EMPIRE LOAN COLLECTION

Evening Star, Issue 21721, 16 May 1934, Page 2

EMPIRE LOAN COLLECTION

[Written by J.C.D.E., for the ‘ Evening Star.’] > No. IV. THE DRAWINGS. That the M-ater, colours have been classified as drawings is probably for tho best not only from the point of view of catalogucing. but because beautiful and searching drmving is the outstanding quality of these works. While there is no ivork that calls for superlatives, unless ii he Meninsk.v's ‘ Nude ’ (No. 150). so dominating, monumental, and solid, yet the high level of excellence makes one appreciate the fact that since the time of Constable, de Wint, and Cotniau British artists have surpassed ail others as exponents of painting in water colour.

There are three distinct types amongst these drawings—architectural subjects, 'figure studies, and landscapes and seascapes. While the latter turn predominate in numbers and contain the liner works, yet the architectural subjects are so full of interest and good drawing that they form quite as important a section. George Charlton’s ‘ Chichester Town Hall ’ is a living 'work full of interest both in the rendering of the architecture and in the figures. So quaintly and vitally drawn are those figures in their various attitudes that Me can almost hear them call or speak, he it tho boys playing in the roadway with the dog or the family reunion on the pavement. A not dissimilar work,' but in a more staid manner, is Sc-hwake's ‘ Old Chelsea Church ’ (No. 205) ; his ‘ Moustier St. Marie, Provence’ (No. 20-1) is thoroughly Moi'ked out. and the rocky cliffs behind possess a dramatic force that relieves the quietude of the mountain village. WalcoL's ‘Carey Street ' (No. 235) has nut the genius for suggestion that some of his water colours and etchings have, yet the dark figures in the foreground are very much alive, and, tell richly against the blue-grey background of bouses.

There is a rhythmic feeling about Wyndham's si in ply-treated ‘ Hoots at Avignon ’ (No. 253) that makes an immediate appeal ; it is a subject that might have become extremely commonplace in the hands of a less virile artist. Riisldmry, in Ids drawing of Rome (No. 193). .shows us Ids usual sturdy outlook and handling. Amongst the figure studies the Sims, .lolms. and Orpens stand out strongly. In ‘ Mother and Child ' (No. 218) Sims has shown in a beautifully-coloured and decorative study, a real understanding of the joy of motherhood. The eiderdown is but a mere suggestion, hut one which 'makes us feel the very down under the silk. Orpen’s ‘ Irish Girl ’ (No, 171) has a decorative quality, too. that is charming; the (lowing hair is very graceful indeed. His 1 Nude ’ (No. 17-1), though not possessing the statuesque quality of the Meninsky. is a rare study of solid form and poise. The cnricnture-like 1 Crisis in the New English Art Clubs ' (No. 172) is interesting on account of the portraits of John, Hothenstein, Steer. and Professor Tonks ; the rendering of John's head is a very personal piece of drawing, that half-mystical quality of the eyes being especially intimate. John's 1 Portrait of Ambrose M‘Evoy ' (No. 109) in red chalk is very cleverly drawn, hut one feels a want of solidity in this work; a suggested contour of the left cheek would he of value. Powerful as Orpon's ■ Nude,’ John's * Lady in Easter Dress ' (No. 108) is line drawing at its best, vigorous, direct, and full of meaning. Harry Watson’s ‘.Bathers’ (No. 239) has sonic delicious colour and handling in the background of tree and rock, but the foreground figure is too dominating and lacking something in proportional drawing. Somewhat disappointing too, is Laura Knight’s interior, ‘ Winding the Clock ’ (No. 11(5) ; it is sentimental. and lacks the vigour of her later work. Ethel Walker’s ‘ Picnic ’ is also little pleasing at first sight, but it improves upon acquaintance. It is only a compositional sketch, but the standing grouped figures arc dignified, while the horizontal line of the cliffs cuts the upright figures in beautiful proportion. And the colour has attraction for those "dio have come to know it.

Probably the most spontaneous work in the whole exhibition is M'Evoy’s ‘ Airs Claude Johnston ’; here is no sedateness, but swing and movement. And pleasing, too, are Beerhohm’s caricatures. They have real dignity, and their powerful interpretation of character sets the sen] of genius on this “ popular ’’ artist’s work. Amongst the landscapes, the tno by Derwent Lees soon make their presence felt. In No. 120 rich harmonies of blue and green, combined with horizontal pattern in clouds and fields, make it a satisfying watercolour.’ No.' 125, ‘ .Seascape With Headland. Near Cassis,’ has a furboding atmosphere, but on further examination in the forbidding headland pinks and yellows relieve the ominous grey-blues of the Mater and sky in a remarkable manner. Water colours by Steer and Muirhcad and one by Ethelbcrt White, 1 Essex Barns ’ (No. 241) show traditional English water colour at its best. ‘ Essex Barns,’ besides being a very satisfying composition, is painted in a simple, dignified manner, and has some of the bigness of Cotman’s ‘ Pool.’ Steer’s affinity to Girtin and Constable is noticeable in No. 224, ‘ Cori'e Castle.’ Bigness and simplicity are tho chief qualities of this painting. It lias a beautiful though quiet harmony in Mann ochres and subtle greens; little touches of red play beautifully against these greens. Details of castle and houses and trees are firmly suggested without disturbance to the unity of the picture. Nos. 225 and 226 are no less worthy of attention. Mnirhend’s water colours always remind one of De Wint’s work, chiefly in breadth of handling and simplicity of design. Reserve and refinement characterise bis works Nos. 154 and 155.

The seascapes, though not reaching the standard of excellence of the landscapes just looked at, will have their fair measure of appreciation. Tmo works of expansive sea and sky with distant shipping and buildings are Hay- - ward’s ‘Venice’ and, Purves Flint’s ‘On the Alaas.’ ‘ Venice ’ has a rather heautilul unified colour scheme in greyblues, while the latter work has splendid drawing in the distant shipping. Notable, too for the dianving of ships is Bone’s ‘Stockholm’ (No. 17) and Fisher’s ‘ A French Harbour ' (No. 681, but the Roue lias not the wonderful sense of pattern and arrangement lie evinces in his etchings. Sargent's ‘ Shipping, Venice,’ has spirit and vivacity, while its bright, clean colour is in keeping with its direct handling. There are also water colour landscapes to be seen by De Glelm (Nos. 58 and 59), Sir D. Y. Cameron (Nos. 38' and 39), Laura Knight (No. 117), Bussell Flint (No. 70), and Ncvinson (No. 162), artists whose M-ork is so well knoMii in Now Zealand.

There is much to be learnt from this, tiie first Empire loan collection of contemporary British art, besides the lore of painting, if there was over any question of doubt as to the .success of such a scheme it has been definitely and completely dispersed by the spleri-

did response given by the Dunedin public. That this exhibition will be repeated lies beyond doubt, and the citizens of Dunedin must be eager to offer sincere thanks to all those who made it possible. Secondly, we in Dunedin must, after seeing this splendid and representative display of British art, have a feeling of pride in onr own gallery and for the efforts of the men who have been instrumental in providing for our daily perusal works equally line by artists represented in this exhibition. Thirdly, those people who have never visited Britain ean now, by comparison, appreciate the splendid work done by the late Murray Fuller and his wife. Last, but not least, this exhibition has given us in Dunedin a clearer understanding of the aims and ideals of the younger generation of artists; in most eases appreciation has come with this greater understanding. (Concluded.)