ART SOCIETY EXHIBITS

Evening Star, Issue 20959, 25 November 1931, Page 3

ART SOCIETY EXHIBITS

ARTICLE HO. V. The result of Kathleen Salmond’s studies abroad is seen in her exhibits in water colour and oil on that portion of the Otago group hung on the cast wall of the building. Once .Miss Salmond has decided which particular technique is most suitable to her temperament and has applied herself solely to this, the result will be a distinguished and really personal style. There is always a tendency on the part of an artist who has viewed within a limited time a profusion of styles to be somewhat uncertain in mind as to which to follow. ‘ The Fisherman’s Cottage ’ (No. 75) by Miss Salmond is typical of Cornwall. The artist has handled this canvas with care and thought, and the scene presented vividly, depicts a haven of rest after a day’s _ fishing on a storm-tossed sea. ‘ Fishing tillage, Cornwall ’ (No. 76), though a little overloaded in design, is certainly a brilliant bit of painting. The lighting and general colour harmony are admirable, and gives some idea of what rrtay be expected from this artist in the near future. Miss Salmond is always at homo in her water colours, and 1 Canal, Bruges ’ (No. 77) is ffesh in treatment, and displays a knowledge of what to omit in order to make a successfully att- -ctive composition. * Near Evansdale ’ (No. 73) is a scene with which most Dunedin people are familiar. The water in the foreground of the painting is full of movement, and the washes of colour are pure and convincing in their application. It is an example of careful thought and selection.

Unmistakably typical of Mrs P. L. Ritchie’s work are. tho seven paintings which that artist has sent to the exhibition this year. In ‘ Noontide, Wanganui River, Tanmarunni ’ (No. 76), a soft and vapoury atmosphere, is exactly expressed the drowsiness of a midsummer noon. * The Path Through the Sand Dunes ’ (No. 20) is the antithesis of No. 16; is more vigorous in treatment. and there is a wild grandeur about it. ‘ The Ever Restless Sea, Crystal Beach. Akaroa ’ (No. 22), is a faithful representation of our _ rocky coastline. There is thought behind it, and one is able to visualise the artist’s thought and intentions. ‘ Where the Riverlet Meets the Sea ’ (No. 19), a fairyland-like scone, suggests elves and gnomes peeping behind the flowers and trees.

Albert Bollard, an aspiring artist with a paternal example that ho is worthily following, has in ‘ Rhododendrons ’ (No. 86) a study that has brought forward _ much favourable comment. There is no overloading; it is just a simple expression of a student who, knowing his own limitations, is yet going forward to meet better things. Across the room from this exhibit is a group of paintings by Bollard, sen., Dunedin’s, well-known Allan Bollard. Of these there are two which are outstanding—‘ The Parting Glow. Akaroa ’ (No. 4) and ‘ The First Glimpse of Dunedin From the North ’ (No. 7). The former is complete in composition, and the subtle shades of an aftergloow are truthfu’’ rendered. The latter is a rather striking view of our beautiful city as seen from the Upper Junction road, and the diffi dties which confront the painter of such _a panoramic view have been overcome in a masterly manner.

There arm some vigorous bits of work from the brush of Eana B. Jeans, ‘ No Sunshine ’ (No. 123), and ‘ Hina-hina Trees ’ (No. 133) being the best. In tho former a glow from tho sky, reflected through the trees in the middle distance, attracts. Tho latter is an individual expression in paint, executed with a sure hand. Tho result obtained by tho east shadows in tho foreground is its attractive feature, and leads the eye to some clever effects. _ The dominant characteristics of the work of James B. Hope are strength of colour and a vigorous understanding of rhythm The five water colours by him are of a very high standard. In 1 Evening on tho Ettrick, Near Selkirk, Scotland ’ CNo. 28), there is a splendid realisation of light. In * Walter Peak From Frankton Arm ’ (No. 130) the artist catches tho spirit of colour rather than the colour itself.

• ‘ Primroses ’ (No. 124), _ by Miss E. Williamson, deserves special mention, and with ‘ Anemones ’ (No. 25) form a pair of graceful studies. Miss Williamson is a new exhibitor, and there are many who will look forward to seeing further examples of ' er work next year. ‘ Still aght ’ (No. 88), by C. Wessman, is in a medium which is not frequently seen—viz., crayon. The drawin.- is good and the ensemble quite effective.

There is no waste of line in tho little boat study ‘ Early Morning ’ (No. 135), by S. B. Maclellan. The story is told without effort, its simplicity being its chief charm. H. V, Miller evinces a sensitive understanding in ‘ Tho White Vase ’ (No. 116). Tone and colour are intimately blended, and, like the little water colour ‘ Aparima ’ (No. 23), suggests a definite series of colour and symbols which may be carried away in the mind and keenly enjoyed. Some of the work this year of A. J. Morrison shows a development of a broader and fresher style than has hitherto been associated with the work of this artist. ‘ Blue Gums ’ (No. 12) is full of definite observation. The silvery tones of the tree trunks are aptly suggested, and the detail is not overdone. 1 Spring Time, Mount Cook ’ (No. 10), is also broad in treatment. The balance is good, and the distant hills suggest the grandeur that is natural to them. ‘ Ocean Beach ’ (No. 14) is full of light and life, but lacks the vigorous treatment of the two previously Mentioned. The only exhibit by Lexie M‘Arthur is a brilliantly-painted sunlit interior entilled ‘ Morning Room ’ (No. 47). This artist makes a close study of design, allowing colour form to make its own appeal. Tho work of K. Airini Vane introduces a fresh note into tho multitudinous' styles of painting shown at this exhibition. There is a bold simplification of tono and colour which is bound together in happy union. ‘ Coming Autumn. Fontainblean ’ (No. 49), is well worth close study, displaying as it does an economy of detail which is most striking.

A distinguishing feature of this year’s exhibition is the architectural section which is situated on the right as the main door is entered. This is a most representative collection, and there is ample proof that _ the architectural students have x'cccived a sound and comprehensive training in draughtsmanship and design. 'ho study of colour has not been neglected, nor have the technical difficulties invoked in the production of workable drawings. There is no doubt that a complete working knowledge of the various “ Orders ” is essential, but why cling to the same old styles of design when so much can be done with the new, or (shall wo say?) rediscovered material—concrete. Each period has its material and its day, and in the present times of severe economy it would be preferable if there was a forward move in architectural d sign which is in close harmony with the times- simple in lino and construc-

tion, yet artistic enough to bo pleasing to the eye. Without wishing to cast any reflection on the work which is being done, it may be said that it would appear to be" still necessary to closely follow old ideas rather than to sec fresh channels of expression. Apart from one or two isolated cases there seems to be no original lino of thought. _ Still it is a very commendable collection of work, and it is gratifying to know that such a high standard of draughtsmanship is available.