FINE ARTS EXHIBITION

Evening Star, Issue 19408, 17 November 1926, Page 3

FINE ARTS EXHIBITION

HO. I—SOME OF THE OILS F. Brookcsmlth's name heads the catalogue, and this Southland artist is worthily represented. His ‘Near Queenstown ’ is a good littlo study. ‘ Autumn on the Frankton Road ’ does justice to tho glorious panorama that opens out on the curve selected , as tho viewpoint. ‘ Mount Earnslaw Irom Elfin Bay 1 is perhaps better _ than either, this sketch being very brightly treated. But the choicest of the collection, in tho opinion of some visitors, is ‘ Gorse, Awarua Plains,’ tho un-settled-weather sky, being tho exact equivalent of what is often seen, and the foreground a lovely representation of tho coloring under which Nature hides ugliness. * R. Procter, of Auckland, has in his contributions to this gallery chosen Worsley’s subj'ects and adopted Worsley’s methods. For lighting and tinting ‘ A Market in Naples ’ (No. 31) is probably the pick of the five canvasses, but if a vote were taken there would be a good poll for ‘ A Street in Naples,’ which displays very true draughtsmanship, and conveys the sense of grateful shade from intolerable sunshine. No. 51, also entitled ‘A Market in Naples,’ has the required brilliance, and is also a good composition. : A. 1 F- Nicoll’s pictures are most acceptable. Tho best of them would be worthy of. any gallery. .Two of bis portraits stand out as masterly. The, presentation of Mr J. A. Johnstone is strikingly true as a likeness,_ not merely as to form and pose and facial features, but in indicating the uuohtrusivencss which is one of_ Mr Johnstone’s Characteristics. Artistic truth and culture are evidenced in every inch of this canvas. Great praise is also bestowed upon Mr Nicoll’s portrait, of his wife (No. 23). It is , certainly a distinguished and able piece of work, challenging attention by its hold and beautiful color scheme and by its_ reliance upon essentials to produce effects for which unmeaning accessories are often dragged in by hesitating painters. It is a portrait full of genius and confidence. In landscape, too, this artist has made his mark onco more. ‘ Winter,’ though only a small picture, is supremely satisfying, particularly ns to drawing and as to tho sunshine breaking through the snow. IT. Itorridgc, of Christchurch, sends two exhibits, one of them quite good—namely, ‘Tho Itinerant Musician.’ Everything is in agreement, the work being sound throughout, and vitality is imparted by' the eye expression, which indicates that the man is giving a preliminary blow to test the instrument.

Of G. W. Carrington’s landscapes, always pleasing and harmonious, the best is probably ‘ Early Glow on the Humboldt Mountains,’ hub tho other four from tho same artist are well worthy of inspection by persons who get up in tho mornings or otherwise go to a little trouble to see Nature’s work on the hills and vales of. New Zealand. N. Welch, of Wellington, one of our proved New Zealand artists, _ has not yet ceased to advance. This is clearly shown in his fine contribution to the present exhibition. Maybe his one study In oils—‘The Breeze’—is less successful than tho best of his water colors, hut it displays good work, especially in tho treatment of the white-tipped sea and the scarred cliffs to the left. Too often the artist who tries for white tips in an expanse of sea ends with “ spottiuess.” Mr Welch has steered clear of that fault, and as an affirmative merit he has filled his picture with fresh air. M. E. R. Tripe, of Wellington, is triumphantly successful. Everybody is talking about hoi* largo masterpiece that was painted for Wembley, ‘ A Maori Ohicftaincss and Her Sou.’ Tho two figures stand side by side. Mrs Parata is wearing the feather robe that she, had on when she samg the Maori welcome to the Prince of Wales. Tho painting of this robe is one of the great points in Mrs Tripe’s picture, wonderfully clever, the effects got legitimately, hot by brush tickling.. The faces have the true Maori cast, yet not accentuated -in ■ any way. _ If a question docs arise concerning this important and impressive work, it is as to the sou. Though touching'his mother, his face is in tho shade. _‘ The Two Models,’ a large painting, is interesting in every inch of tho canvas. The subject is a living model gazing at a plaster model in a studio. The lighting is very skilfully diffused. The form of the living model is beautifully moulded, at any rate as to the trunk and the head, the flesh tinting is extremely delicate, and tho nudity_ does not impute nakedness, ft is a picture that arrests attention and retains it. ‘ The Shingled Head ’ is exceptionally fascinating, full of grace and beautiful tinting in yellow and brown. Tho ear pendant is perhaps an intrusive speck. Its thin chain may not catch the eye, and if so the pendant looks like a blotch on the skin. That, if a defect, is swallowed up in a dozen points of merit. ‘Peacocks,’ tho picture _ of. a lady, attracts attention by its intensity and harmony of color, and the artist has in this dared to work on simple lines, with results that are mostly satisfying, though it may be admitted that it presents one or two anatomical problems. A very strong point of merit is the natural flesh tinting. Still another good thing by Mrs Tripe is ‘ Autrefois.’ Being placed _ in a badly-lit corner, this runs the risk of being, passed over. Examined closely, it is a gem of purest ray serene,. depicting a pair of lovers who have apparently had “ a tiff.” The placing ol the figures is admirable, and tho lady s dross most beautifully painted. A Dunedin exhibition would not be fully representative if without some contribution from A. H. O’Keeffe, who is one of our very own artists and professional father to many. On this occasion ho has five exhibits. Early Morning’ is a vigorous depiction ot tumbling water and rocks, the breakers most realistically presented. ‘Erosion’ is in subject similar, and it is treated skilfully, detail all got in, yet not _ at tlie expense of strength. ‘ A Question of Bias’ calls to mind early successes by the same artist. It shows a couple of bowlers arguing the point round the table. A pronounced success by Mr O’Keeffe is his still-life piece, ‘Blue and Gold.’ Faultless drawing tells here, and the silvery sheen on the onion skins is a triumph in painting. Samuel Crow’s three pastels make a very favorable impression. Fidelity marks his treatment of ‘ Vitamines.’ The painting of the cabbages is strikingly accurate. A shut-in feeling about the picture is its only fault. Such a defect is not found in ‘ The Vinery ’ (No. 114). It is decidedly clever, the reflections most skilfully treated, and carefulness, combined with original thought, permeates the whole canvas. Mr Crow is, we think, a now exhibitor. It. is to be hoped that ho goes on. Distinction characterises all the exhibits of Elizabeth A.-Kelly. This lady is to bo .thanked for successes all along the .line. .Her portrait of her husband,. "Cecil E- Kelly, is undoubtedly a feature; in a gallery that is strong in figure work. , This portrait is distinctively candid, and every stroke of the brush is evidence of knowledge. Thought is expressed in tho face and in the attitude. Inspected in detail, not a superfluity appears, nor an omission, and the painting’is masterly. ‘Otira’ is a good landscape—perhaps hardly treated with the breadth that her husband has secured in his landscape work nearby, ■ but _ still abundant in merit. The ‘Portrait of Miss Roma Carey ’ ranks higher. . It is a largo piece,, the figure most gracefully painted and the white fluffy dross put in with rare skill. There is a fin© sense ofl definiteness in this -work, and apart from its value 33 a portrait it is a joy to the eye.

‘ The Ivory Fan ’ is the study of a lady in lace-trimmed evening dress. The chastity o! tho treatment corresponds with the petite and gentlewomanly figure, and the color scheme is made glorious by most delicate brushwork.