N.Z. ACADEMY OF FINE ARTS.

New Zealand Times, Volume XXXIII, Issue 7849, 11 July 1911, Page 6

N.Z. ACADEMY OF FINE ARTS.

ANNUAL SKETCH EXHIBITION. By "The Lav Figure/' "Much hotter than last year" seemed to bo a fairly unanimous verdict on the opening day last Saturday. It is a verdict with which I cordially agree. Of course there is some terribly crude and feeble stuff, hut the oases in what used at one time to be a general Sahara of artistic futility, are this year quite agreeably numerous. As usual, however, the honours go to outside artists, air A. W. Walsh, of Christchurch —the finest colourist we have in New Zealand to-day —is easily first. Air Walsh sends throe contributions. One, "The End of the Roef,” represents a well-known spot beyond Plirnmerton, and is a vigorous, whole-souled production, full of pictorial briso, a veritable joy <to the eye, alike in composition, draughtsmanship and colouring. A wise man—how I envy him! —picked up this sketch on the opening day. Never wore three guineas better spent, whoever the purchaser may bo. The* two other sketches are a study of rocks and foaming breakers, and a scene on the Greymouth lagoon. I prefer the former. It may be a trifle too riotously vigorous to "live with/* but, on the other hand, I find the lagoon scene too sedate, and just a little depressing. But that Plirnmerton sketch—that is art at its best. Itsimply dwarfsand paralyses every other bit of landscape in the show. Next to Air Walsh’s work I would place, for originality and freshness ot outlook and execution that of a young Aucklander, Air A. F. Nicoll. who contributes quite a number of little oils, varying in merit, but all displaying a courage in attacking, a successful conquering of difficulties which does infinite credit to the artist. His "Grey Morning, Auckland Harbour/' with ite delightful suggestion of wetness, and its low tones which are not too low, is a little gem. Here again some discriminating admirer planked down his modest guinea on Saturday—and got a bargain. "Limekilns, Opawa Valley/* and "A Coming Storm'*' strike mo as being next best. Alongside Atr NicolFs work is that of Air Edward Pristrom. Air Fristrom lias found some pleasant motifs in the Silverstream district, which the late Air Nairn made his favourite painting ground, but I prefer two of his Muritni sketches, each having a gnarled old tree in the foreground. Especially do I like "The Quarry/* An unfairly skied sketch with a girl in blue in a meadow, by the same artist, is worth more than a casual glance. Mr IT. M. Gore is somewhat disappointing this year. His seascapes, "Lowry Bay’* and "Clearing After ’Pain/' arc pretty enough in their way, hut Air Gore’s desperate search after refinement will end, unless he takes care, in his becoming downright "finicking/* What Air Gore wants is a dash of Air Walsh’s vigorous drawing and courage as to colour. Air W. F. and Air Noel Barrand are much in evidence. Air W- F. Barrnud has been at Rotorua and sends several agreeable, if not exactly notable sketches made in that district.* They are all no doubt very accurate in their topography, all very sober and sedate—l can’t for the moment think of a suitable synonym —but they leave one a trifle cold and unmoved. The best of the lot,

“skied** by a hanging committee whose work has been more erratic than wise, represents the Ngonotaki Mountain, which is painted in a broader, more effective style than the remainder. But the "Kuirau** scene, and the "Warm Pools/*

will doubtless find many admirers. Further spoils of his European travels now supplement the sketches exhibited a few months ago by Air Noel Barraud at • the McGregor Wright gallery. A dainty little bit from Bruges, quite in the Girtin old English water-colour manner, is an attractive item, and save for the weak drawing of a figure in the foreground, a beach scene at Ifelyst, a Belgian watering place, would be almost perfect in its own restrained manner. A seascape at St. Ives shows a clover study of small waves, but Air Barraud’s two best achievements are his "South Coast Fishing Village,” and his "Paekakariki,” both much more than mere sketches, and showing sound draughtsmanship and a delicate sense of colour. Air Linloy Richardson, R.8.A., shows

water-colours, pastels and oils. His Maori half-caste girl, a large oil, is an ambitious and on the whole successful effort, but there is hut little trace of the Maori in the face, which suggests a Naples model with the lips made traditional by Rossetti. There is a fine lighting effect in the avenue which leads up to the “Pickwick Cottage at Dulwich, 1 ’ another oil; and close by is an attractive landscape study full of atmosphere. Besides these, Mr Richardson sends two shop front studies, of which one, “The Butcher’s Shop,” is rather hard; a clever nocturne “Manners Street Corner on a Wet Night”—a most telling and in every way successful sketch —a pastel head of a lady in which some good work is spoilt by tho grafting of what is apparently a wart-like excrescence on the subject’s upper lin. nnd last and best of nil. a completely delightful study of a baby. This will surely bo voted, even by the most hardened, old bachelor, one of the most charming exhibits in the whole show.

That ever industrious and painstaking artist, Mr Norman Welch, is represented to special advantage in two studies of sandhills, the one at Lyall Bay being the most successful. This is a very cheap sketch at thirty shillings, and should surely not go back to the artist’s studio. Mr Welch also sends somo agreeable marine studies, the best of which has already tho red seal attached to it.

Mr E. G. Hood is somewhat disappointing in his Silverstroam and Trentham studies. They strike one as tamo and flat. Mr A. H. Bender has not yet "found himself-” Lost year his work showed a strong Brangnvyn influence. This time ho has evidently been sketching in Mr Hood’s company. His “Summer Sea”— the sketch that is “skied”—would have been much more effective liad not slcy and foreground been so similar in tone. There is a good effect of distance in “Tho Valley," but Mr Bender will live, I hope, to do very much better work than anything he has sent in this year.

Not far away from Mr Bender’s and Mr_ Hood’s sketches are some studies, mainly of Lyall Bay scenes, by, Mr H. It. Ray ward. AH show conscientious effort, and two. at least, “Sandhills, Lyall Bay,” and "Sunrise, Lyall Bay,” mark a distinct advance on previous work by tho popular president of the Arts Club.

Miss Maud ICimbell makes quite -a bravo show with, several highly-coloured landscapes and two boldly pointed heads. Her best effort is undoubtedly "A Lazy Day/' The heads of the two cows seem to me unduly elongated, but I am no Taranakian. but a mere layman in such matters, and the heads may bo all right after all. I do hope, however, that Miss Kimbell is not going to become a devotee of the Richmondian school of tree-painting. Tree foliage may be, in the world of Weissnichtwo, surrounded by a sort of dingy, smudgy halo and greens in nature may bo truly represented as being identical with the colour of So-and-so's Blue Writing Fluid. But the ''Lay Figure" has never known them so in real existence, and candidly confesses hi? inability to appreciate such pictorial eccentricities. These latter remarks bring me quite naturally to Miss D. JC. Richmond’s work. All I can say is, if it represents nature then I am colour blind. One sketch is of "Wellington/' from Kelburne I presume. Everything in the distance—sea and hills—is of a mournful bluish black. In front are some trees.

at len.it I presume they are meant for tree-. Barring the colour, which is a dingy greeny grey, they might be cut cut Ml card board —uncouth ly shaped blobs—dirty woH-bales suspended cn long gaunt branches. Where, in the name of Nature, does this artist find such trees? ini another sketch a fusee like spirt of flame is emerging from the top of a tree. 1 am told this is a purely decorative effect. Be it so. The Richmondian manner is, alas, beginning also to affect MBs Newton’s work, and with disastrous effect. As for Air E-mond Atkinson, he .spares us, it is true, the "blobby" trees, but his mannerisms grow upon him, and, I find his work most disappointing. Further along are some bright little sketches by AIBs E. Ludwig—"Sandhills, Lyali Bay," shows a distinct advance — and some painstaking studies by Miss B. AI. Chappie. Airs Burge contributes four highly impressionistic beach, scenes at the popular French watering places, Paris Plage. I counsel the visitor, after looking, and doubtless, wondering greatly, . at these sketches, to walk across tbedroom and inspect two beach scenes by Fred Alayer in tho Academy's permanent collection. Hero will be seen the right way to do a thing which Airs Burge completely fails to do. Whistler’s "Little Dieppe’* has been responsible for many artistic eccentricities. But to be audacious is not always to be successful.

Of Air Walter Leslie’s contributions, all palpably plain, air, honest, sincere, work, I like best his entrance to Aiason’s Gardens. His island Bay sketch, too, is lull of life. Note the excellent effect of the distant sea lino.

Air W. 11. Carter, juu,, sends several sketches, mainly of scenes at Whangaroa. A delicate silvery scene, "Tara Tara’s Alirror," by this artist, is hung too low. It deserves a belter place. Airs AX E. Tripe’s "Wellington Heads" is a slight but interesting sketch, i miss this lady’s figure studies. To tlie left of the door upon entering are contributions by Mr Iviilick, whose keenness and industry are bound to tell in time, A "Waiwetu Scene" and a "Scene on the X’ahautauui road" are both likeable bits. Airs Malcolm Ross exhibits several sketches of English scenes. "A Garden Study/’ with autumnal gold reflected in some water, is a specially attractive study, and two scenes in the New Forest will both bo justly admired. 1 like, too, this artist’s "Sunset on Loch Lomond.” In this corner, too, are some sketches by Air F. Sedgwick. An "Oriental Bay" scene shows clever placing of the figures, but Atr Sedgwick’s best contribution is his "Breezy Day, Wellington Harbour." There is a genuine breezinoss about Hus sketch, both in sky and water. Air T. 11. Bruce sends in some strong crayon work, mostly portraiture. His SUvorstream landscape is, so successful that it is a pity the artist did not duplicate it in colour. Air Bruce also contributes an attractive pastel, a study of , rocks and water on the Yorkshire coast. The exhibition is well worth a visit. Visitors are recommended to take their cheque books with them—and not to keep them in their pockets. Artists cannot live on air and water, and for a very modest sum an attractive bit of colour can bo secured wherewith to enliven a dull wall. There is also an art union—tickets a shilling each. Please note, and speculate.