PICTURE EXHIBITION

Evening Star, Issue 20311, 21 October 1929, Page 12

PICTURE EXHIBITION

MANY FINE LANDSCAPES There is oa view at Messrs Park, Reynolds this week a collection of pictures which is considerably above the •average of such exhibitions, lb is the personal selection of a connoisseur, and was sent direct to Dunedin. It comprises a very representative number of water colours by leading modern artists, the majority being landscape pictures or out-of-door sketches, with a ‘small number of figure studies and subject pictures, and a few oils. An outstanding -feature is the work of W. Lee Hankey, R.L, R.W.S., one of the great modern masters of water colour painting, an example of whose work is in the permanent gallery at Logan Park. No. 11, ‘ Balloons,’ is a magnificent piece of colour and design, the direct certainty with which the colour is applied being a revelation of what can,be done in the ‘'lighter medium.” No. 14, “ Marchaud cle Legums,’ by the same artist, also stands out,, through its strong realism and truth. No. 13, ‘ 'The Trysting Place,’ is evidently an earlier work, delightful ■in tone and colour, but lacking the strength and vigour of the others. No. 10, ‘ Lamorna Stream, Cornwall,’ by G. S, Lamorna Birch, R.A., is an* example of the work of an artist whoso landscape paintings are known and valued all the world over. This is a particularly fine picture, and should attract considerable attention. No, 16, ‘Near Montreuil, France,’ is from the brush of another great landscape painter, Sir Hughes Stanton, R.A. and whereas this artist’s larger pictures are apt to be cumbersome and overcrowded, this small _ example is charmingly simple and direct. There are two very attractive little landscapes by John Cochran, 36, ‘ Stirlingshire Landscape,’ and 38, ‘ Arran, from Ettrick Bay,’ attractive because the artist has succeeded in such a simple way in suggesting so much distance'in such a small space. It is not always the cleverest artist who puts tho most detail or evidence of work into his picture. A picture which is “laboured” will never succeed. The work of T. Paterson also catches tho eye through its fresh treatment. The bush green of No. 40, ‘The Troutie Burn,’ is raosb < refreshing, while tho breezy open air feeling of No. 28, ‘Sand Dunes, Ballantrne,” arrests one’s attention by its contrast. to the studied artistry of most combinations of landscapes and figure. Besides pure landscapes there are a number of architectural pictures, both interior and exterior, some of the dignified cathedral, others of the picturesque barn or cottage; and of the latter No. 1, ‘ Cornish Barn, Newlyn,’ and No. 3, ‘Lamorna Cove, Newlyn,’ both by J. G. Sykes, are particularly interesting. Also No. 39, ‘Drumdog Farm,’ by D. F. Wilson, A.R.S.A., which is executed in “body colour,” and is remarkable for the cleverness with which the cow and other . details are suggested, x'ather than painted. Three little decoiative scenes by A. IV. Foweraker attract attention by their pleasing colour aud design. Of the oils, No. S, ‘ Fisherman’s Cottage,’ by Haynes King, R.8.A., is outstanding, not only on account of its size, but because of its picturesque subject- and the careful finish in its execution. In fact, this picture will probably be considered _ by some to be the best in the collection. No 5, ‘ Dutch Roadway,’ by C P. Gruppo, is a fine little picture of a country where picturesque subjects abound. There are two remarkable pictures by Dudley Hardy, R. 1., of subjects which are picturesque almost to the point of being theatrical. These are tho two Oriental pictures No. -9, ‘Merchants,’ and No. 17, ‘Merchants Outside the Mosque,’ the brilliant colouring of the latter forming a startling contrast to the more familiar and homely colour around it. Altogether it is a most interesting collection, which no lover of pictures should miss the opportunity to inspect.