MODERN PAINTERS

New Zealand Herald, Volume LXXIII, Issue 22344, 15 February 1936, Page 10

MODERN PAINTERS

STRIKING EXHIBITION EARLY WORKS OF SICKERT DROP SCENE BY EPSTEIN [from ouk own correspondent] LONDON, Jan. 18 An exhibition of paintings at the Redfern Gallery brings the work of three remarkable moderns together. It is interesting fo see the paintings of Mr. Richard Sickert done between the years 1895 and 1905, and to note the early style that has led to his present defiance of literalness. In these harmonies of low-toned colour, Mr. Sickert showed his ability to keep close to the facts, but having got the facts he would apparently introduce some element of destruction. Thus, in a picture of two old people in conversation the artist adheres closely to the facts of life, but finally takes cakes of grey paint and mutilates the faces out of recognition. In "The Frame-maker's Daughter," priced at 125 guineas, there is no defiance of natural form, but the face of the good lady is painted in lifeless colours. In those early' days, however, Mr. Sickert painted a good many landscapes, in which he made no attempt to alter the form as appreciated by the ordinary observer. Among these are "Church, Dieppe," "St. Mark's, Venice," "Canal in Venice," and "Royal Crescent, Bath." China and the Philippines Mr. Lan Fairweather is not unknown in Australia, where he has exhibited and otherwise come into the public eye. At present he is in China, and a collection of his paintings reflect the scenes of China and the Philippines. They are most subtle in their colourings, and from a decorative point of view most pleasing. A new ballet, "David," is being staged a't the Duke of York's Theatre, this week, and before the performance begins the audience have the opportunity of examining a drop scene painted by the famous sculptor, Mr. Epstein. The original sketch of this, about Bft. by 6ft., is to be seen a.t the Redfern Gallery. The painting depicts scenes in the life of David. Apart from the details, the colour scheme is very fine. But the details provide an interesting study. Mourning for Jonathan N At the top of the picture is a choir of angels, all with brightly-coloured wings. All "primitives" seem, to have coloured their angels' wings, so Epstein lias a good precedent. the centre of the picture is David, in juxtaposi-. tion with great pillars of stone, probably indicating the strength of the man. On one side is the Lord speaking to David, on the other a scene showing David unclothed, mourning for Jonathan. David's wife, with her maidens, is shown in another scene, apparently scoffing at David's strange actions. An effeminate Jonathan is shown lying on a carpet, and there are various groups of priests gathered around the golden candlesticks. The drawing of all these figures is precise and correct. The artist has then applied his colour with a viewto the general effect, and in the large drop scene at the theatre the work is an important feature of the entertainment.