OTAGO ART SOCIETY

Evening Star, Issue 21879, 16 November 1934, Page 8

OTAGO ART SOCIETY

THE ANNUAL EXHIBITION NO. lI—THE OIL PAINTINGS ‘ The Green Hat ’ (No. 47) is an arresting portrait study by J. D. Charlton Edgar, whose skilled hand is seen here at its best. The draughtsmanship is excellent, and there is a splendid balance of colour, everything harmonising in the picture to make a strong appeal. ‘ Morven Hill, Hay’s Lake,’ is a sunny picture with a great variety of colouring, skilfully applied, and the effect of sky and clouds is pleasingly emphasised. Mrs P. L. Ritchie again has some attractive studies of beauty spots. ‘ Hyacinth Time, Dunedin ’ (No. 97), is pleasing for its well-painted trees and effective play of light. ‘ Summer Glory, Dunedin ’ (No. 63), is another study in Mrs Ritchie’s well-known style, with excellent attention to light and shade. Bob Reid, as usual, show's that be know's bow to picture Nature’s moods, and his one exhibit, ‘ Sunglow ’ (No. ‘25), has certainly captured the right effect of sunshine on the w'ater. In all of C. S. Lovell Smith’s work there is clean, clever colouring, combined with good draughtsmanship. ‘ Mount Hutt ’ (No. 32) is a picture full of sunlight,.with a fine background of snowclad mountains. ‘ Canterbury Plains ’ (No. 123) is an impressive picture of such a scene, with a fine conception of the sense of the distance to the mountains in the background. Pleasing landscapes are again offered bv Mr W. J. Williamson. ‘ Black Rock, Green Island ’ (No. 28), is one of the best, the sky, sea, bills, and fields being harmonised by excellent treatment to produce a good general effect. Typical of such a scene is his ‘ Swampland ’ (No. 34), and the clouds and sea in ‘ Headland ’ (No. 76) are extremely well done. Altogether Mr Williamson has maintained the general good quality of his work.

John Buchanan’s ‘ Ebb and Flow ’ (No. 33) is a good seascape, with foam on the water and rocks that appear realistic.

A large portrait (No. 90) by Ruby Ran kin is an ambitious effort. The figure is well drawn, but the flesh tints seem to lack warmth. The painter is happier in ‘ Early _ Spring, Cashmere Valley ’ (No. 351. in which everything is-in true perspective to impart a highly pleasing effect. In ‘ Temple Basin ’ (No. 48) the rocks and hills are exceptionally well portrayed. In a still-life study (No. 41) M. B. Rae has rendered the fruit well, everything is well drawn, and there is evidence of a clever appreciation of the application of colour. Of outstanding merit in the gallery is Roland Hipkins’s ‘ Renaissance ’ (No. 85), a large canvas with a telling story of the Napier earthquake. It is a difficult subject handled in an extremely capable manner. . It at once conveys a sense of disaster and of reconstruction. The draughtsmanship of the ruined church in tbe foreground and the reconstructed buildings beyond is excellent, and the use of_ the colour medium is clean and clever. “ Hokianga Harbour ’ (No. 43) is a picture full of sunlight and with excellent drawing. Simplicity is the keynote of ‘Dawn, North Auckland’ (No. 121), but it could command respect among many more ambitious pictures. Minnie F. White’s ‘ Pastures ’ (No. 46) is the best of her exhibits, light and shade being used to excellent effect. Some of her other work is a trifle-hard. There is clever work in ‘ The Green Jacket,’ by W, H. Allen, depicting a girl seated at a window, but’a little stiffness about the figure detracts from the general effect. The view of the sea through the open window is very effective. The grass and the trees in ‘ In Gloucestershire ’ (No. 49) are true to Nature, and the cloud effect is impressive. ~

Two pictures of haystacks by E. L. Mansfield are simple yet striking studies. In No. 93 the towering pinnacle of Mount Cook, with the covering of snow, is effectively brought out in relief.

There is good drawing and painting in an interior study (No. 60) by Irene L.. Collier, who is successful with her lighting effects.

, Sydney Higgs has made ‘On the Kaihu ’ (No. 62) an attractive picture by his clever rendering of the water and the rendering of the water and the reflection of the trees.

A delightful study of autumn roses (No. 64) is the work of A. Mildred Gibb, whose application of colour is skilfully done. There is good work in the curtain at the rear.

Alice F. Whyte shows good draughtsmanship and bright colouring in ‘ Old Colonial House’ (No. 68), and lias equally good work in ‘ Shipping and Harbour ’ (No. 83). in which the ships and boats are well drawn and the water ■nicely rendered. ■ f ‘Rotorua from the Wairoa Road’ (No. 69), by James Carr Duncan, is notable for its excellent draughtsmanship and fine balance of colour tones. The perspective is good, and. the general effect very pleasing. The large picture, ‘ Port Isaac, Cornwall ’ (No. 95) by Jenny Campbell reveals a fine sense of decoration favoured by a natural sense of colour. There is expert draughtsmanship. The houses are particularly well done, though there is a slight tendency to monotony. Altogether, however, it is very fine work. No. 128 by the same artist is a pretty woodland scone, with a pleasing play of light among the trees. • No. 135 is a striking seascape at the Bay of Inlands. . Mr. A. H. O’Keeffe’s one contribution (No. 75) is a portrait of a lad\ in his . own particular technique, splendid work of its kind, more suitable foi a gallery than a home.

One of the most promising portrnii painters in the exhibition is Anne Johnstone, some of whose work reaches a very high standard. Her portrait of Miss Ron a Fogg (No. 84) ranks nearly equal to the best in the gallery. The figure is excellently drawn, the features are finely modelled, the colouring is clean, and the flesh tints are admirable. It .is life-like and natural. No. 94 is an unmistakable likeness of Mr G. W Johnstone, the features being cleverly pictured. ‘The Yellow Bow’ (No. 154 > is another very pleasing portrait. Perhaps the only fault in Miss Johnstoneb work is a very Slight stiffness in hei figures. Salome Coombs bas a good head 'study in No. 79. The features are well portrayed,'and there is a natural glow on the. skin. Some portrait studies by Miss E. N Brook have much promise. No. 96 is the best work. Attractive still life work is shown by F. C.. Walker, with good colouring, but this artist is not nearly so successful in a portrait study. E. W. Walden has made a’ bright little picture of ‘ Lake Kanieri ’ (No. 98), conveying the correct atmosphere of the scene. No. 99. a picture of Leith Valley, would be better with less sombre tones. There is excellent drawing and painting of the water and rocks in ‘ The Hollyford Gorge ’ (No. IT9). There is fine decorative effect in F. J. Cook’s picture of the Lodge at Hamper (No. 100), a canvas with a very pleasing general effect. No. 158-is an

attractive woodland scene, with a pleasing play of light. I. M. Copeland has a particularly good portrait study of a half-caste Maori girl (No. 122), the eyes being very well done. A real sense of peacefulness is conveyed in ‘ Calm Morning, Cockle Bay ’ (No. 101), a picture of good composition. ‘ Autumn, Christchurch ’ (No. 133) has the correct seasonal colouring, and there is a happy attention to light and shade. Phyllis Lipscombe is anothep artist whose portrait work is striking. Thu portrait of Miss Jenny Street (No. 102) has a fine vitality. The head and hair are splendidly drawn and a kindly expression shines ou.t of the countenance. No. 137 is a large portrait by the same artist with excellent drawing of the figure and a natural tint on the skin, but why is such a heavy background used to ruin the effect of good work ?

Archibald Nicol’s ‘ Oats ’ (No. 105) is his best exhibit. It is an excellent rendering of a simple subject, bright sunshine from a beautiful blue sky throwing the shadow of the stack on the ground. 1 Primroses and Pansies ’ (No. 109) reveals good careful work by Hazel Campbell, who also produces meritorious work in ‘ Morning Mists, Sydney Harbour ’ (No. 107). The work of Rata Lovell Smith is up tb her usual high standard. No. 108 is an impressive picture of ‘ The Waimakariri ’, providing a panoramic view of the river flat, hills, and mountains. No. 112 is a striking view of the coast of Kaikoura, a picture in which expert use is made of light and shade. No. 149 is a sunny picture of Nature in happy mood, the rocks, streams, bushes, and hills being excellently painted. There is some good work in Stella Hudson’s ‘The Red Bowl’ (No. 150). the various objects on the table being excellently rendered Mary L. Passmore offers a charming little still-life study in ‘ Blue and Cold ’ (No. 130), the yellow flowers, green leaves, and bine bowl providing a striking contrast of colour to produce a very pleasing general effect. ‘ Pansies ’ (No. 166) is the best of ho still-life work by Emma Williamson, the pansies of varied hues being nicely painted. The blooms in 1 Japonica ’ (No. 131) are delightfully ■ minted, but the effect is spoiled by the precarious position of the bowl. Good work by Marjorie Naylor in

‘ Roger ’ (No. 160), a portrait study, s lost against the dark background. Mr F. Sykes has a pleasing study if Tomahawk Lagoon (No. 139), an attractive picturisation of the place. The rater and its reflections are cleverly handled, the splendid sky effects and brilliant reflections on the water are eaturos of his ‘ Moonlight, Otago Harbour ’ (No. 145). There is good drawing of boats in ‘ Old Boats ’ (No. 140) by J. Turkiugton, the general effect of bis work being altogether pleasing.

W. G. Robb’s picture, ‘ The Rocks, Riverton ’ (No. 144) is notable for fine painting of the rocks and water in the foreground and good cloud effects. B. E. Chappie has good work in ‘ Lamplight,’ a still-life study. The lighting effect of the electric lamp on the flowers is well brought out. W. C. Wakelin has essayed a fairly large portrait study (No. i 47). There is some good drawing and painting in it, but the ficuro is inclined to he too stiff. Maud Wilkie has an excellent stilllife study of an urn. entitled ‘ Traveller’s Loot ’ (No, 156). (To be continued.)