SUTER ART SOCIETY

Nelson Evening Mail, Volume LXVI, 19 August 1933, Page 2

SUTER ART SOCIETY

SOME REMARKS ABOUT THE OILS Having in previous columns of this paper dealt with local work and water colour and black and white, we will now give a few bi'ief remarks about the oils. The one which first calls for comment as we go round the screens is No. 66, the subject, a tea set on a red lacquer tray. This piece of work is an excellent example of colour, but it is a pity that the table does not lie flat. This seems to be due to the reflection of the curtain in the table not having correct perspective, but even so the whole is a very pleasing study of still life. No. 70, a bold picture, “The Interior of Lime Works,” shows great capability, in the masterly handling of flat surfaces of colour, resulting in solidity and form, whilst the way in which the artist has caught the effect of the sunlight flooding the building is much to be commended. “Asleep,” No. 75, is a delightful study of a baby’s head, one feels the living charm of it, so truthfully has it been portrayed. There are two portraits on easels on either side of the hall which offer interesting comparison—one by Ivy Copeland and the other by Russell Clark —both good examples of this branch of painting. The former gives the feeling of careful concentration, and the latter masterful technique. No. 88, a study of old farm buildings, "ives an atmosphere of charm and tranquility. In No. 90, a picture by Ida Else, we have pattern and good colour, but the hill in the distance seems too close up in the foreground and one feels the subject has rather been spoilt by this fault. A similar fault occurs in No. 96, “Timara Creek,” otherwise in this work the colour is both rich and natural.

M. Naylor (a local artist) has given us a very colourful picture in “A Bowl of Chrysanthemums,” and seems to be more at home in the use of oils than water colour.

When we look at “The Big Log” we feel that the artist, although using plenty of colour, has failed to achieve the effect of force and action which the subject would lead one to expect. Finally we have a small group of moderns which will call for the diverse criticism, but it will be seen that the artists, although using flat planes_ of colour, achieve distance and perspective, whilst their pictures have a strength and atmosphere lighting all their own. A large still life by M. Tylee has excellent colour and good drawing, but one rather feels that the view through the window recalls a drop scene rather than a garden. The exhibition xvill remain open tomorrow (Sunday) and Monday. There should be a large attendance to-morrow.