AUCKLAND SOCIETY OF ARTS EXHIBITION.

New Zealand Herald, Volume XXV, Issue 9026, 12 April 1888, Page 5

AUCKLAND SOCIETY OF ARTS EXHIBITION.

to-night's conversazione. The members' conversazione will take place this evening at eight o'clock, in the Choral Hall, when an inaugural address will be given. Impey's Band will abo play some choice musical selections. -

The Exhibition promises to be as successful as its predecessors, the entries being about as large, while the quality is considerably improved. There are 122 oils and 40 water colours. There is a decided improvement in figure painting. Last year Mr. R. Atkinson took the lead ; this season we have Messrs. L. J. Steele, Lindauer, and Mesdames Dawson and Parkinson. Some of Mr. Atkinson's water colours are remarkably spirited. In animal painting and in still life Mrs. J. McCosh Clark has made a new departure. Mrs. Thos. Morrin also contributes in animal painting. In landscape painting, the finest and largest picture is J. Gibb's Oyster Dredging, Stewart's Island," but the picture which will attract the largest interest and attention in composition is L. J. Steele's painting, " The Story of a Saddle." The principal exhibitors in oils are John Gibb.C. Blomfield, W. M. Gibb, Mrs. J. McC. Clark, T. L. Drummond, Thomas Ball, W. E. Payton, W. M. Watkin, Albin Martin, Ryan, Aldis, Misses Outhwaite and Home. Mr. R. Atkinson only contributes two oils, though several water-colours. In the latter class Messrs. Kenneth Watkin and Wright are prominent. Yesterday Messrs J. L. Holland and Josiah Martin were busy completing the arrangements for the hanging of the pictures. To-day we give some remarks on the principal exhibits in OILS. The picture of the Exhibition is L. J. Steele's " The Story of a Saddle," and which, in the opinion of some enthusiastic admirers, is fit for the Royal Academy. The execution is faultless, and the whole effect interesting in' the highest degree. The picture illustrates "The Story of a Saddle" moat effectively — a story which has already been embalmed in a poem published by the Australian press. Briefly told, a stockrider is dying in his hut, having met with an accident, and is giving his last message to his mate, who listens with eager interest to the dying man's story, while the dog watches the last movements of his master. The first rays of morning are showing through the chinks of the door, and the expiring candle guttered down to the bottle-neck, tells the tale of the long night watch. The accessories are full of incident —the saddle on the old sea-chest, the spurred and mud-stained boots, the packing case serving as table and pantry, with its battered hoop iron and trade brands, the shovel, saucepan, and pannikin, and the sack of potatoes in the corner. The other accessoriesthe bridle, gun, revolver, and saddle-flask are executed with a masterly hand; while the face of the dying man is a powerful study in itself 'as a ' picture of resigned suffering. The picture is framed in a heavy kauri mill moulding, with a gold step flat, which is a novelty here. We understand the painting is to bo forwarded to the Melbourne Exhibition, and will probably be secured for the Melbourne Art Gallery by some of the wealthy Australian magnates. Mr. Steele has also another quaint painting, illustrative of Maori life and scenes fast fading out of recollection. It depicts an incident taken from a legend in Mr. John White's well-known Maori work, "To Rou." A chief has been killed in battle, his head has been preserved, and placed on a pole in .the runanga house. ..His affianced, whose reason has become unhinged, comes to the spot, and apostrophises the head of her dead lover. The painting is finished in that accuracy of detail so necessary in an historical pictures. The tattooed head of the dead chief, the demented face of the unfortunate Maori maiden, the detail of the kiwi mat, and the carvings of the runanga house, are remarkably good. Mr. Steele has also contributed three portraits lady, a gentleman, and a youth. The best of these is that of , Captain Webb, which is a very different portrait to that of the gallant captain in the exhibition of last year, when he was "completely given away."

"After School" is by Mr. R. Atkinson, > and is the second largest picture in the Exhibition. It is a sunset effect. The picture is of children swinging. The swing is a very primitive aflair, and thoroughly colonial, being suspended between the branches of two poplar trees, which are prominent objects in the picture. The swing is composed of chain, rope, and flax, while a gunny bag does duty for a seat. The interest of two of the figures (a girl and boy) is centred in a third figure (a boy), who, squatted down, holds a dog— the animal being inclined to take the loan of a bite," as the feet of the urchin on the swing dangle invitingly towards him. The scene is laid near the mouth of a creek, showing a range of wooded hills on the opposite shore, variously lighted by the rays of the setting sun. The wooded range is thoroughly New Zealand in its characteristics. In the middle distance and foreground isshown a very careful study nature. The picture is broad and masterly in style, and done with the free hand of a trained artist, having a thorough command of his subject. The light coming through the . branches of the trees, lights up the foreground, and catches the trunks of the poplars and the figures of the children here and there. The whole details of the picture are carefully worked out, even to the remains of an old culvert in the right foreground. The whole composition forms an s harmonious and effective picture, and one that fully sustains the high reputation of the artist. The only other oil Mr. Atkinson exhibits is a sketch from Nature, at St. Heliers Bay. It is simply a bit of. beach scenery. . " Oyster Dredging at Stewart's Island," by J. Gibb (Christchurch), is a large and magnificent picture, exhibiting Mr. Gibb's well-known characteristics in his best style. The waves are full of motion, and the effect is more pleasing than the favourite picture of last season, "Will she weather it?" It is full of incident, and the cutter in the foreground is a fine specimen of marine painting. The headland fades into the distance across the waste of waters, giving a fine effect of atmosphere and distance. The sunset is just one of those fine effects which artists love to depict. The diminishing fleet of oyster boats is an excellent illustration of aerial marine perspective. " Ploughing on the Cliffs, south front, Kaikoura is another exhibit by the same artist. This is a good specimen, of animal painting, and is a new departure, if one may judge from his pictures exhibited ■ here. The team coming round the cliff are instinct with life and action. The calm, unruffled sea forms an appropriate background, and one can realise the stillness of the early morning air. His " Waimakariri, at the Bealey, West Coast Road," and " Picton— Queen Charlotte's Sound," are not so happy. He seems fettered, and appears happier in great depth and distance, as for instance in his "Milford Sound." "Low Tide, Port Chalmers," is well treated.

Mr. Albin Martin, notwithstanding his advanced years, is still to the fore with his characteristic excellence. The most interesting of his pictures, from a historical point of view, is "General Cameron's Camp at the Tamaki."

Mrs. James McCosh Clark exhibits in landscape, animal, and still life, which shows this artist to wield a facile brush, as well as being .mistress of various branches of art. Perhaps the best of her pictures are "A Misty Morn, Mount Egmont," "A View of Tongariro from Taupo," and " A Still Eve, Waiwera," as regards artistic effect. " Our Camp, Tongariro," gives a faithful representation of the steaming cone of Ngaruahoe and of Tongariro. It, however, lacks that serial perspective which would have given majesty and magnitude to the mountain. In the picture A Misty Morn," the snow-capped cone of Mount Egmont, as seen through the rising mists from the Urenui River, is very effective. The Maori canoe and whare in the foreground are tastefully rendered. In A View at Waiwera " . this pretty winding river is very happily treated, and will be recognised immediately by many visitors to this picturesque retreat. " Evening Lights " is an effective rendering of the breadth of light and shade, giving depth to the perspective and a richness of effect. " Evening on the Waikato near Taupo," is a beautiful Eiece of painting, the rocks and their reections being admirably delineated. The still coolness of the water in the shadows is very fine. The peculiar sheen of the water is well given, and the distance soft and delicate. "The Waikato River, near Taupo," is a view of Ru&pehu and Tonga-

riro, as seen across Lake Taupo, from its outlet. The effect, although very fine, strikes one as much too near in its distance from the point of observation. " Study of a Kea, killed at Mount Earnslaw— inner glacier." The incident happened a couple of years ago during a tour of Mr. and Mrs. Clark in the Southern Alps. The kea is an excellent life-size study of this predatory bird, and carefully treated, but the filling in of the back-ground is not so happy, the effect being to increase the relative size of the bird. Every shade and tint of the plumage is true to nature. Head of an Alderney Cow" is Mrs. Clark's first exhibit in this line. It is a study from nature. The drawing is good, as is also the effect of light and shade, particularly upon the nose. The liquid expression of the eyec is happily caught. The foreshortening of the horns is particularly good. This first essay warrants the hope that Mrs. Clark will furnish a more ambitious example in future. Another example of animal painting is "Group on Shropshire Downs, by Mrs. Thomas Morrin. The picture is a creditable essay in this branch of art. The group are partly between the light and shade of a clump of trees. Mr. Blomfield sends ten oil paintings, five of them the result of his recent trip to Taupo and Tongariro. Although they do not arrest attention on account of their size, these pictures are well worthy of close inspection. Most of them, we understand, were painted on the spot direct from nature. While there are disadvantages and drawbacks to painting a finished picture out of doors, such a practice conduces, no doubt, to a faithful style. The best of the Taupo ones to our mind is " The Waihaha River and Settlement," that represents a scene on one of the rivers running into the western bay of Lake Taupo, a part of the cpuntry rarely visited, but Boon to be recognised as one of the most beautiful spots in the North Island. The river is gliding slowly past reflecting the drooping foliage of the overhanging willows, which are just putting on their spring dress of delicate green ; some Maori whares and figures give fife to the scene. " Lake Taupo from the Bridge "is a picture favourably noticed in these columns a short time ago. Another picture represents a Maori runanga house, richly ornamented with those grotesque carvings now becoming so scarce. The background is boldly painted, showing heavy rain-clouds hanging about the . high mountains, bringing out by contrast the bright colouring of the whares in the foreground. "The Wanganui Falls" and "Tongariro and Ruapehu," seen across the Lake from the inside of a cave, are both very characteristic of the scenery of the. western shores of Lake Taupo. Perhaps there is no place outside of Auckland better known than Waiwera, and in two of Mr. Blomfield's pictures everyone will recognise familiar scenes—the well-known form of the Bastion Rock, the Rose Casey landing her passengers, and the cart waiting to run them up upon the beach. And in the view from the rocks looking towards the Kawau we recognise the Little Barrier rising behind the Kawau and the Mahurangi Heads. "Christmas Time at Takapuna Beach " is a fine study of a grand old pohutakawa tree in full bloom. "A Moonlight Scene "is evidently a new departure for Mr. Blomfield, a composition inspired by 30.me. lines in Cowper's " Task — At eve The moonbeam, sliding softly in between The sleeping leaves. The subject chosen is a difficult one, a bush creek overhung with ferns and trees. The queen of night is rising; her pale face partly hidden by fern leaves and creepers ; her bright beams reflected in the rushing waters below. The artist has avoided the common mistake in moonlight scenes in making everything black and white, for here we have the mellow radiance of real moonlight, and in the deep gloom of the distance a quantity of rich mysterious colour. The effect is charmingly poetical, and the painting may be regarded as Mr. Blomfiela's happiest effort at the present exhibition.

Mr. T. L. Drummond contributes an excellent collection. " The End of the Day " is perhaps the best of his contributions, showing more artistic conception and perfection in treatment. A party of natives are returning at evening. The study of kahikatea bush is wonderfully true to nature. Its composition as a picture is rather marred by the regularity of the line of trees, bub seen under a good light, the grouping is rich and effective. The Manukau : Early Morning," and " The Shores of the Manukau" are excellent representations of the locality, are harmonious in composition, and artistically and carefully treated. The contrasts of light -and shade in the latter picture are very effective. The " After Glow " illustrates a verse from " Ranolf and Amohia,"

That slowly fading fever flush Of beauteous day before she dies. The mantling haze on the bluff, and the reflections in the water, are beautifully rendered. The merit of " A Popular Resort" is in its life, and the vigour and activity of its figures. "A Tidal Creek, Matakana," is a pretty little scene on the banks of-the Matakana River, and "A Quiet Pool" (near Henderson), exhibit different styles of treatment, the former being the prettiest picture, but the latter the most artistic in treatment. " A Rocky Stream, Nihotopu," is a beautiful specimen of rock painting, especially the moss-grown boulder in the foreground, the light and shade effects of which are masterly. " A Grey Sunrise" is a happy and effective picture. In this effect Rangitoto is seen retiring naturally into the misty distance, whereas it is generally depicted as looming up against the sky, as if threatening destruction to the city. " A Quiet Country Road " is a simple country scene carefully painted. Mr. E. W. Payton keeps up his connection with the Society, though now in England, by sending some English scenes. " Windsor Castle at Sunrise " is perhaps his best effort. " Sunset at Stratford-on-Avon" is a warm and harmonious painting. "A Study of a Kauri Tree" (Waitakerei) equals the best of Mr. Payton's New Zealand subjects. This is a very fine study of a giant kauri, gome 35 feet in diameter. The well-known portrait painter, Lindauer, contributes two Maori portraits, executed in his usual excellent style, and also a little girl with doll on lap. The child is painted with great power, but the doll is not so well treated. The colouring is rich and harmonious, and the portrait evidently a speaking likeness.