ART EXHIBITION.

Manawatu Standard, Volume LII, Issue 175, 25 June 1932, Page 8

ART EXHIBITION.

(To tho Editor.)

Sir, —The collection of pictures in tho Wellington Art Gallery is probably the worst in this country, yet this alone is not sufficient excuse for the collection sent to Palmerston North. With the exception of tho Speed and Thompson the collection is in no way representative of the artists’ works, being early and mediocre efforts. These works cannot possibly assist the public to a greater appreciation of art, nor can they give a lead or inspire students of art to greater flights, being mainly the slavish efforts of craftsmen. Perhaps one purpose may be served—that of encouraging art students by showing them from what depths of mediocrity Clausen, Brown and Sims have risen. On visiting the exhibition I found my first impressions considerably more pleasant than my last. This was due to the high standard of technical skill present in at least half the works exhibited. However, once the eye had become accustomed to the idiom of the artist, nothing remained to hold the interest. The works proved not merely barren of idea, but even lacking in composition. Good pattern is not the aim of art, but it is as necessary for its expression as is form in music. Perhaps the most striking example of the above is the work of Adele Younghusband which, once the veneer of mannerism has been penetrated, leaves nothing but a poorly designed photographic landscape. A work of art is not judged on technical mastery, hut first on the thought expressed and then the clearness with which it is conveyed to a sympathetic observer. When an artist gives expression to his thoughts he brings into being a work more priceless than one hundred technical masterpieces. The latter are the work of jugglers in paint and produced by slave minds comparable with those Japanese who now carve nine revolving balls, one within another, without a thought of an inner meaning. Craftsmanship is undoubtedly a means, but never an end, in itself. The much discussed picture, “Woman on t :k> Shore,” will help to make these points clear. What is the artist trying to express ? The figure is obviously tho principal statement and, therefore, most imbued with the idea; yet is there one? The woman is intelligent, muscular, strongly posed and thinking. Yet, let us not too readily attempt to guess her thoughts. The subject and its treatment should present, the whole idea clearly. We find the idea in Rodin’s “Thinker” in the sculpture itself, not in the riddle of his thoughts. Also, let us beware of merely reading into the work those ideas we should like to find there. If the figure is unusual in being muscular this can scarcely hinder it as a work of art, or impair its beauty in the eyes of an art lover. Study the nudes of Rembrandt, Titian, Rubens, or Michael Angelo. Neither the triangular arrangement of tlie figure nor the inexpressive drapery convey any thought; nor yet does the manner of execution. The rocks are neither cruel nor barren, while the distorted cloud halo in the sky is tender in colpur. The work merely resolves itself into either an academic problem, picture with sentimental value, or a soundly painted figure study. Do the artist’s other paintings convey any thought r 1 find in them only sound painting and construction and academic design. Care ful study of Dod Proctor’s “Morning” and Epstein’s “Day” would do much to make the above clear.

If there are no works pregnant with rich thought, there are certainly several which present nature in an original and fascinating way. The paintings of Minnie F. White show a distinctly individual outlook full of vigour, good design and in No. 12 fine colouring. The paintings by McCracken showed strength and soundness of painting, combined with a clever use of line to summarise and simplify landscape forms. These lines, however, are not carefully related throughout, the picture thus resulting in a restless and rambling result. The colour harmonies are astonishingly poor at times. Robson’s “Portrait of a Lady” is clean and brilliant, avoiding greasy skin by the clever use of reflected colours. The three watercolours by W. J. Reed are the pearls of the collection. Extreme delicacy of composition, restraint and a sense of placing comparable only with that of John Platt and the Chinese and Japanese painters. The colouring is as delicate and sensitive as the composition. I believe this artist lias a great future.

One other work is worthy of mention —“At the Summit” by Gwyneth Richardson, a landscape filled with brilliant, warm atmosphere from the setting sun. There is a lovely unity of colour throughout all this artist’s work which is so fine technically. Her line and tone-pattern, however, are weak. Veteran exhibitors maintain their standard of technical skill and continue to imitate nature with the insight of a robot. The rest, an astonishingly high percentage, display a positively repulsive brutality in colouring. I cannot understand why mud should so commonly be used when so many colours are procurable. Perhaps it is the result of the depression.—l am, etc., E.M.