OTAGO ART SOCIETY

Evening Star, Issue 22816, 26 November 1937, Page 15

OTAGO ART SOCIETY

SIXTY-FIRST ANNUAL EXHIBITION THE WATER COLOURS No. IV. A general survey of the water colours at the sixty-first annual exhibition of the Otago Art Society, now being held in the Pioneer Hall, gives a very favourable impression, for, on the whole, there is a distinct improvement in the work shown. Altogether there are about 215 pictures in this medium, and it is very gratifying to notice that a number of the older members are well represented. Generally, there is an absence of crudeness, and, while a uumof experienced artists have reached a very high standard, many of the younger painters have produced very creditable works. In the water colour medium one looks for more delicacy of tone and for more expert draughtsmanship, and in most cases these have been accomplished by the artists exhibiting. Some of the pictures would not disgrace any gallery. Enga Washbourn has used the medium very successfully in ‘ Late Afternoon, Rakaia Gorge ’ (No. 269) , a charming picture of good composition, with the mountains well painted and with a good sense of distance and a fine balance of colour. There is also faithful work in ‘ The Bush Road ’ (No. 208), a pleasing effort with free use of the medium on a larger scale. Another picture of good composition and effective treatment in a bold manner is ‘ The Maryhurn Creek, Mackenzie Country ’ (No. 310); . The decorative works of Olivia Spencer Bower attract attention. Very striking is her ‘ The Untidy Verandah * (No. 209), which is admirably executed and has a fine balance of colour. In ‘ A Mountain Stream ’ (No. 213) and ‘ Lake Wakatipu, from Queenstown ’ (No. 257) the artist sees' Nature in pattern, and boldly eliminates detail, and her skilled use of colour allows her to do this without loss of general effect. Worthy of study, too, are her ‘Russian Ballet ’ (No. 245) and ‘ Before Carnival ’ (No. 265), introducing figures in movement —two pictures of unusual composition. . Mr John W. Brock again sets a high standard, and his work in the medium is among the best in the gallery. is sureness of touch and_ his excellent draughtsmanship, combined with his fine application of colouring, make his pictures a pleasure to the eye. His best is ‘ The Road by the Beach, Kantane ’ (No. 227), a picture that is full of atmosphere and life, with the shadows on the road artistically rendered. In ‘ From Harrington Point ’ (No. 231) there is a fine sweeping view of coastline in true perspective and splendidly painted. ‘Light and Shade in the Gums (No. 272) is another artistic offering, the effect or the shade of the trees on the road being particularly well caught. Thor® 13 fine draughtsmanship and application of the medium in ‘ In Rustic England, a fine picture of a windmill in appropriate setting. . . , . The sure work of a practised brush is seen in W*. Basil Honour’s ‘ September Afternoon ’ (No. 211), a charming picture with a fine sky effect and with the hayricks, trees, and everything delightfully rendered. , TT In Roland Hipkin’s ‘ Wellington Harbour from Mount Victoria ’ (No. 212) there is work of a high standard, the view of the housetops through the trees being most effective. _ . There is not much marine painting: in the gallery hut it is well represented in the work of R. T. Little who shows marked ability as usual in the painting of boats. His ‘ The Mullet Boat (No. 214) is a particularly fine little picture, with the sea well done and the •■lines of the heat true. His clean application of the colour is a feature of the work. There are other well-executed pictures of Tioats hy the same artist. Mrs P. L. Ritchie’s four pictures are grouped together and have their characteristic colourfulness. The sparkle of the sunlight on the sea is nicely caught iii ‘ From Paekakariki »Hill, Wellington ’ (No. 220), and in ‘ Orangihikohia ’ (No. 221) there is effective attention to light and shade. In her still-life study, ‘Gold and Silver’ (No. 218),_ the flowers and the howl are beautifully painted, and effective use has been made of the reflection in the table top. There is a defintie charm in the work of Kathleen Salmond, whose view of Whare Flat (No. 2231 is a happy little picture full of life. Equally as good is her ‘ Polyanthus ’ (No. 224), with delightful painting of the flowers. Artistic work from the brush of Mabel Hill is a welcome addition to the gallery. There is dignity and charm in her treatment of ‘ Old Houses, Woodbridge, Suffolk ’ (No. 228). a picture of fine composition, and a pleasing effect is secured in ‘ Farm at Woodbridge ’ (No. 273), a restful country scene that charms the eye. ‘ Colour ’ (No. 314) is an appropriate title for some skilful still-life work, and in ‘ Up for Repairs ’ (No. 317) the artist shows her ability to paint boats in a correct setting. ‘Lane in Wendover, Bucks ’ _ (No. 229), though small in compass, is the best of the work of Mrs Hedley Bellringer, its general effect being most delightful, while in ‘ Edge of the Moors, Hemsley, Yorks ’ (No. 239) there is fine painting of the trees. This artist is also successful in her still-life study (No. 359).

Still-life work by W. M. Cox is tastefully executed. There is choice work in No. 277, there being excellent .painting of the blooms, the vase, and a small bowl, with effective reflection in the table-top. ‘ Roses ’ (No. 230) is another still-life study with charming portrayals of the flowers, but the arrangement is a trifle stiff. The best work of B. Jackson is seen in ‘A Bit of Colour’ (No. 232), a simple little study of a boat and land-

mg. . , A picture of unusual composition, ‘ Canterbury Ranges ’ (No. 253) is exhibited by A. A. Deans, who gives an effective view of the mountain tops with a fine sense of distance. In ‘ Spring Snow ’ (No. 234), a large canvas, the snow is skilfully treated, an effective contrast being provided by the deep blue sky. A bright effect is secured by A. Dickison in ‘ On the Road to Bluespur ’ (No. 235), a picture with atmosphere, and there is good work in ‘ Approaching Storm, Karitane ’ (No. 301). ‘ Missed Flowers ’ (No. 354) by Margaret Kane is an example of good flower painting, but the background is too heavy. Draughtsmanship of a high order is revealed by Peggy Spicer in ‘ Cottages ’ (No. 240), and the colour is well applied, but there is a lack of interest in the foreground. ‘ A City Street ’ (No. 367) shows the artist at her best in this class of work. The drawing is first class, the application of colour clean and the perspective excellent. Of two still-life studies by Thane Field ‘ Daisies ’ (No. 248) is the better, the flowers and the glass bowl being splendidly ipainted. The foreground in H. E. Rodger s ‘ Looking Towards Waihu ’ (No. 263) js admirably, treated, with fine paint.

ing of the trees, hut the background is a little flat. ‘ A Country Road’ (No. 246), by A. Younghusband, is much too heavy. The artist’s best work is seen in a satisfying still-life study, ‘ Mixed Flower Piece’ (No. 283), with nice painting of the dowel's, vase, and saucer, and with very effective treatment of the curtain in the background. Very effective treatment is given by R. J. Waghorn to ‘ Mount Serton and Footstool’ (No. 249), with the snow and the folds in the mountains artistically rendered. His picture of the ‘ Tasman Glacier ’ (No. 256) is a large canvas in which a competent handling of the medium has produced a very satisfactory general effect. The sunlight on the snow is given fine treatment by B. D. Gerard in ‘ A Winter’s Day, Snowdon, Canterbury ’ (No. 250), the picture being full of warm lighting, and there is excellent colour harmony in ‘ Afternoon, Rakaia Gorge’ (No. 318). .(To be continued,).