the sunshine that the Almighty warms us with. F. Wright's Whangarei landscape may be a trifle exuberant in color, but it is in all othtr respects marvellously true. A. it Darling ia studying on safe lines. Her 'Fuchsia Tree' is well sketched, and a little more decision as to color will come with greater experience. THB OILS. From our notice of the o£l-painting» a paragraph, was accidentally omitted lost pighX It ia as to the exhibits by J. C. 'Veitch. This artist has three works on view, tho subject ia each, case from Italy. "We select "The-Forum* as the bast, but

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OTAGO ART SOCIETY, Issue 15642, 5 November 1914

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OTAGO ART SOCIETY Issue 15642, 5 November 1914

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