GEORGE LAMBERT.

New Zealand Herald, Volume LXI, Issue 18897, 20 December 1924, Page 21 (Supplement)

GEORGE LAMBERT.

REPRODUCTION OF HIS ART. BY \V. PAGE HOWE. Artists, and all who make a serious study of art, will welcome an opportunity to study this book of the art of George Lambert, which has been so beautifully produced by Art in Australia, Limited. The price, of course, is somewhat restrictive — it is three guineas—but the cost of production must have been great, and no one can say that full value is not given for the money. The accompanying essays upon Lambert's art are particularly well done. Writers on these occasions too often use the artist as a peg on which to air their pet fads, and are interested in his work only so far as it illustrates their own particular point of view.

George Lambert was born in Russia in 1873, of an American father and English mother, but was brought to Australia at a very early age. Ho received his first instruction in art from Julian Ash ton, to whom Australian art owes so much of its strong vitality. At 26 Lambert went to Paris, and after three years' study there moved to London, where be pursued his artistic destiny with a dogged perseverance and cheery courage which was never discouraged by shortness of cash. Ono cannot enter into the story of his development here, although it is essential to the full appreciation of his work its represented by this book, and full of instruction and high example to any artist. Suffice it to say that the foundation of his brilliant achievements is, as it always must be, a strenuous and unremitting study of the great masters of the past, and an. incessant practise of drawing, which Is as continuously necessary to sound execution as are scales and exercises to the musician.

But, Lambert was never guilty of a slavish imitation of the technique of any period. His studies were all in the direction of a. mote complete self-expression, which is the only lawful objective for any artist, and he has certainly justified his intention. lie is, of course, not entirely freo from affectations, as, for instance, in his treatment of hands, but what artist, of any individuality is without them ? And his are not mechanical mannerisms.

Lambert's work is essentially of the present age, as it, should be, but his earnest study of the past, has kept him from being swept off his feet by the wind of the violent temporary disturbances of recent times. A really typical example of his art, especially a figure-subject, would be a very useful addition to our public gallery.