THE ART EXHIBITION

Evening Star, Issue 19722, 24 November 1927, Page 15

THE ART EXHIBITION

WATER CMS, CONTINUED IV. R. T. Littlo contributes sis water colors, all pleasing, one (192), ‘Good Sailing’ being more vigorous than is usually tho case with this artist, who leans to tho peaceful side of hie. In this picture we feel the fine iresh breeze as the boat cuts through tho water. Of tho others, one may say that ‘On tho Sands’ (187) has good sky work, but tho sand is 100 pink; that ‘The Fish House, Moeraki, though interesting as a boat study, has too many hard lines in the foreground to be beautiful, while tho background, and specially round tho bond, is excellent as shore color; and that both 259, ‘The River, Karitane,’ and 308, ‘Morning, Karitane,’ are particularly happy in the distant hills. _ Ccridwon Thornton, in both his pictures, ‘Mick’s Store, Otira’ (186), and ‘Tho Mountain Store’ (284), gives us a glimpse of modern pioneering days, and the loneliness and hard work entailed. In tho latter tho cloud work is too heavy, but otherwise both are quite effective. All M. 0. Stoddart’s work is virile, and full of strength. ‘ The Road to tho Pass ’ (197) shows a wind-swept sky, and a fine light on snow. ‘An Otira Stream ’ (233), with its firm lino work well suggests tho ruggedness of tho gorge and the tumbling waters. Still strong, though with more tempered color, is ‘Lupin Land’ (239), with its soft yellow expanse of lupines and beautiful breeze-carried clouds. All these pictures are well composed, so that the *cyo naturally follows the distances indicated. In 249, ‘Roses,’ the artist shows the same true eye for color and arrangement, the reflections of the massed red and pale yellow flowers being specially beautiful. Very different in interpretation is the work of J. L. Pallthorpe, with its delicacy of color, the soft greys and silvers giving a distinct charm to 203, ‘ The Sluggish Stream,’ and 282, ‘At Silverstream.’ T. BesvVick’s 1 Vegetable Market, Vitre, Brittany,’ is an impressionistic sketch, and as such is successful, for,_ though the figures are somewhat stiff, the color and general light effects are glowing. Of M. E. R. Tripe’s work, probably the best is 217, ‘Wellington Wharf,’ with its good movement in water, and general lino work, while ‘ Spring ’ (227) shows the same good oyo for perspective and ability to grip the onlooker’s interest. It is to ho hoped that W. E. Gladstone will have more to show next year, for 240, ‘Lawyer’s Head, Ocean Beach,’ is well above the average, not only as regards tho general, effect, but also in the sound work shown in tho color of the beach, the convincing gap in the rock, and tho whole construction and balance of tho picture. Robert Bonn’s ‘ Tho Bullock Track,’ 251, is apparently a panoramic view of _ a town—quite good, though the sky is too heavy for the very peaceful blue sea. Much stronger is bis ‘Rain, Dalmore’ (267), with its torrential downpour, and vague suggestions’ of what one would see in fine weather. Russell Clark uses particularly brilliant color, and with it shows a hard outline, the whole being pleasing and effective for poster work. His skill in depicting the glare, of tho sun and consequent deep shadows saves ‘ The Valley Town ’ (264) from belonging exclusively to this class of work, for here wo have the artist’s eye for good pictorial effects. An example of how important background is to a picture is seen in Mabel Richardson's ‘Flower Study’ (270). The flowers themselves aro good, but the whole is spoilt by the numerous straight _ lines behind, with the result that the picture is patchy and unbalanced. Cecil F. Kelly’s ‘ The Bridge of Remembrance ‘ (266) also suffers from too many straight lines, tho top of the bridge cutting the picture neatly right across. Ho is happier in 276, ‘Mount Wakefield,’ where his snow-clad mountain rises in fine style from the valley. Helen Christie has a charming little picture, full of atmosphere, and with a sky happily matching the rest of the scene, in 280, ‘ Winter Afternoon, Oxford Terrace.’ Tho two ono picks out of C. Hay Campbell’s series are 281, ‘ Tho Stokers’ Rest,’ with its depth of color, strength, and general treatment (but do not study the arms too closely), and 302, ‘A Corner of Now Lyn, Cornwall, ’ a nicely-balanced pleasing work. ON THE SCREENS. Several quite good water colors and a few pastels are to be seen, away from the main walls. R. N. Field, A_.lt.G.A., uses specially pale color in ‘ Spring Sunlight ’ (301) —indeed, it is almost a wash, hut it has a curious attraction, and each time ono returns one finds more pleasure, probably because of its atmospheric tenderness. ‘ Ruo St. Julien lo Pauvro ’ (305), by Ronald M'Konzie, is good in its grey buildings, bub tho bright yellow of tho road is too hard; tho sky, too, is somewhat unnatural. Skies aro veritable traps, and when at last ono finds work like N. Welch’s in ‘ February Gold ’ (309) one breathes a sigh of satisfaction. Vivid, unbridled color marks Cranleigb Barton’s ‘Arcade Como’ (311), but many will not consider this a fault, and otherwise the picture is interesting. Vora Vial has managed to make her roads really wet—a difficult thing to do—so that her ‘Wet Bay, Montrcuil-Snr-Mcr ’ is to be ranked among tho successes. Ambitious in subject and laudable in attempt is .Samuel Crow’s ‘Guardians of the People’ (316). Lucy A. Greenish has daintiness and freshness in her small water-color of tho Christchurch Gardens (317). Of Jean M'Kay’s ‘Primroses’ (318) ono might suggest that the primroses alone would have been better. The reflections are out of proportion, being too far away from the vase. Olivo Lloyd shows originality of idea and color in ‘ The Jazz Band ’ (note the speaking expression of the eyes) and ‘Over tho Hills and Far Away.’ The Puckishness of these two works is delightful. Corecn Browne is another artist whoso work would bo good for book illustrations. Here we have a wealth of detail, fine line work, but occasionally poor drawing. A screen is devoted to etchings and drawings. Many of the former aro distinctly good, both in depth of shade and truth to detail. B. Law has a charming little corner of Otago University (330); H. Linloy Richardson, R.8.A., in ‘An’Old Maori Woman' shows us a convincing model, as does F. V. Ellis, A.R.C.A. Trevor Lloyd is among the most successful hero, lor his ‘ A Proud Parent ’ (339) snows much originality in idea, while ‘To Wahino’ (351) is excellent in facial expression. SCULPTURE AND ART CRAFTS. One welcomes any attempts at sculpture, and when the results are as good as hero shown it is to bo hoped that more work of this type will bo forthcoming next year. R. ,N- Field, A.R.C.A., has a most interesting little ‘ Cupid Lost in Thought ’ (387), cut out of Oamaru stone. The lines are few and bold, giving tho child a natural attitude and speaking expression. The size of the right knee mars what is otherwise clever and suggestive work. Francis A. Shurrock, in ‘ The Gymnast ’ (389), has a thoroughly modern young woman, well poised and full of vigor. ‘ Billy ’ (388) is good if viewed from the sides, but seems somewhat out of line and balance if looked at straight in the eyol This section of the exhibition consists chiefly of pewter, inlaid boxes, painted china, and a little hand-made jewellery. Mrs B. Bonald’s afternoon tea set in pewter is good. G. W. Edwards contributes two carved panels, in each of which the animal is of formal design; tho carving is in high relief, and on the whole quite pleasing. Of the painted china one singles out K. HillJack’s tea tray, with its branch of blackberries pa a blue background.

Rubv Israel’s series of rings is good work, though now and then the setting overpowers tho stone. Rev. C. Ballastou and A. A. Ancell divide tho inlaid work between them, and both show considerable skill, though not much originality in design. Boris Collins’s series of silhouettes are really good work, for she has achieved personality and expression in each face, in spite of her difficult medium. Stanley Beck’s two enamel and pewter panels are pleasing in design and execution. L. M. Gordon’s two stencilled scarves are artistic and well worked. .(Concluded.);