THE ART EXHIBITION

Evening Star, Issue 20023, 14 November 1928, Page 9

THE ART EXHIBITION

MORE OIL PAINTINGS ARTICLE No. 11. Wo have so many snowclad mountains in Now Zealand that it is only natural for artists to work on this type of subject, and in .the main the canvases exhibited are decidedly successful. A. Elizabeth Kelly’s pictures —‘Mount Sefton ’ (34) and ‘Mount Giant, Tasman Valley ’ (40)—arc full of strength; there is no hesitation in what the artist sees, though perhaps the onlooker may doubt the accuracy of the blue snow in the former. In the latter the ruggedness of , the mountain in the background forms an admirable foil to the pence of the valley. ‘ Mount Torlosse from the Plains (9.), by Menzies Gibbs, stands out as ono of the finest landscapes here, for not only has the artist faithfully portrayed the delicacy of snow, but he has also caught the curious blue-purples seen on New Zealand mountains. Cecil F. Kelly, in ‘The Hooker Valley’ (85), is distinctly successful in getting the distance of the snow mountains; and Duncan Darroch, in ‘ The Home of the Avalanche ’ (106), makes one ieel the heaviness of the impending avalanche, though there is a general lack of ruggedness. F. Shurrock, in ‘ Mount ilolleston ’ (98), chooses an unusual aspect, and, though perhaps the transition of too-blue snow to green is somewhat abrupt, ho certainly conveys the feeling of looking downwards from a height. Seas are somewhat conspicuous by their absence, and Mr O’Keeffe’s ‘ Tumbling Waters ’ (15) stands out as a work full of the motion and force of waves. In ‘ Clearing After Rain ’ (47) the artist has handled the heavy clouds and turgid waters with great skill, but ono feels that the sand in the foreground is too heavy and rough. Very different are the modern poster-style paintings of Rhona Hazard—‘ Finisterre ’ (8) and ‘Breton Roofs’ (87)— work that has a distinct fascination in spite of hard, unshadowed colours. Mrs P. L. Ritchie’s pictures are not only pleasing from a composition point of view; they are in addition atmospheric. In ‘Cable Bay, Nelson’ (25), one feels the wind playing with the clouds and water; and ‘A Glimpse of Whare Flat’ (27) is charming with its haze through the trees. ‘ Early Morning, Taieri Mouth ’ (32), is well named, for the artist, A. Portman, has caught the still greyness of dawn on a wide sandy expanse. Ida Carey is another artist who can manipulate height and distance, as one sees in ‘The Spit’ (56), though the background blues might with advantage have been softened. There is a certain spaciousness about Archibald Nicoll's scones, duo largely to the refreshing absence of unnecessary detail.

In ‘ Summer Evening ’ (52) we soo a fine play of light and shade, culminating in. the deep shadow of the trees; while in .‘Autumn, Canterbury’ (78), we notice particularly' the fine spacing of the. composition, as well as faithful tree tints. Marcus King has a good oye for interesting subjects, which he invests with his own unmistakable personality. ‘ A Sky Lino ’ (54) is charming, in spite of a hard white mass, presumably clouds. How one feels the vibration of boat in ‘ A Dry Spell ’ (89) 1 ‘ The Hill Path ’ (96) gives us a delightful glimpse of the distant town seen through a hilly cleft in the foreground. E. E. Alexander, in ‘Afternoon Sunshine ’ (102) gives us a real glimpse of sunshine; another work of good light effects being that of D. E. Hutton, N.8.A., in ‘ Wending Homewards ’ (76), though the dark foreground gives a too emphatic heaviness. Still life, to bo successful, needs skilful grouping of objects that blend well together. Good technique and clever colouring are not enough in themselves. ‘ Study in Blue and Pink ’ (10) is spoilt by too many objects being grouped against a wallpaper, whose, largo pattern helps still more to distract one’s, attention. Again, in ‘Brass and Primroses ’ (75) the selection is not very happy, the yellow flowers and metal objects tending to kill each other, so that the general result is uninteresting. J. G, Rollo Fisher, in ‘ Anemones ’ (24), has some beautiful vivid touches in the flowers. 1 Zinias ’ (28), too, has a fine liquidness. M. E. B. Tripe, in ‘Roses’ (43), hap distinctly good tone gradations, and the luminous roses, ranging from yellow's to- crimsons, are further thrown up in relief by the soft background. This, with Grace Butler’s ‘Hydrangeas’ (83), will be by many considered among the best still life in this room. The little china figure in the latter is beautiful line work,, and the glow of porcelain harmonises well with the tender pinks and bines of the flowers. The gold tone of the flowers in ‘Zinias’ (63), by E. M, Boyes, is distinctly pleasing, while another good study is 105, ‘ Wallflowers,’ by C. E. Bertram. The general effect of 109, ‘ Daffodils,’ by Margaret M. Whitt, is somewhat spoilt by the arrangement of tho leaves, which make almost a geometrical design. WATER COLOURS As almost one wall of tho first hall is devoted to water colours, we may with advantage discuss these hero, leaving the next article for the second room and tho arts and crafts section. Four still life groups may be mentioned—a beautiful piece of vibrant colour by Kathleen -Salmond in 157, ‘ Wood Anemones ’; a charming group painted with a distinct feel for colour by J. Dunlop, ‘Still Life Study’ (127); ‘Hydrangeas,’ by Mary Smith, pleasing, in its soft tones; and ‘ African Marigolds ’ (137), by Dorothy Ashton, a work of fresh colour and a good study in golds and oranges. Three examples of the modern pictorial stylo arc to be seen in ‘The Beach’ (134) by Leslie Greener, ‘ Highland Cottage ’ (150) by C. Barton, and ‘Late Afternoon, Brittany’ (151) by Ronald Mackenzie. The lack of shadows and brilliance of colour give a certain hardness that is not found in Nature. Nevertheless this type of work makes a distinct appeal b yits strength and broadness of outlook. Detail is absent and oven essentials. arc hardly more than indicated. Quite different and beautiful in their soft suggestions arc T. A. M'Connack’e ‘Morning Light’ (117) and ‘St. Mary’s Cathedral, Sydney’ (135), this latter showing much skill in tho play of light on tho cathedral and trees.. N. Welch in HI, ‘ln the Rangitikei Valley,’ has been eminently successful in catching the clear atmosphere and bright sky of the district, the scene being typical of those regions. Tho gold of ripo corn in A. C. Hipwcll’s ‘ Harvest at Balcairn ’ (118) is ivorthy of much praise; and also particularly good are tho foreground rocks and general light over the sea in A. E. Baxter’s ‘ Titahi Bay, Wellington ’ (124). In ‘Morning Haze (126), Kathleen Salmond again shows brilliance of colour—quite a different thing from hardness —but the picture hardly hears out its title, ns no haze is visible, even in tho distance. Mabel Hill’s ‘ A Beach Cottage, Gulf of Mexico ’ is a little poem of the Last, full of atmosphere, with touches of vivid colour to relievo tho gold oi tho sand. W. Gomm lias two ship pictures, in both of which the vessel is loaded totho utmost with canvas. In The Strathallen Before the Squall ’ (131) the massed sky to the right is so heavy as to lack character, and there would seem to be a contradiction in the direction of wind in the. sails and the spray, of the waves. In 144, 1 Under bull Sail,’ we find the same lack of sky appreciation. Both, however, are successful in getting the movement of the sea. ‘Noontide Heat’ (138), by E. Rosa Sawtell, is another picture not very happily named, as there is very little suggestion of heat in the dark tones used throughout and in the grey samF. William Smaill, in ‘ Silver Sands, Wangatnn ’ (142), has a pleasing soilness-and harmony throughout; another, good piece of . work by Hilda

Wiseman is ‘ By Hie XUvcr ’ (118), with ; good distance and a well-painted tree | in the foreground. It. B. Little, in : ‘ Fishing Boat. Fort Chalmers,’ has good lino in the boat and a restful atmosphere, in soft greys. .M. B. Holloway’s ‘ From Koly’s • Creek, Otira ’ (165) is an altogether satisfying piece of work, with good distance and colour in the mountains, and an expressive tree in the middle distance. A refreshing change of subjects found in 141, ‘ Street Scene, Auckland.’ hy Ivy Ferry, and in 102, ‘ Auckland From Wakefield. Street,’ by Alice I’. 'Whyte, and in both eases the artists have succeeded in convincing the onlooker of the truth of their vision.-