THE BRITISH PICTURES.

Lyttelton Times, Volume CXXIII, Issue 15899, 10 April 1912, Page 3

THE BRITISH PICTURES.

PROPOSED ADDITIONS TO PERMANENT COLLECTION. EXHIBITED AT THE ART GALLERY. (Contributed.) Every picture added to a public collection means a fresh educational experience brought within tho reach of the people. Pictures, as some one remarked, come to us as gifts of strange temperaments, of subtle susceptibilities, of wild ardour and chill indifference, complex multiform _ gifts of thought and passion. Their beauty comes from the fact that the artist is what he is. It has nothing whatever to do with tho fact that other people want what they want. In this respect, the public has been very badly brought up. That is why it is for ever asking art to be “ popular.” Art should never try to he. popular: the public should try to bo artistic. I)i this spirit must all pictures be approuched, studied to be understood, and understood to be felt and loved. Thus can they lift us from the narrow ruck of individual sense and soul to an emotional experience and spiritual perception broader and deeper than our own, tho composite and complex expression of other .minds. “I never saw a sunset like that,” scornfully said an intending purchaser to Turner. “ I suppose not,” said Turner quietly. “ but don’t you wish you could P” It is art which enables us to see dawns and sunsets and landscapes through other eyes than our own; to dream other dreams than our own; to feel other impulses than our own; to come into touch with tho best that is known and thought and felt by those who see beyond the moment and think beyond to-day. ‘‘The very landscape,” says Corot. “is but a mood of my own mind.” Such men as these are pure visionaries in tho view of the workaday world. There is nothing "sane and sensible” about their worship of beauty: nothing "practical” about the ordering of their lives. Meunier, in poverty, refuses a large sum of money from a firm of manufacturers for one of his bronzes because it would vex and distress him to seo it duplicated in every shop window. "How selfish of him I” exclaims tho philanthropist. Quite'so! Are wo not all absolutely and eternally "selfish” over the treasures of the heart ? But truly art and ethics are things apart. Art, like Science, is essentially non-ethical. A picture is no moro a sermon for bad men than a story for illiterate ones; it is simply a vision of beauty, und as such an educational force. "The true aim of education,” as Plato tells us repeatedly, "is the development of the love of beauty.” To carry on this education in tho face of public opinion—that is, in tho face of the organised ignorance and niggardliness of the community—needs not merely courage and contempt for sordid and mercenary ideas, but sustainment of faith in art as the highest form of culture, national and individual. That is why the Canterbury Society of Arts is to be commended for this further evidence of its devotion to the ideals on which it is founded, and why Mr Neils Lund is also to bo congratulated on the excellent selection of pictures he has made. Undoubtedly the finest picture of tho collection is tho one by Mr Arnesby Brown, "On tho Uplands.” Tho cattle are there in exactly tho right place, good in drawing and colour, giving that feeling of inevitablencss that makes vho perfect composition. Tho colour is fresh and bright, while the sense of light and atmosphere mark tho artist ns one whose work will have increasing vnlue in succeeding generations. Air Arnesby Brown is one of the younger painters who would substitute a certain naturalistic sentiment for pure realism. This naturalism is of au essentially abstract kind. It is based upon and controlled by the closest study of Nature, but it- is concerned rather with the larger subtleties of tho open air, with the gradations of tone masses, with the harmonising of aerial colour and with tho working out of. problems of illumination, than with the obvious facts and commonplaces of modern life. The pure realist contended that everything must be painted exactly as it appeared; tho pure naturalist contended that things must bo arranged, "composed,” to form a picture, and the ugly and the commonplace eliminated. The work of Mr Amesbv Brown represents a compromise between the two extremes. Ho has just the right touch of pastoral simplicity that is necessary to be. in harmony with that note of country life which so many' artists are wisely trying to make heard. Year by year the mental quality of this artist’s work lias become more important in his pictures, and that simplo imitation of detail which is dependent on good eyesight and a retentive memory has givon way to the expression of the deeper truths and beauties of Nature. It is interesting to note that Air Arnesby Brown is already represented in another ‘ New Zealand gallery (Auckland) by a picture entitled " After Heat of Day,” which was purchased in 1900.

Mr H. H. La Tliangue is another artist whoso work is typical of what lias been called “ Naturalism in Art.” Considering the long apprenticeship Mr La Thangn© served to “classicism” both in Great Britain and in France, it is perhaps the more remarkable that he should break away so consistently and persistently even in his comparatively early work. His early training, however, stood him in good stead in firm modelling and draughtsmanship and a sense of tonal values. His technique is of the order of solid painting, well considered and worked in big squaro brushes, and his pictures aro painted in the open air—every subject painted in its own environment. Apart from weather conditions, wind and rain and so forth, such painting at times involves the special difficulty of knowing what colour is being put on. 'Hie shine of the sunlight and the warmth of its reflection have to be allowed for aud corrected. Mr La Thangue’s work deals with a considerable range of subject. His earlier work was more sombre in colouring than now. Latterly lie has been attracted by the full and rich glow, of an almost setting sun upon the landscape. Mr La Thanguo lias a strong individuality —a “ magnificent obstinacy,” as one of his friends termed it, and this, has enabled him to hold fast to tho faith that was in him. His “ Making Ligurian Lace ’' is a picture that would grace any gallery. It is powerful in conception and brilliant in colour, and will certainly add tc the artist’s reputation. The two young girls intent oil working and the flashing sunlight pervading the whole make a charmingly artistic nicturc.

Another highly interesting picture is “ Orchard Farm,” by the late James Aumcnier. The work is lull of quiet restrained feeling and dclic-ato atmosphere. It is a beautiful picture and very satisfying, but not quite so good as "the large landscape shown in tho New Zealand International Exhibition. Mr Julius Olsson, whose picture “ Moonlight” is one of those selected by Mr NeiLs Lund, is before all a marine painter. He was born in 1861 is a member of tho Royal Institute of Painters and of tho Societe lnteruatiionale des Painters, Paris, jvnd a medallist of Paris Salon. “ Moonlight” is a very characteristic example of liis work. Tho movement of the water and the light from tho moon reflected in tho broken waves combine to make a powerful seascape. The position of the rocks in the foreground is, perhaps, not quite satisfying. The large landscape “ Glen Doehart, .

Perthshire,” by Air Neils AI. Lund, ia very good. The warmbrown of the heather in the foreground contrasts very effectively with tho grey of thq distant hillside. The hills aro well depicted and the sun-i, light effective. Air Neils AI. Lund waa born in 1803 and is a well-known mem-i her of tho Royal Institute of Oil Painters. His art education was obtained at tho London Royal Academy School, and later in Paris. He wa* a gold medallist of Paris Salon in’ 1894-5, and lias exhibited at the Royal Academy since 1887. In 1894 the French Government purchased a Scotch landscape exhibited in tha Salon, and this picture is now, hung in the Luxembourg Gallery. A keen sense of colour and accurate drawing make Air Arthur Wardle’s art distinctive and memorable in acter. A born painter of animals, ho early realised that systematised study m schools was of little value, and ha devoted his energies to studying from the great teacher—Nature. The method was laborious, but in his case it has produced an artist who can den pict tho wild animals of forest and plain in all their interesting movements. Tho savage* character of tha largo beasts of prey and their unrelenting ferocity are depicted most convincingly. Air Wardle’s sense of composition is refined and satisfactory. Among his best-known works are “ Fato ” (Tait Gallery), " Lords of tbs North” (a study of Polar bears swimming) and “ Under, the African Sun ’* 1 (a study of lions). His "Hill Leopards” (the picture selected) is very good hi movement, and an interesting example of this artist’s work. Mr E. E. Briggs, the painter; of the water-colour landscape entitled " Tha Falls of Lochay,” was bom at Broughton Ferry in 1803 and became a.mining engineer, later on giving up this profession for the career of the artist. He worked for some time under Professor Legros, and later in Italy. He lias exhibited, pictures at tho Royal Academy since 1901. The • picture selected shows a full mastery of' t-lie medium employed, and is'full of warm, grey tones. Air Edgar Bundy, 1t.1., R. 0.1., )! rcDresented by " Conspirators,” a typical subject, splendidly handled. The composition is good, tho colour and artificial light of the candles admirable. and the dramatic effect well sustained. The general lighting, however, is slightly disturbing. Air George Henry’s figuro (in oils), entitled "A Black Hat,” is another of the pictures. This artist obtained his preliminary art education in tho Glasgow School of .Art and then journeyed to Paris-. Ho is a well-known portrait painter, in both water-colours and oils., as well as pastols. “A Black Hat ” is not so satisfactory as some of tho other pictures, a want of_ variety in colour being evident. Nevertheless, tho face is pretty, and the posd and drawing very good. Air Cecil W. Rea is represented by a picture entitled " Hebe.” He also is a member of the Society of Oil Painters and of the International Society of Painters and Sculptors (Paris).’ In 1907 he married Miss Constance Halford, whoso oil painting entitled “ Three Little Alaids ” is also among the now pictures. Air A. F. W. Hayward. R. 0.1.. ia represented by a study of "Irises.” which is delicate and beautiful m colouring.