OTAGO ART SOCIETY

Evening Star, Issue 20636, 8 November 1930, Page 12

OTAGO ART SOCIETY

OPENING Of ANNUAL EXHIBITION MR O'KEEFE WINS WITH "PICTURE OF THE YEAR" The annual exhibition _of the Otago Art Sooietv was opened in the Pioneer Hall last night, under happy auspices, there being a very largo attendance. In the absence of tho president (Sir Thomas Sidey) the opening ceremony was performed by Mr John Loudon (vice-president). The guests wore received by Mr and Mrs Loudon. Mr J. Loudon congratulated the society on the attendance, and said that he did not propose to take up time unduly by making anything in the nature of a r 'speech. ' He-took, it . that they had come to see . the exhibition, and not to listen to speeches, He desired to apologise-for-the-absence of the president. Sir Thomas Sidey, who, as they knew, was in England at the present time attending to affairs of State ” However, as the present exhibitidn inaugurated a now era or rebirth, he thought it appropriate that he' should give a brief retrospect;..of, the society. In 1875 six enthusiasm tio people met in the Dunedin Atlionseum to discuss:, tho question of forming a society .for- the -cultivation and encouragement of art in the, pro-, vinca of Otagbr . Their;nan;es, were W. F. Brownej Wi Mv Hodgkins, \v. DeVv erill, J. S. Welch. Murray, and Perciyal. After several meetings tho Otago !Art Society 1 was launched in 1876 with the following office-bearers His Hon our the Superintendent of Otago, Janies Macandrew, patron; John Irvine, 'A.R.S.A., president; W.. M. Hodgkins ; vice-president?' W. F,'. Browne, • treasurer ; D. ;C.' Hutton- (then;, provincial drawing master),' secretary pcouncil—Right Rev. Dr Nevill, His Honour Mr Justice Chapman, Messrs E. B. Cargill, John Bathgate, J. T. Thomson, J. I. Welch, George O’Brien, W. Arthur. Dr Hulme, and Professor Coughtrey. ■Progress quiet but consistent._iuo first annual exhibition was held, in 1876. In' 1889 the New Zealand and; South Seas,Exhibition.- was held in Dunedin, and it was safe to say that it contained one. of . the finest collections ot art ever seen in these parts. As the exhibition drew to a close a. successful effort was made by the society,* andha number of public-spirited.; citizens to secure some of the pictures as the nucleus of a public collection. About this time the Dunedin Public Art Gallery Society was brought into being tor the purpose of caring for and adding to the collection from time to time. Until 1922 there were really two societies functioning in Dunedin whose objects and aims were very similar. At tha, -time it was felt that it would he m the best interests of both bodies if their forces were joined, and that it would make for efficiency and economy m management. After negotiations an amalgamation took place, and continued until the present tune. Owing to the v Public Art Gallery having become m the'meantime a civic, institution, mam.y concerned’in gathering a collection or pictured, it'was felt by the working artists of, the. society that .their primary aim, namely ‘‘ the rostering or art and local talent," whs' being, overshadowed, and that it was desirable" sq' fay .as The .working members were concerned that the olcLposition should bo teverted to. ■ Several conferences' took place between the council of the combined society ana the working artists, the result being ■ that in future there would be two so deties. Notwithstanding' the disruption, if it could be termed-at-such, h<> '■ was exceedingly pleased to tell them that .the utmost cordiality existed between the two bodies, which it was trusted would always continue. With regard to the present exhibition, he believed those qualified , to judge would find lb quite equal to the standard of past exhibitions. He had been - much impressed with the energy and know»«»ledgo of the executive of the newlyformed society, which augured wellfoi a highly successful career. Before ---formally: declaring the exhibition open, ho would like to ask Mr P. 11. Sargood, who along with Mrs Sargood had done a great deal for art in Dunedin, to address them. He would also like : to ask their old friend and exhibitor, ;Mr A.,H.' O'Kebfo, to say a few words.' (Applause.l ’ Mr K R. Sargood; saW. that “ the 'action of severance ” and .a- return to the original status' of tho Act*-Society might be a very important move irv the ' • realm of art in Dunedin. The funetiqn-

- ■ inga -of the two amalgamated societies 'r ri, haa seemed at .times to become, should . -ho say, at variance since, tho Art Galvii lery became a ciVio possession. The. Art could now,feel' entirely free to. I ’ devote. its energies to tho furtherance of art and the educational encouragement and .development of individual effort; "while the" Art Gallery became ,tho repository of “acknowledged attainment in artistic»effort. During his perambulations amongst' art centres in London, tho many exhibitions visited, and talks with “men of art,” he had felt at ( a great handicap ,in jgst knowhow to estimate the value of an effort.

Ho asked the question many times from the art dealers and art critics "; r Mio met, :ahd private connoisseurs, and none* could give him ivhat ho consid- “ erod a definite definition understand- '' able 'by a mero layman, except in peri- haps two cases. One, in criticising tho -■ work of a Russian artist which had struck the speaker in his rooms three years ago, was asked: “Do you consider .this art, and, if not, why not?” His reply was that art must depict tho soul or spirit of tho subject, and that, though the works under roview-were or a very high technical standard as to colour, tone, composition, and draughtsmanship, ‘yet it was not “ art.” This ' ■ had rather staggered him (Mr Sargood), as ,hp had caught the spirit of - tho 'subjects, and this had attracted him, not tho technique. Another defi- • mticn given by a well-known writer on , art, was.:—“All art sets out to do , " is to make a comnient on Nature or to -■ produce not something natural, but something, which _ is equivalent to 'Nature.” This might seem.somewhat .. involved, yet understandable, and en- ' " dorsed the first idea of “ a portrayal of ’ soul ” or spirit, but in both cases technique was given a secondary place. ’ Many other writers in art candidly confessed that the world of art did not < 1 know where it stood to-day, and the “'' history ol art indicated a constant state -of “flux” from one generation to fin* 1 ; other, but, as he saw it, .all tending towards “ depicting tho truth ” ■■ whether of the beautiful or tho,reverse. >• ■ It was suggested that ‘they must not 'condemn a picture or work because it mwwas 'faulty in tho accepted., technique ‘ of the - day! if it depicted ’ truth or, he . took it, the spirit or soul of the sub--ject; The spirit of the ago at present ■ might ho characterised as “ syncopated.” Syncope in medicine was a ■ > malady; in art, movement; in music, ' Him division into notes; in' pictures, . the breaking up into episodes (impres- - mens); in poetry, into isolated images; in sculpture, crudities, horrible conception—ia general disharmony, vivid or violent colour, jagged outline or pattern. How could they reconcile such with the past ages of art or tho vision of future art? Many of the present dav looked with scorn at earlier efforts of ■ - mankind. Others sneered at visions ofthose who looked ahead. Each gonera,-

tiou in turn sneered at the other. Therefore, art still was in a state ot flux, and so they were left with tho modern substitute fox; a creed—a note Of interrogation. Looking round this exhibition, might lie be allowed to say without any intention to belittle the great effort displayed, nor'claiming any authority or wish to condemn, that what struck him after all ho bad ■ seen elsewhere lately was that in New. Zealand there appeared a want of originality, and, indeed, individuality? Had they become too slavish to convention? Had they no urge to express something great? Were they too small in their outlook to fear saying what they had to say, without fear of criticism, knowing that, though they could not speak in perfect language, yet they had an idea, a message to give, and give it freely and frankly in their best diction? Having something of this in his mind, he had brought three pictures to New Zealand with a promise given_ to the artist, to offer them for exhibition in the leading galleries. He did not claim for them perfection in technique, and was fully aware that some might criticise them unfavourably, and even condemn them as "not art.” He suggested; that, if so, the works were ‘‘too big ” to bo seen by these doubting Tliomases. Yet, if they served a purpose of lifting them to a higher effort and taught them to bo “ unafraid,” his purpose would have been attained. Whan ho saw Quinqueta Martin’s exhibition, the first impression was one Of wondering admiration of the man’s genius and the enormous appeal to one’s humanity and his efforts to render “■something equivalent to Nature”— an'attenipt to depict the soul of human endeavour, controlling, and/or controlled by 'mighty. mechanised matter, the destinies of millions of workers wrapped up in this mechanising Moloch. “ The spirit of the ages ” in combination with “the spirit of the age” was exemplified in Mr Martin’s pictures. Ho was also much impressed by tho place accorded him by the art world of many nations, New Zcalanders would, if they desired, have), an opportunity of studying this man’s works* and seeing what great ideas were being written on canvas, and to note the form adopted of conveying the message. He had had tho privilege of meeting the artist and of discussing his works with* several highly-thought-of men in London. Ho had seen photographs of him and his pictures taken with tho . heads of nations—Hoover, Mussolini, French President, Argentine President, together with tn© head men of their Respective . national art worlds. Tho catalogue - exhibited informed them that his ’works had ; been accepted by many leading galleries and purchased by private persons; that one was now in tho Prince of Wales’s collection, and ho understood that the Liverpool Gallery was negotiating for one. Mr Manson. the executive, director of the Tait Gallery, bad requested to be allowed to write that foreword to the catalogue, in this departing from his usual custom, and had written a remarkable acknowledgment of merit. He (Mr Sargood) was approached to cancel diis; mirchase of one picture in favour of tbb Tait Gallery, With all this and much more than could be told, and could be gleaned from a perusal of the publications must not Mr Martin’s works have more than passing claim to merit, such recognition ? Tho sneaker said ho felt that when this man’s work was clothed in the technique of tho old masters, was more harmonised, then would something have been produced that would live alongside these masters, and have something more virile than many of them. No gallery should eschew exhibiting tho work of genius, oven if it did not . measure up to the standards set by tho spirit of the ago in which ,they' were produced. One . did 'not welcome a depiction of the crudities and disharmonies of (Nature. They knew they existed, hut Nature’s spirit ■was a striving after the beautiful; evolution towards ultimate harmony. It was the duty of art to keep this view well in tho forefront. “ I now have a very pleasant announcement to make,” said Mr Sargood. “ A lover of art, and one who desires to encourage its development, offered a prize for ‘ tho picture of the year,’ to be selected by a special committee of the two societies from tho works in oil or water colour hung at this exhibition. The award is given to No. 21, Tn a Dark Setting,’ by Mr A. H. O’Keefe, for all-round efficiency. X heartily congratulate Mr O’Keefe oh his success, and the. further fact that his work has .been purchased by liho Dunedin Aft " Gallery Society, in whose halls it will be hung in due course.”—(Applause.) Mr O’Keefe spoke in reminiscent vein, and. a brief speech was given by the mayor (Mr R. S. Black), The following are .the prize-winners hr -the- art union, which was drawn last night:—First prize. No. 73, Mr, E. E, Nicholson; second, No. 38, Mrs P. 11. Sargood; third, No. 16, Mr J. C. Stephens; fourth, No. 142, Mr W. P. Edmond; fifth, No. 21, Mr, H. M'Dowell Smith; sixth. No. 35, . Sir John Sinclair.

/ An enjoyable programme of instrumental music was contributed by Mrs •Little (piano), Mrs Moffett (’cello), and Miss Stella Bayley (violin).

THE EXHIBITS (Article No, I.) , There are several features about the of paintings and fine arts, which opened last night. In the first plaCo, it is now organised by a newly ‘reorganised Otago Art Society, which, since its recent secession from the Dunedin Art Gallery Society, takes solo responsibility _in connection with those annual exhibitions.

Tho artist members have put in a great deal of voluntary work in, arranging the exhibits and organising generally} with tho result that a pleasing and highly commendable display is now open to the public. On this occasion a departure has been made from the customary method of hanging, in that pictures by the same artist, irrespective of whether done in oil or watercolour, arc, as nearly as,is consistent, grouped together. Another noticeable feature is the almost entire absence of portraits, tho predominant branch being landscape, while several interesting examples of Maori mythology have been successfully attempted. . In viewing the pictures the point of view of the artists must, of course, be taken into consideration. One artist will seek representation, will consider light and colour the main object,. while tho post impressionist maintains that tho principle of Cezanne (viz, form) is all that counts. In short, an endeavour mus> bo made to grasp tho ideal which the artist is striving to present. First and foremost we have a leader in this modern method in Robert Nettlefon Field, A.R.C.A. Ho adopts the post impressionistic method ; his pigment is dense but luminous, and he does not allow the emphasis of tho pattern m his composition to destroy the identity of form. ‘ Elgin Road ’ (No. 1) and ‘ The Window ’ (No. 4) aro interesting examples, both in composition and colour, and prove that this artist is not an imitator, but paints with vision, freshness, and grace. Two of

his landscapes, No. 2 ‘ Woodhaugh ’ and No. 236 ‘ Pastoral,’ are good examples of his successful convention. lii the works of W. H. Allen, A.R.C.A., one is struck . with the lack of informatory matter, and with tho development of form. .No. 5, ‘ Woodhaugh,’ gives an entirely different interpretation to the same subject as the previously mentioned artist. No,. 6, ‘ Road to Wanaka, is a delightful little, pattern, and is animated with an ingenious sensitiveness. Tho effect which a beautiful willow pattern has unon an appreciative critic is that which is conveyed by this ‘little picture. „ , . His ‘ Family Group ’ (No, 9) is reminiscent of Rubin. It tolls its own story, and should appeal to the aesthetic emotions. No. 10, ‘ Carving tho Massey Memorial Medallion,’ is an interesting group of historic value. It is characteristic of this . artist’s work, showing great self-discipline. • It. makes no claim to “ prettiness,”. but its. mo and existence are built by its own right and law. . , , W. Allen Bollard needs no introduction to the Dunedin public. His seven pieces show him at his best. Ho is a law unto himself, and with his preconceived ideas ho paints a peaceful timeless existence. Space and appearance. lino and colour, come together impelled by some inner necessity. The Restless Sea ’ (No, 13) shimmers with light and movement, and its antithesis is the solemn grandeur of ‘ A Hay ot Light in Paradise Bush ’ (No. 14). It is pleasing to note that the Pollard tradition is being carried on by Albert E. Bollard, who is a worthy, son of his father. This young artist s (who is still in his teens) Blue and Gold’ (No. 36) reflects great credit on him, and ho should go far. . Like old wine, A. H. O’Keefe improves with age. Hero is work that is at once lyrical and refreshing, yet at the same time comprehensive in grasp and firm in treatment. It is his modesty which constitutes his strength. Foremost is his No. 21. ‘.ln Dark Seting,’ a bowl of roses, which is a poem hr colour and construction. It is a haunting memory of subtle tones, spontaneous flicks of paint, and flashes of genius, the hall-mark of a master. ‘At Fendalton ’ (No.. 22) is this artist’s latest departure in landscape, and it conveys the glamour of the scene with ease and conviction. ‘ Past Meridian ’ (No. 19) is well named. Its illustrative value is not overdone, but is part of tho intense rhythm which flows through it. Tho luminous flesh tints and silver-grey of tho hair of tho old man is an example which young students might well follow. In ‘The Statuette ’ (No. 23) tho artist has created a Pygmalion-like atmosphere, but this does not detract from the splendour of the composition as a whole. Mrs P. L. Ritchie has a representative group of landscapes, which show a strong leaning to tho stylo of Moultray. She paints with the seriousness of a true lover of Nature in its quietest moods, and a daintiness that is outstanding. Another veteran, of whom wo sec too little is Peter MTntyre. There are two canvases from his brush; No. 30, ‘ Low Tide at Waitati,’ is a typical bit of Now Zealand. Ho paints for his own pleasure, with a vision and grace that are refreshing. In W. A. Dawson’s ‘Wanaka’ (No. 38) one can feel that ice and snow are friends of his. He paints with a directness which is convincing. His No. 33, ‘ Tho Leith Stream,’ and No. 35, ‘ The Old Boat House,’ are also good examples of his work. . . Robert Doun specialises in illustrating Maori mythology. His ‘ Mahu-ika ’ (No. 39) shows his natural gift for coordinating masses, but at the same time bo preserves tho personality of its components. In harmonising as ho does reds and browns, this artist shows individual vision of a reflecting typo. Tho subject deals with the Maori five myth. In ‘ The Pool ’ (No. 43) he has caught tho sunlight and local colour with an ease which places him in the front rank.

‘ Becordal ’ (No. 284) shows Archibald Nicoll in an unusual light. The subject of this picture is a war-devas-tated area, and.it leaves a haunting impression that one has viewed this scene before. ‘ Waianakarua ’ (No. 252) and 1 Akaroa Harbour ’ (No. 286) show that this artist is not only a portrait painter, but that landscape has a claim on him also. An artist of outstanding merit is Blum a Haszard. ‘ The Isle of Brechou, Sark ’ (No. 291) is painted with a directness which is convincing. A lot is left to the imagination, but its freshness and truthfulness will make an instant appeal. * Spring in the Marne Valley / (No. 290). shows that not only can this artist paint placid water, hut that in landscape she is no novice. ‘ Calm Morning ’ (No, 288). a village by tho sea, is an excellent example of light and shade. (To he continued.)