FINE ARTS.

Lyttelton Times, Volume XCIII, Issue 10651, 11 May 1895, Page 3

FINE ARTS.

MESSES .WADHAM AND SINCLAIR’S PICTURES. The water-colour paintings of the two South Australian artists now being exhibited in the hall of the Chamber of Commerce are, for several reasons, well worthy the attention, both of artists and of the general public. Firstly, because of their merit: they arc a revelation, to some persona at all events, of what can be done ia water-colours, for many of them combine with the delicacy and softness which are associated with these the depth and power such ao characterise a good oil painting. Again they are a revelation as to methods of manipulation, and a striking exemplification of what cau be effected by enthusiasm and love of Nature disciplined, by careful training and diligent study. A marked characteristic of tha work of both is its sympathetic quality. They have caught, and as it were ‘'fixed,” the very spirit of Nature ia her quieter moods. Power sad vigour aro not wanting, and one or two of tha pictures chow that can successfully portray the wilder and more tragic aspects of Nature. As colourists they are distinctly good; they deal in tones which are soft, clear, effective and thoroughly natural; indeed, a second striking characteristic of their paintings is fidelity to Nature. This is duo, in no smell degree, to wonderfully effective rendering of air and light; one looks at the objects portrayed through a veritable atmosphere. As compositions, the pictures are of great merit; in an artistic sense they are exceptionally wall balanced. As might bo expected with two artists closely related and trained ia the same schools, there is littlo perceptible diffsronce ia their styles; each maictiins a high standard of work; each some times rises above his average ; neither ever falls far below it.

Mr Wadham shows what, to many people, is tho. most effective picture in tha room—- " Sunset, Mount Barualaw" (No. 20), Here are strong, broad treatment and minute accuracy o£ detail combined. The tone of tho New Zealand bash at sunset ia represented with wonderful faithfulness, the luminous mist arising from the valley, and che peaks glowing crimson ia the declining rays, being depicted with great artistic skill. This is one of the larger landscapes—nearly all tha pictures on the walls, by the way, sra landscapes-—and it may be accepted as a typical one. There are, however, many other pictures which approach, or even equal, it in excellence. No. 46, "Ou fciie Onkapariuga, South Australia,” a lovely river scene, with a picturesque blending of European and Australian trees, ia noticeable* for the exquisite tones of the foliage, and tha skill with which the effect of the rippling, plashing stream in tha middle distance 'is rendered and contrasted with the repose of the still “ reach ” in the foreground. A picture of a very different character, yet equally effective in its way, is No, 43, "Twilight, Port River, South Australia,” tho quiet gray tones of which are very pleasing. Similar gray tones prevail in No. 44," Macdonald Bay, South Australia,” a well balanced study of “ sky and sea and shore,” seen on a cloudy, but almost windless day. The sky is wonderfully well treated; the breakers lazily rolling ia on to the beach are admirable in thair naturalness, and tho distant sea is rendered with groat skill. This picture is an example of the artist’s power in breadth of treatment; an adjoining one. No. 17, "Nichoils Creek, near Dunedin,” illustrates his aptitude ia rendering minute detail. The stones in the foreground, and the foliage through which the stream almost tunnels its way, are delineated with almost prc-Snphaolite distinctness, yet with breadth and vigour. Tho tone of the painting is most pleasing; and especially happy is the enact of the sunlight struggling through the branches in the middle distance. Another of Mr Wadham’s most successful efforts is No. 4-3, " The Murray at Manunin, South Australia.” The treatment of tho reeds and broken water ia the foreground ia an admirable example of the manner in which elaborate detail may be effectively suggested. The picture may be said to be one of contrasts, not glaring, but artistically striking, such as those bat ween the light on the water in the foreground, in the centre of the painting, and the still, dark,, shady pool on the right-hand side. The skilful treatment of the light in this picture, as in many of the others, ia most effective. Several of this artist’s small landscapes are deserving of high praise. Especially so in No. 3, “ A Relic of Antiquity ” —Australian antiquity that is, for the relic is a ruinous, whitewashed slab hut, standing out against bush and hills, with a perfect, though tiny, gem of rich colouring in the purples and blues of far distant mountains. Another fine thing among the small pictures, is "Evening near Clair, South Australia.” (No. 48), a view of a picturesque village seen in the twilight. The skill with which the details are rendered veiled, yet not blurred-—is remarkable, and the treatment of the waning light in the sky is excellent. A reference to two other pictures, entirely dissimilar to any of those above mentioned, and also to ono another, must conclude the notice of Mr Wadham’s work. One of these is No. 50, "An Australian Bush Fire,” a large painting, startling in its realism, yet unoxaggeratad in its effects, and marvellously accurate in its details. All the artist's power seems to have been lavished on this lurid but fascinating work, which does not depend for any of its tragic effectiveness on accessories introduced merely to “ heighten th® sensation/’; neither man, beast nor bird is visible; the tragedy is that of the destruction of nature. In strong, but pleasing, contrast ia No. 51, "Tho Unemployed,” which proves the artist as skilful ia the representation of animate as of inanimate nature.

While Mr Wadham has devoted some of Ha beat -work to depicting the scenery of South Australia, Mr Sinclair has applied himself with much success to the portrayal of that of North Wales. One of hia best efforts ia No. 54, “Penman Pool,” a large picture, bright and clear in tone, and full of firm and broad, yet delicate work. No. 22, another view ia the same locality, ia a clever little bit of colour, and unites vigour with delicacy of treatment. The effect of the distant hills, moreover, has been excellently rendered. No. 23, “ Llangollen,” is notable for its tone and atmosphere. The scene ia depicted as it appears on a “ gray day,” and the representation ia very effective. The skilful treatment of detail in this picture is also noticeable. “On the Dae,” No. 8, is a late summer scene in which the rich and varied hues of the foliage are admirably reproduced. As au instance of artistic and effective representation of detail may be cited the treatment of the silver birch tree in the middle distance. Like his confrere, Mr Sinclair has been very happy in dealing with New Zealand scenery. One of hia finest pictures is “Evening, Cosmos £oaks. Lake Wakatipu,” distinguished by power, delicacy of treatment and splendid colour. A very successful work, of a different stamp, is No. 12, “The Eootburn, Wakatipu,” which has some fine cloud effects, and is notable, for the lifelike manner in which the cluster of trees in the mid-distance stands out against the sky. No. 14, “Gleaoamond, South Australia,” is a typical landscape of the English school, though not painted on English ground. No. 56, “ Stone Peak, Wakatipu,” ia full of vigour and power. It is admirable in composition, and the effect of tho dark foreground and the peak standing out against a luminous eky is rendered with groat artistic skill. other pictures of this artist might well be treated of, but those aborementioned may be taken as types of his style.