FINE ARTS EXHIBITION.

New Zealand Mail, Issue 869, 26 October 1888, Page 30

FINE ARTS EXHIBITION.

One of the first questions mentally, and perhaps verbally, asked by the visitor to the sixth annual exhibition of the Fine Arts Association mV Wellington will he, ‘‘ Is the exhibition' this year as good as last ?” At first sight one is tempted to answer yes, from the fact that the.number of exhibits is about equal to those of last year, and a closer scrutiny shows that some really good work has been done by our colonial artists during the past 12 months. But on a more critical examination the “ show ” falls off from last year, and this is accounted'for by the fact that many of our principal exhibitors have sent their most important works to the Melbourne Exhibition, where, by-the-bye, they are well spoken of by colonial and European critics. InApassing round the room several well-known former exhibitors are missed from the walls. Mr J. Gully’s illness has laid his brush on one side, for a short time only we sincerely hope. His bright breezy landscapes, full of life and cheery colour, are sadly missed, Mr F. Gouldsmith is this year unrepresented, while Messrs E. A. Clifford, D. Turner, and Misses Wimpert’s, works are absent. Again some of tho principal exhibitors of last year have not sent in such a large number of their works this year. For example, Mr A. Handel Gear only sends a couple of “ black and whites,” not sending a single study in oils. Although many of the present exhibits show signs of careful, and in some instances of laborious work, there are others which betray hurry and neglect of detail. There is, perhaps, a greater number of smaller pictures this year than last, and some of them are very creditably works—paintings which would not discredit a European gallery when it is considered that nearly all the exhibitors are .purely amateur artists. The old saying will crop up, so often quoted in the theatrical world, “from the ranks of amateurs our great professionals come.” The Exhibition this year is not so well situated in the matter of daylight as could be wished, and full justice can hardly he done to some of the works. There is a falling off in the number of exhibits by the students of the School of Design in the crayon, pencil, and- architectural work, and the whole Collection shown is perhaps not quite equal to last year’s. This has been explained to be due to the fact that the greater portion of the best works have been sent Home for competition at South Kensington.

The exhibits in the competitive class for which prizes have . been - awarded are 114 in number, and the prize-list is as follows :—Photographs Twelve views round about Pilot Station and Wellington Heads, Henry Wright. Other classes —View near Christchurch, monochrome, Miss M. O. Stoddart;; view of Canterbury Plains, Miss M. O. Stoddart; panel, clematis, and panel, rhododendron, Miss F. E. Richardson ; threefold l screen, Miss A. M, Lowe. Studies from Wellington School of Design Monochrome from cast, Miss M. E. > Richardson ; outline from the round, Miss Mabel Hill; chalk study from cast, Miss M. E. Richardson ; sepia from models, Miss Mabel Hill. Students at Mr W. L. Morison’s studio— Monochrome Gladiator, Mr W. Burgess (extra prize) ; view near Nelson, Mr W. Burgess. Photographs —Twelve views round about Pilot Station and Wellington Heads, Mr Henry-, Wright. Messrs R. T. Holmes, A. Koch, F. de J. Clere, C. >D. Barraud, and J. Hermann acted as judges. ' Upon entering the upper room the eye is caught by some ‘ “ skyed ” works of Mrs Mair (ned Kate Sperrey). This year she sends seven pictures, and although she has put some remarkably good work • in them they are not so striking as were hers of last season. Her “Contadmo” (No. 1), an Italian study, displays good character carefully wrought. “ A Portrait” (No. 31), is of herself, a capital likeness, but showing the work was executed too close to the mirror for correct foreshortening. The arrangement of the fur wrap across the shoulders is an admirable piece of work. A study by Farrari (No. 16), a portrait of the master under whem the artist studied and exhibited by her. In her portraits of girls Mrs Mair has not been so happy, but “A Priest ” (No. 9) and “ Peppino ” (No. 27) show the old cunning of her brush. In her “Head of Lake Wakatipu ” (No. Ill) thb artist has gone somewhat out of her true line. This work is ambitious, but is not in touch with her portrait work. It is cut up and patchy in style. Miss I. G. Blackett lias a series ef sketches, studies from life, showiug"skilful work, and tempting visitors to askjfor something more ambitious from her brush. Mr John Gibb, as usual, sends several capital marine, studies. “ Hoveto off Wellington Heads” (No. 19) and “ A Stiff Breeze, Cooks Strait ” (No. 24), show good water and sky effects. His “Wellington Harbour” (No. 28), taken from the water, showing the shipping and the hills for a background, . is misleading. If it is intended for morning it shows a painter’s license in admitting the sun to rise in the south-west. One of his best works is “ Evening, Wailrawa, Queen Charlotte Sound ” (No. 45). He has handled the subject in a happy mood, and has put seme capital work in the foreground. His “ Bush Saw Pit ” is a subject difficult to grapple, and hardly suits his style so well as distant landscapes or marine work. Mr R. A. Gill,' of Christchurch, has hung five of his works. His ■“ Old Mill, near Christchurch ” (No. 101), is bold in

conception, but somewhat bare in its licrht effects. An English rural scene, “Mayfield, Sussex” (No. 105), is marred by a rather lavish display of vivid colouring, and is deficient in force. He is more successful< in “Village of Whitley, Surrey,” which is bright and cheerful, and has a thorough air of rusticity with it. His best work is “ Daisy Time Banks of the Heathcote” (No. 116), with a breadth of expansion and true colouring. Mr C. D. Barraud has only one oil paintin« shown, “ TheDarian Mountain, Martin’s Bay Tract ” (No. 23). In this work he has surpassed even the anticipations of his friends. The subject chosen is a happy one.- His, love of soft, subdued tones, his fidelity of detail, and his free handling here find full scope, and. the general opinion is expressed that this is the finest work in oil in the present exhibition. Mr-James Peele has four exhibits, all treated in a broad coloury manner; one of the best is “ Red Birch, West Coast Road ” (No. 21), a capital study of bush scenery. Mr Elder Moultroy has seven works 6n view ; two of these are ambitious works. , “ The Old Pah, Kai Iwi ” (No. 2) is a good subject, - but is treated somewhat heavily, and the artist has not been very happy in his conception of the Natives. His other large work, “An Incident in the Maori War,’’.has more merit, but although the white horse looks full of spirit, it has a suspicious look of being a copy from one of ' the illustrated papers. Mr G P Podor has six creditable landscapes. “ Mount Sefton ” (No. 32) is full of design, and, although harsh in some of its softer lines, has a spirited dash about its general effects. His “ Milford Sound (No. 5), “Head of Lake Pukaki’ (No. 14), tnd “ Mount Cook from the Hermitage,” are his best works. His atmospheric treatment of mountain scenery is very good. „ , , Mr. C. Bloomfield exhibits five landscape subjects, most of them distinguished by the ‘‘Bloomfield blue” of the skies, and the very intense greenness of the water is exemplified in his “ Huka Falls.’ Mr- I. Gaut has been very ambitious in his two large works “Lake Hawea by Moonlight ” (No. 46), is a bold conception, but has too much of a monotone in its effects. “ Milford Sound, Sunrise (No. 58), is harsh and deficient in colour. He evidently would bo more at home in smaller works. Mr. H. W. Kirkwood has seven exhibits. One of his best effects is “ On the Coast, Banks Penmsula (No. 50). His treatment of the water on the rocks is in happy mood and m touch with nature. With figures he is not so much at home, as in them he lacks breadth of expression. Dr W. Fell has a couple of English scenes, which, while fairly corrsct in '■outline, are faulty in colour. Mr B. A. Branfill has a couple of oil paintings, of what the best is a view of Havelock from the bridle track to Picton (No. 69). It ia sketchy and well handled in design, but “foggy ” in finish. Mr L. W. Wilson lias done some very woodwork in his “Mansford Bay, Port Chalmers” (No. 20). The details are carefully drawn, and the colouring is free and fairly true. Mr A. D. Cambridge has a very life-like picture in ‘ ‘ Keeps (No. 77), a couple of small boys playing marbles. The attitudes are free from stiffness, and there is good expression. WATER-COLOURS. Although - the present exhibition contains some very creditable work in the way of water-colour drawings, the display either in the way of high-class merit or striking scenes is not. equal to last year—probably from the cause mentioned already, viz., the best paintings having been -sent to the Melbourne Exhibition. „ , Mr J. C. Richmond, of Nelson, contributes eight water-colours. Although it cannot be said that he has improved on his exhibits of last year, yet most of his works this season are of a satisfactory nature. His best exhibits are “Totaranui, Blind Bay ” (No. 117), noticeable for its natural fidelity and the delicate handling of its water effects. The colouring is true, and the expression is broad. . His treatment of distance is admirable. In “ Scorched Rimu Trees in Clearing on road Riwaka to Takaka ” (No. 100) he has a difficult study. The dull and somewhat harsh cold greys of the burnt woodland require ' the hand of a master to preserve from blurring and over colour. Mr Richmond has treated this subject with considerable sk* and his dexterity in dealing ' ylth peculiar lights and of £j le scene j a very marked-"- another capital study is ** a W.earal Peaks, Lake Manapouri ” (No. 121), with a delicate handling of light on the distant hills. His weakest work is “ Gum Trees at Sunset ” (No. 124). His treatment is too free, especially in the foreground, and his concep tion of the study is not a happy ope. Mr, C. D, Barraqd has, five exhibits in this da?®! A cpupje of capital studies in sppia (No,s. 80" and 84), are full of detail with gooclVater’and foliage effects. His best work undoubtedly is “ Nukumaru (No. 167). In ihis' work he has displayed a fine touch, a soft, refined colouring, and a capital'rendering of his middle distance. “Mount Egmcht” (No, 102) is full of warmth and life, “ Raurakfa ” (No. 96) fa a charming bit of colouring, though rather stiff in some of its details. , Mr D- WV Wilson has somo admirable woodlapd scenes, which he has treated in a free yet natural manner. “Flagstaff, near Dunedin ” (No. 126) is bright and sunny, with some very good effects in light and shade. “ A Bush Glade” (No. 120) is a truly rural spot in a dense bush, with a rare study of the effects of light through

the foliage. His best work, however, is “On its Last Legs” (No. 132), an old ruined shed, with some delicate handling of soft light on the roof and happy contrasts of deepening shades. Miss Holmes has six works exhibited, and although they are all of a meritorious class, they can hardly be said to be an improvement on last year’s show. Her best work is “Ruined Woolshed, Manapouri” (No. 81), with its true cool grey tones, and capital far distance. “ Old Camp, Manapouri ” (No. 127) is marred by too free a use of heavy colouring. Miss M. O. Stoddart this year fully maintains the high repute she holds as one of the best flower painters of the Colony. “Swamp Asters ” (No. 173) is a capital study of colour. “Chinese Roses” (No. 94) is well handled, yetsomewliatstifl'in outline. The colouring is soft and delicately blended. Her landscapes this year are of a high order, and do her infinite credit. “ Views of Canterbury Plains ” (No. 175), for which she was awarded a prize, is treated in a bold vigorous style, the colouring is soft and warm, and the broad andfree. Her conception of distance is admirable. A monochrome, “Near Christchurch” (178), also gained a prize, and is specially noticeable for its charming effects of light and shade. Miss Gurr has six studies of colour, which show that she possesses -a capital eye for effect. Miss Hodgkins has three capitalstudiesof flowers,No. 103 being about her best. Her colouring is very good, but her outlines are a little stiff. She shows rare talents, and with practice will turn out some very creditable works. Mr F. P. Barraud (London), sends a couple of views of English and one French cathedral, with a couple of French town studies. The handling of the architecture is bold and firm, while the colouring is free, and although perhaps a trifle vivid, is true. Mr Noel Barraud sends six drawings of very fair merit, although in his colouring he is apt to be heavy and too sombre in his shades. His view of Stoke, Nelson (No. 138), is one of his best works. The tone of the distant hills is of an Egyptian tint of blue, while the sunset effect, true to Nelson, has thorough Eastern warmth of colour. Mr W. F. Barraud has several good landscapes. His treatment is br ">ad and expressive, and his colouring clear and vivid. Mr W. M. Hodgkins has only one work exhibited—“ Head of Waimakariri River (No. 129)—a capital study, with some very good effects. It is to be regretted that the artist has not favoured the Exhibition with more specimens of his work. His Excellency the Governor contributes five pictures of considerable merit. “The Huka Falls” (No. 137) is a capital view and thoroughly well handled, except from what seems to be a slight excess of colour on the edge of the fall. The views in the Hot Lake district, fumeroles at Vfairakei and Wakarewarewa, are very natural and are treated with considerable skill. There are a large number of other exhibitors who send works of more or less merit. The screen, panel, and plaque. paintings are worth more than a mere brief notice, but the pressure on our space precludes a description at length. There are some very good photographs exhibited, which reflect great credit upon the artists. •