OTAGO ART SOCIETY

Evening Star, Issue 21571, 17 November 1933, Page 13

OTAGO ART SOCIETY

THE ANNUAL EXHIBITION NO. lII.—THE WATER COLOURS A general survey ol the water colours at the annual exhibition ot the Otago Art Society, in the Pioneer J-Jall, gives a very favourable impression, for. on the whole there is a distinct improvement in the work .shown. Altogether there are 162 pictures in this medium, and it is very gratifying to observe that a number of the older members arc well represented. Generally there is an absence of crudeness, and, while several experienced artists have readied a high standard, many of the younger painters have produced very creditable work. Jn the water colour medium one looks for more delicacy of tone and for more expert draughtsmanship, and m most cases these have been.accomplished by the artists exhibiting. Some ol the pictures would not disgrace any gallery. Jn 1 Autumn, Ruby- Bay,’ Mr Hugh Scott has applied his colours skilfully, his treatment being emphasised in the attractive foreground, in a picture of Quay street, Auckland,.- R. Pheney displays treatment reminiscent of the earlier schools. His

perspective and drawing of the architectural portions of the picture arc well done, and the street scene convoys a real sense of animation.

Air R. T. Little again makes very pleasing contributions to the water colour section, a feature of his work being the artistic application of the wash treatment. Both ‘ Tho Quarry, Sawyers Bay,’ and ' Low Tide, Auckland Harbour,’ are distinctly in advance ot liis previous work, the softness of colour and expert draughtsman,ship in the latter being very pleasing. All bis sketches, in some of which boats are skilfully drawn, add charm to the gallery. ‘Repose’ ami ‘Near Otira,’ by Janet M. Dixon, arc more decorative in treatment than usual, both producing a pleasing effect. The tops of the mountains, carrying a slight . covering of. snow, are cleverly depicted in the latter picture, and the lighting ot sky in the distant valley has been given good treatment.

Of five pictures by Aluriel Colo, ‘ Opilri Riverbed ’stands out for its general technique. Tho colour tones arc good, and the willow trees in tho middle distance have been given much thought. The rock on the left is well balanced in tone. This is altogether a charming little water colour.

There ik an -impressive soreness of touch in Marjorie Naylor's ‘ Joan.' Hood draughtsmanship is evident, and tile application of the colour shows a commendable knowledge of the medium. It is a very creditable water colour portrait. Of I). K. Hutton’s two water colours ‘ The Bark on the Rock, Diamond Harbour ’ reveals the greater artistry. The drawing is good, the sloping bank in the foreground, with the rocks and grass, being admirably painted.

Marion E. Tylce’s ‘ life Chestnut Tree ’ has been given modernistic treatment with pleasing effect. Her draughtsmanship is good, and the lighting effects and colour tones are well balanced. Air John Brock again sots a very high standard, and his work in the medium is among the very best in the' gallery. His snreness of touch and expert draughtsmanship, combined with fine application of colouring, make Jiis pictures a pleasure to - ’the eye. His best is No 278. a familiar view of Mount Kettle, Upper Junction, a picture that is full of atmosphere and life. It is undoubtedly an arresting study of the scene. Another well-known scene is faithfully and artistically depicted in ‘ Purakanni from Top Road,’ the curious lighting helping to make the picture a striking one. Other bright pictures of well-known scenes are offered by Mr Brock, and are well worth inspection. E. Baird Friberg lias several pictures that are not quite up to his usual standard, but nevertheless contain some good work. Without doubt ‘ Late Afternoon, Franz Joseph Glacier’ is an imposing study, the distant mountains being admirably treated. G. C. Wiglev lias produced his best work in 1 Beech Avenue,.’ in which the general colour application and the lighting effect are well treated. ‘ Alaidy Cove, Sydney Harbour ’ gives H. H. Pulleine scope for some artistic touches in a pretty scone; The picture is marked by fine perspective; Elizabeth APCrorie continues to give, enjoyment in her water colours. In

‘ Wetlicrstoncs ’ and ‘The Cow Byre Alorvcn Hills Station' ’ she displays ai excellent application of colour, and tin lighting effect in the latter picture r most effective,. Her ‘ Otago Central 1 c inclined to be hard and uneven.

There is a fine crispness of touch m the work of Trilby Scott, whose ‘ Wind.; of Spring ’ is an attractive little painting with fine colour tones. ‘ The Nor’ west Sky ’ also reveals an artistic touch the sky being well painted and tho re (lections in the water being well treated ■ In ‘ Times ’ F. 11. Wright displays a good knowledge of the medium. The application of the colour is well done but more care in the draughtsmanship would improve the ■"picture considerably. A still life study, * Zinnias,’ is offered by Dorothy Ashton, whose draughtsmanship is good,' but who is .inclined to paint a trifle hard. There is a soft silvery light that pleases the eye in Olivia Spencer Bower’s ‘ Tho Winding Severn Stream.' Broader treatment is displayed in ‘ The Road to the Old Diggings,' a picture in which the balance of tone is well preserved. ‘ Shearing Time,' an unusual and difficult subject, has boon cleverly handled, and in ‘ St. Nicholas Mount ’ the middle distance is particularly well done. (To be continued.)