ENGLISH ETCHINGS

New Zealand Herald, Volume LXXI, Issue 21882, 18 August 1934, Page 13

ENGLISH ETCHINGS

THE LOAN COLLECTION VISITING ARTIST'S PRAISE VALUE OF THE EXHIBITION The collection of etchings and other prints in the loan exhibition of contemporary British art is very highly praised by Miss Tennyson Green, a New Zcaland-born artist who is making an extended visit to the Dominion. Miss Green is an etcher and a painter, more particularly of portraits, and has had work hung in the Royal Academy and exhibitions of the New English Art Club and other societies.

"Perhaps there is no need to say what a unique opportunity the 'blackand white' room in this exhibition affords to all who are interested in etchings and drawings," said Miss Green yesterday. "It contains examples of craftsmanship of the first order and linked together in it are the names of artists whose work thousands of students and art-lovers in Britain would not miss a chance of seeing."

Speaking with a knowledge of recent London exhibitions, Miss Green said the prints in the loan collection wero thoroughly representative of the best present-day work. They were, in fact, more representative than the paintings, for reasons which could be readily understood. Etching and the other graphic arts had made great progress in Britain within the past 20 years, mainly by reason of the immense amount of hard and conscientious work that had been devoted to them.

Knowledge ol Production

The art-loving public had responded very well, and she believed that the same feeling was growing in New Zealand. "It is rather unfortunate that some people in this country who have an almost instinctive liking for good prints seem to know so little about the means by which they are produced," she remarked. "From conversations I have overheard in the gallery, it is quite clear that a great many visitors have not the least idea whether they are looking at an etching, a dry-point or a mezzotint. A work of art is always much more interesting when one knows something of how it has been made." Among the works in the collection she would mention those of F. L. Griggs, which gave a good idea of this master's ability to depict medieval buildings and the quiet of the English countryside. They seemed to be linked with history and to be at one with the spirit of the old builders. "St. Botolph's, Boston," was an etching in which dignity was combined with fine drawing and amazing judgment in depth of tones. Henry Kushbury's "Canal, Marseilles," like all the artist's work, showed constructive drawing and atmospheric feeling, and it deserved careful study. It was fortunate that Muirhead Bone was well represented, not only in etchings, but also in drawings. She hoped that New Zealand would see more of his work. For human interest, charm, inspiration and force of design it could hardly be bettered.

Features ol Other Work It was important not to miss the works of Stanley Anderson, and to note his direct and honest outlook and the interest that he put into the figures which peopled his scenes. In Edmund Blampied's "Street at Night" and "The Stream" there was imagination and rhythm, expressed with a freedom that could not fail to attract even a casual observer. Sir Frank Short had a power rare among etchers of depicting distance. His mezzotint, "Solway Moss," was surely one of the gems of the collection.

Other works which should be studied were the firmly modelled heads by Gerald Brockhurst, A. R. Middleton Todd's "Siena," the quiet and sincere "Vezelay," by Professor Malcolm Osborne, and the two examples of Frank Brangwyn's masterful style. Other artists worthy of special attention were Robert Austin, Job Nixon and W. T. Monnington, the last of whom was represented by a drawing of fine quality.