THE FINE ARTS ASSOCIATION.

New Zealand Times, Volume XL, Issue 6822, 2 March 1883, Page 3

THE FINE ARTS ASSOCIATION.

INTERIM EXHIBITION,

First Notice, The exhibition of pictures by the members of this society was opened to the public yesterday, but owing to the unfortunate state of the weather comparatively few people availed themselves of the opportunity of viewing the artistic talent displayed. This is the first exhibition consisting entirely of works by the members of the society, most of whom are amateurs. In writing the following crit-cisms we have not forgotten the difference of position in which professional artists and amateurs stand. The collection, on the whole, is a fairly creditable one. There are amongst the pictures some very clever specimens of art, many, indeed, which place the artist at the top of the tree, whilst there are some that we would rather not crit'cise. The exhibition is marked with many signs of hard work and industry, which under the guidance of the School of Art that it is hoped will be founded, give great promise of future excellence. The catalogue commences with aev»”. pictures sent in to compete for the vice-; resident’s prize for sketching from nature Df these seven, the prize has been awarded to Mr W. F. Barraud’s “Ships at Railway Wharf, Wellington ’’ (No. 4). The title to this picture seems a little out of place, seeing that the onlyships in the picture are at the Queen's Wnarf, and the only representative of marine architecture at the Railway Wharf is a coal-hulk. The subject the artist has chosen is an excessively difficult one, both for composition and ex million, and we do not think that we should have awarded the prize to his sketch.” Day’s Bay, Wellington ” (No. 7), Mr Noel Barraud, together with his other pictures, “Lake Rotoiti, Nelson ” (No. 18), “ Coast near Baikakariki” (No. 26), “ Wairan River” (No. 52), “Wellington, f/orn Prospect Hill, W.unuiomata ” (No. 71) and “ Drawing from Statuette ” (N >. 73), are, with the exception of Nos. 71 and 73, water color drawn g which show power and nrtUtic t ist--, line seem to lack care. We advise the artist to paint more studiously and less volumin only. No. 71, which gained the prize for Mr No-tl Barrand in the competition for original monochrome landscape, is one of the gems of the collection. “A view of Wellington ” (No, 5), A. L. G. Campbell, and “ A gull y near Wadestown ” (No. 45) are curious specimens, showing how a little education will improve tho artist. He has wonderful power in the handling of the brush and some idea of aerial distance, only that this distance is not in its proper place. The middle distance, and the back ground being equally remote from the foreground. If Mr Campbell had lived before Riphael, he would have been the first landscape painter cf tho time. The smaller pictures by this artist are good, especially “Sunrise” (No. 53). The effect of the early morning light upon the snowcapped mountains is fairly well caught, and there is a clearness and distinctness about these sketches that brings to one’s mind the peculiar brightness and transparency of the New Zealand atmosphere. C A. Muntz shows four pictures—“ Tabaka River, Nelson ” (No. 6 aud No. 22) ; “ Upper Buffer Valley Bridge ” No. 10) ; “Devil’s Thumb” (No. 69). No. 10 is a very good landscape ; perhaps a little crispness in the fore .-round is all tiiat is lacking to make it excellent. Nos. 6 and 22, of which one is simply an enlarged copy of the other, ace prettily-handled views of picturesque scenery. The characteristic forms of New Zealand trees are well expressed, but they are rough, and there is a want of transparency in the coloring. Thera are four little oils, two on each side of the room, that are very taking. They are, with one exception, views of scenery in or near Picton. Without unduly praising them, we may say that they are faithful portraits of the places they represent, and, though perhaps a little too highly colored, are very creditable. They are “Lowry Bay” (No. 14), “ Tua Marina” (No. 20), “ Wairau River” (No. 54), “View of Picton” (No. 61), by E. O. Wyviii. The same artist also has two sepia monochromes in the competition for that prize. These pictures are decidedly superior to ordinary amateur work, and they have a characteristic touch. The water in No. 14, and the road in No. 20 are a little too bright, and if Mr Wyviii will bear this in mind, we have no doubt but that a very good picture will come from him at the next exhibition. A view in “ The Botanical Gardens, Wellington’’ (No. 15), aud “Lowry Bay, Wellington ’’ (No. 46) are the work of a young artist,. H. M. Gore, who is, we understand, only fourteen years of age. They are both good, and show a bold, firm touch, but there is a lack of c/iiaroacuro in these that is nearly always so markedly absent in amateur work. W« are aware that the proper delineation of this effect is the chief charm of a landscape, aud that, whilst it is the highest aim of an artist, it is also the moat difficult step in his ladder. Master Gore is, we believe, in good hands, and so we refrain from pointing out any defects, in case we might discourage him, but whilst there are defects in bis pictures, they are so good that we expect great things from him by-aud-by. "Valley of the Upukalolo, Te Anau ” (No. 16), and a “ View of Kiuloch, Wakatipu” (No. 57), by Mr C. D. Barraud, are excellent examples of landscape painting. The middle distance of No. 57, consisting of a flat valley, permeated by a winding river, and backed by a conical hill, is a capital bit of work, and the whole composition of this picture is masterly. The cattle in the foregrounds of these pictures have something more than an amateur appearance. It may be thought that these quiet groups of cattle give the picture too much of an English appearance and are not natural to New Zealand scenery, but to those acquainted with the Wakatipu country many a quiet cove will be remembered, and no doubt Mr Barraud has dropped upon one of these and has very wisely worked it into his picture. “ Scarborough,” (No. 11) by Miss J. Barraud, is a picture that we cannot make up our minds about. There is a boldness of coloring that belongs to no school that we are acquainted with, and yet is not inharmonious, and the picture is certainly characteristic of the Yorkshire coast. We want to have another look at it ; it is either very feeble or very good ; it is certainly out of the common. Miss L. Holmes aud Mias A. H. Holmes send some clever flower paintings (Nos. 17, 19, 62, 94). The flowers might be a little more highly finished, but the arrangement of them is artistic and harmonious. We do not, however, understand bow it is that Miss L. Holmes has taken the trouble to paint a very insipid groundwork to her capital magnolia. Miss Maud Williams has proved herself a good copyist in “ Portrait of a Lady ” (No. 24.) As it is only a copy (of a copy), we can say no more, but from the style in which it is done, if Miss Williams will try an original work, we think it hot unlikely that we may have something to congratulate her upon. Miss I. M. Blackett contributes two copies—“ The Reader” and “The Winder” (Nos. 30 and 31), and as these are done from line engravings. Miss Blackett is original as to the coloring, which is excellent, and entirely in accord with the subject and the school the pictures belong to. The same lady also sends “ Head of a Peasant ” (No. 43) and a “ Study of New Zealand Flax ” No. 65.) No. 43 is good, but although the subject is well chosen, it is only a copy, and No, 55 is well and truly drawn, and the tone is good. The picture is one that exactly suits the aesthetic ideas of the time. [To be continued.}