OTAGO ART SOCIETY

Evening Star, Issue 22484, 31 October 1936, Page 10

OTAGO ART SOCIETY

DIAMOND JUBILEE EXHIBITION THE WATER COLOURS (Article No. IV.) A very gratifying feature of the diamond jubilee exhibition of the Otago Art Society at the Pioneer Hall is that the water colours show a distinct improvement all round in comparispn with the exhibition last year. An inspection of them should convince anyone with a knowledge of the genre that many of the exhibitors have revealed a true artistic sense and may be regarded as something more than mere painters, also that excellent promise is shown by a number of the younger exhibitors. An important point in water colour is that crude and feeble drawing cannot be hidden as it is sometimes in oil painting, and the fact that the water colour section is strong on this occasion speaks well for the drawing ability of the exhibitors. Clean drawing, originality of conception. and vigorous handling are other distinctive features of the section. Among four exhibits by M. B. Holloway, the small offering ‘ Young Gum Tree* ’ (No. 149), is a charming and delightful picture, notable for its faithfulness and good composition. The trees are splendidly drawn and painted. The reflections of the trees in the water, and the mountains reveal good work in ‘ Early Morning, Lake Te Anau ’ (No. 190). Mrs Cos shows a number of very attractive still-life studies, with careful drawing and painting of the flowers. Her ‘ Lavender and Green (No. 251), and ‘ The Ginger Jar * (No. 245), arc particularly pleasing pictures. . „ ‘ Lake Brunner ’ (No. lo 6) is the better of several works from the experienced brush of A. Elizabeth Kelly, whose technique and colour harmonies combine to produce a very attractive P *A Ur Wickenden’s ‘ Sussex Cottages ’ (No. 157) is a colourful picture of the beautiful old-style English architectnre. . , The autumn tints of the trees have been faithfully caught by Mrs AV. A, Wright in her * On the Banks of the Clutha ’ (No. 216), the reflections m the water adding charm to a - wellbalanced picture. ‘ Afternoon Sunlight (No. lo 9), by John Scott, has a fine atmosphere in a small compass, and there is much attractive work in his ‘ Mount Earnslaw ’ (No. 223). , x . . The books, bottle, and curtain in * Still Life ’ (No. 161). by G. P.. Butler, are carefully and skilfully painted. Clever handling of the medium and good technique make the pictures of well-known beauty spots by John Brock among the most and meritorious in the exhibition. They’ are all marked by excellent draughtsmanship and clean application of colour. One of his most striking on this occasion is ‘ The Bay from the Hills, Riverton’ (No. 261), a delightful view of a charming scene in which the artist conveys a true sense of distance. A bold slope of bush-clad hill and track, with a glimpse of the sea bevond, is offered in ‘ Above the Cliffs, Pqketeraki ’ (No. 217), a striking picture, with everything in * proportion. There is also arresting work in ‘ Colac Bay, near Riverton ’ (No. 162), which is altogether a delightful picture, while very effective treatment is given to water and mountains in ‘ Early Morning, Wanaka ’ (No. 163). This artist undoubtedly knows how to paint what he sees. _ . There is good drawing in A. M. Darling’s ‘ Ola Homestead Near Totara (No. 164), and ‘Coast Towards Kakanui ’ (No. 170) is an attractive exhibit with good colour harmonies. The ships are well drawn and painted in ‘ Loading Wool, Timaru_ (No. 166), by J. B. Hope, and_ there is good work in 1 Leading In ’ (No. 200), a bright rural scene. . The wealth of detail and the bright colouring in E. Syrett’s ‘ Near the Winter Gardens’ (No. 175), are evidence of much painstaking work. Excellent decor is obtained in Ros «s> Botanic Gardens’ (No. 204), the masses of flowers being very skilfully haSdled. ~... F. Sykes has only one exhibit, ' Long Beach ’ (No. 176), but in it there is a great deal of good work in a fine coastal scene, with the colours nicely applied, and all in harmony. Gwyneth Richardson displays skilful arrangement and dexterity in the handling of colour in two particu arly good pictures. ‘Near Zane .Grey s Camp > (N*. 210) and ‘ Whangarei Heads (No! 179), the technique of which is admirable. , , , , . There is a delightful sense of eolour and rhvthm in all the exhibits of Mabel Hill, whose work is outstanding in many respects. ‘ The Mill, Woodbmlgc (No. 182) is one example ot a skiliea and experienced brush, everything being delightfully drawn and coloured, terranean scene and Dinner Tkrne, ‘ Amalfi ’ (No. 203) is a typical MediSt Ives’ (No. 228) is a picture with nuietlv effective colour harmonies, the horse'and cart and buildings being artistically rendered. The Church of St. Andrea, Capri (No. 278) is another picture worthy qf close study. _ ‘ Old Barns at Howick (No 270) is a charming little picture by Arthur C Hipwell, with good drawing and full of atmosphere. . There is a good sense of composition in A Calm Day at Piha A. Dickson’s ‘At Littlebourne House ’ (No. 214) is a skilfully painted picture of a charming scene, restful, vet striking. Pm© Trees, Littlebourn© ’ (No. 186) is another excellent composition with good drawing and colouring. , , , Olivia Spencer Bower s water colours take their place among the best in the gallery. This artist plays up line in design in striking fashion and her landscapes are full of rhythm, there is much vigour and a sense of reality about her ‘ Mount Rolleston ’ (No. 199). ‘The Mackenzie Country’ (No. 239) is another fine example of her technique, while skilful handling of the medium is displayed in ‘ Gold Miner’s Hut ’ (No. 293) and ‘ A West Coast Bay’ (No. 294). ‘Autumn in Alexandra (No. 191), bv E. M'Crorie, reflects faithfully the seasonal tints on the trees, which arc nicely drawn. ‘Otago Central in April ' (No. 204) is another attractive picture by this artist. Clean application of colour and skilful drawing again mark the water colours of Mr R. T. Little. His draughtsmanship of boats is excellent. Typical examples of his work are ‘ A Harbour Study ’ (No. 224), 7< fhe Water Front, Auckland ’ (No. 237), and ‘ In Carey’s Bay ’ (No. 246). A large canvas by W. J. Reid is entitled ‘ Armageddon ’ (No. 262). with a striking yet grotesque effect. There is undoubtedly clever painting ot the curious medley ',f unclad humans, babes, wreckage, gas masks, and other symbols of his imaginative effort. D. B. Gerrard’s ‘ Lime-stone Quarry, Onekaka ’ (No. 292) is a picture that commands attention because pf its ex-

cellent draughtsmanship and colour harmonies. There are some pleasing examples of still-life work by Rone Wilkie, Hilda Wiseman, Margaret Kane, and 1. M. Copeland. Few visitors to the gallery will approve whole-heartedly of everything on tl\e walls. There are weak spots, just as there are weak spots in the most correct and academic of exhibitions; but many of the pictures show deep and sincere thought, together with an attractive freshness of outlook and decision that arc stimulating. In cases where these qualities are not at once evident sympathetic study will often reveal much that lies beneath the surface. After all, if a work of art is worth anything, it is worth more than a casual glance.