THE ART EXHIBITION

Evening Star, Issue 19713, 14 November 1927, Page 11

THE ART EXHIBITION

PORTRAITS AND FIGURE STUDIES No. I. Ten minutes will suffice to convince any. visitor to this y&ar’s art exhibition that the show is of more than ordinary merit and interest, and'a more critical survey of the pictures will confirm his judgment. There is good variety in the choice of subject; in many cases the treatment is on original lines, a little on the unconventional side (for which one is graceful); and often there is a distinct individuality. One wonders whether .the influence of our recent Exhibition collection, showing work from all over tho world by its best artists, is still manifesting itself. Whatever the reason. tho fact remains that there is a general high standard of merit. Almost without exception British art exhibitors show a large number of figure studies, including portraits, and yet this work ranks amongst the most difficult of achievement. For there must be skilled craftsmanship to give just proportions and correct anatomy; with this, mastery of material, so that flesh colors and the play of light on the features will convince the onlooker that hero is a person, not a Jay figure; but far more important than all this, the artist must bo somewhat of an inspired psychologist to read into his model character and intellect. A simple test of the value of a portrait or kindred work is to try and remember it some hours later. In one casq nothing will remain but a confused blurr; in another the clever manipulation of dress and jewels; yet again the appeal will bo of color; or most happily these will all combine to bring out what should bo the motive of the picture, the humanity of tho figure. As wo enter tiie Art Gallery Hall we are immediately greeted by a handsome young girl, vivid in a silk shawl of many colors and wearing a bright red felt hat. ‘An Cabaret’ (No. 1) is a satisfying work; the flash tints are better here than in some of the artist’s other pictures, and the pose, though somewhat angular, is not unnatural. Mr T. H. Jcnkin, A.H.C.A., has achieved another success in ‘ The Pink Lady’ (120), except in the hands. The sheen of velvet, the folds and texture of the hanging curtain arc particularly good. Pleasing, too. is the turn of the bead and shadow on the neck, while the “ Jloppiness ” is a truthful presentation of the pose of a modern girl. In ‘ Tho Old Warrior ’ (7) the artist depicts a fine old gentleman wearing and handling pieces of armor. All arc good in tone and sufficiently subdued. But the hands, specially the left one, strike one as too big and workmanlike to go 1 with the aristocratic lines of tho head. Hardly so successful as these are ‘The Artist’s Wife’ (41) and ‘Tlio Restaurant' (47). In the former tlio artist has again done excellent work in folds and textures, and tho light on the lady's head is worthy of special mention, Tho face, though a good likeness, does not speak; it is laird. Such is tho ease, too, with ‘ Tho Restaurant,’ where the much-broken background, the somewhat harsh orange and green of tlio dross add to the general rigidity of the work. ' Tho Prince and the Fairy’ i 56) again shows this artist’s gills in color manipulation, for ho always-succeeds in getting a freshness and clarity into "his, work. it would bo a graceful tribute to a local artist if one canvas at least could find u permanent home at Logan Parle; his work deserves such a recognition. Archibald F. NicolTs portraits are at ways a joy to behold, so restrained and finished is the work. No. 19, ‘The Hon. W. H. Triggs, M.L.C., (106) ‘ Dr Hurdwickc Smith,’ and (120) ‘Dr Charles Chilton, Rector of Canterbury College,’ all depict living men, with whom oue can at once establish a conversational sympathy. ' A. Elizabeth Kelly is distincly happiest in, 77, ‘M. G, Keane, Esq.’ Here we have a man in tlio prime of life, full of character, a man of flesh and blood. Ho stands out from his surroundings so well that one feels one could walk behind his chair. Less sympathetic arc 3, ‘ Mrs Irving Carney,’ and 88, ‘ The Little Sister,’ though both show the master touch.

H. Liuley Richardson, R.8.A., contributes two portrait studies —(19, ‘ An Old Identity/ 101, ‘ Cynthia’s Birthday ’ —extraordinarily unlike each other in treatment. The former shows a delightful old gentleman with the furrows and peaceful look of advanced years and that curious softness of flesh that one often sees in tho elderly. The latter strikes one more as a decorative panel, and as such is good, for the children lack animation, yet the whole canvas is well proportioned and of pleasing color. Julia Lynch affects subdued color, and in this is quite successful. _ Her ‘ Brown Study ’ (23) ranks high in tho works on these walls, and well deserves its success. A young girl in a simple, straight-lined brown dress dreamily gazes in tho distance, her altitude natural to her state of mind. No_ florid background distracts her or tho visitor; it all is harmonious in color and treatment. Quito of a different order is 113, ‘Mrs Kane,’ where tones of black predominate. The slight brown fur and long strings of pearls are the only touches of color. Tho black lace is particularly well done. Both these pictures have good Jlcsli tints. ‘The Italian Soldier’ (13), by Vera Vial, is a lino piece of work, with special merit in the mouth and chin, for strength of character predominates boro. To appreciate Mr A. 11. O’Keeffe’s portrait one needs to stand well back; then one sees tho play o| light on the white hair and the subdued fire of the eyes. Diary E. Richardson has two quite charming head studies—24,'‘Nan,’ with her contrasting while nap and black dress, and 89, ‘Jeanette.’ B. E. Chappie also contributes a pleasing study in ‘A Peasant Girl’ (38). Rata Lovoll-Smith’s ‘Bertha’ (44) has caught a natural turn of the head, and the cap with wings ia convincing, too. C. S. Lovell-Smith’s ‘ Refugee’ (61) is indeed forlorn, and from an artist’s point of view' is good color work. Betty Rhine! (C2> in ‘ Apples ’ shows a child full of animation, the blue of tiro dress being somewhat startlingly repeated in the’bowl. ‘The Lady in Black’ (52), by W. Tilley, is an ambitious work. The texture of the stiff silk is good, but ono feels that tho pose of the lady is not too graceful, and that tho immense shadow behind is somewhat overpowering. For Evelyn P.olson’s portrait sketch of Captain Rhodes, M.V.O. (96), one must stand well back to get the best effect, which at a distance is certainly- good. Of more finish is 83, ‘ Geraldine,’ with its wonderful play of light on the stiff silk folds. The young girl’s attitude is good, the flesh tints natural, and altogether it is a work of outstanding merit. One wonders whether the girl in E. 0. Chapman’s ‘ Apres la Danse ’ (87) is not too young for the subject. She looks a mere child for the pose she has adopted. The same artst gives us 94, ‘ When Thoughts Wander,’ where ono finds a delightful blue tone in the cloak. Ailcon Palmer’s ‘Portrait Study’ (132) is pleasing. The remaining two pictures of this category remind one of French work, Particularly is this the ca#e in Jenny Campbell’s ‘Sketching in the Bush.’ The sunlight through the trees is good, the man’s face convincing, and the general lightness of touch and original treatment are out of tho ordinary. E. M. Collier’s ‘ The Little Schoolboy ’ also hints, at a touch of French influence —at any rate it has the charm one associates with that country. Cecil MacGregor’s study in grey and white (91) is subdued and restful.

(To bo continued.)