PICTURE EXHIBITION

New Zealand Times, Volume XXXIII, Issue 7929, 12 October 1911, Page 5

PICTURE EXHIBITION

NEW ZEALAND ACADEMY

OF FIxNE A .RTS

THE OILS SECOND NOTICE

[By “The Lay Figure.”]

Mr Wallwork, of Christchurch, is a now and welcome contributor this year. lii« hit; ■'ttalleiy picture," M, " Midsummer Night’s Droiim, at unco challenges and arrests attention, it is a picture specially valuable in Us lessons for students, ior hero is a distinctly poetic subject, treated with delicacy and distinction. The colour scheme is bold, the draughtsmanship sound, and tho whole picture is redolent of Capable, technique. Some objection may perhaps bo taken to the oveigenercus proportions of some of tho c-lvcs in the foreground, hut where tho ensemble is so eminently satisfactory, one musi not bo captious in matters of tmall detail. The colouring of tho peacock is exceptionally rich. Mr Mallwork’s English harvest-held scene, No. gIB, pleases mo mucli less. Tho "knile" work is too palpable, and there is a desperate hardness about tho trees, which look as if they had been cut out, oi cardboard and pasted on. Nor can I say - much in favour of tho figure study—winch smacks unmistakably of tho model uud tho studio—No. 287, " Cloistered." Tho flesh tints aro lifelike, but the eyes do not correspond. “Fugitives/' No. 28G, by tho same artist, is, on the other hand, a really telling bit of work; tho shivering of the pair of wanderers is most realistically suggested. Mr Linley Richardson.

Ono always looks for something distinctly original from Mr Linley Richardson. and although Uus year the besi work of this artist is not, I think, to bo found in the oils section, ''Sunbeams, Ko. 210, will, I am sure, iind many admirers. It embodies a daring and most tiucoossful attempt to deal with a lighting problem which might deter many an amateur artist. Perhaps the trees suggest too much an ostrich feather effect, but the play of sunlight through the foliage is admirably delineated, and there is a combined delicacy and strength about the whole composition which cannot well be overpraised. An artist's picture, painted in truly artistic style! As for Mr Richardson's colossal canvas, No. 259, I confess to an utter failure to comprehend its meaning, to appreciate its technique, and to realise its why and wherefore in general. A vast amount of thought, care and sheer manual dexterity and industry must have been devoted to this ambitious and yet, I am afraid it will be generally voted, disappointing production. If the figures are portraits they are uninteresting; if the picture is to foTregarded as a whole, I fail entirely to grasp its purport. Frankly, I give it up. As to Mr Richardson's pastel portraits, and his simply exquisite little Rotten Row scene, on the opposite wall, they are—well, we will discuss them later on. Two Fine Figure Studicf. "When, a couple of years or so ago, Mrs A, E, Kelly, a southern lady, I believe,. sent us a figure study of a lady with a guitai, 1 ventured upon the prediction that the artist would some day show herself easily the superior of any painter of the figure that we have known in Wellington. To-day, in Nos. 248, *■* The Melle," and 277, "The Charm," my prophecy is, I think X can fairly claim, most agreeably verified. Amidst a mass of banal, mediocre work, these two pictures stand out like- unto the proverbial "nice deed in a naughty world." Bach has Its defects—outside politicians and parsons infallibility is non-existent—but the compelling grace and distinction of both works are undeniable. In "The Belle," a lady in a white drees, holding a small mirror in one hand, the ether hand being devoted to gently arranging the hair, there is just a suspicion of stiffness about the robe, and there is something—exactly wliat I am not capable of definingwrong with the drawing of the neck. But the dainty delicacy of the touching—the mere flicking aside of a stray wisp—of the hair; the pose of the head; tho painting of the roses in the lap—all thesse are most delightful. "The Charm" is notable for its almost' impeccable drawing of the head, the charming wistfulness of the faoo, the suggested tenderness of the girl's gaze, and the delicacy of the painting of the dress. Both pictures—each is most modestly priced—will, X sincerely trust, remain in Wellington. Three Aucklanders. Mr Goldie’s Maoris w© all know, and I need not say much about them. No doubt they are historically interesting und valuable—l am glad, for instance, to see the artist has put the famous Sophia, of Tarawera fame, on to canvas—but to my mind these heads, painted with *uch photographic, meticulous detail, are more suitable for a museum of ethnology aud anthropology than for tho walls of nn art gallery. Personally I would rather possess Nicholson’s lithographs of Queen Victoria or Sarah Bernhardt, or, say, the ‘‘Blue Coat Boy" from his "London Types," than a good round dozen of these heads by Mr Goldie, AVhy does not this Airtist, who has, apparently, so many' Maori models at his disposal, set to work on a big canvas of some great historical incident, say, in the Waikcfto war? Another Aucklander, who is well represented, is Mr E, X>. Spicer, whose large canvas representing Auckland Harbour (No. 322) deserves. I think, a better position than that allotted to it. A brisk ■easterly breeze is blowing; the waters, the “sparkling waters" of Auckland’s pride, tho Waitemata, are just lively enough to nfford the artist a chauce of getting some life into his picture; there are yachts nnd steamers about, the North Shore looks picturesque iu the distance, and in the background frowns Rangitoto. Topographically accurate, the picture, although painted all too smoothly, is on© of a class the big public always appreciates, and of a class, too, that Wellington artists might well give us more of. Mr Spicer also contributes what X would call "jolly" little picture of a child and her teddy-bear (No. 206), and a courageous attempt at that difficult subject, the* nude in open air (No. 225), "A Bea Urchin.” Making duo allowance for light and shade, is not the pinkness of *iu* little lad’s—well, never mind what, just a trifle excessive? It suggests a vreent whipping. Then. too. tR.-re is a third Aucklander. Mr- McCracken, who contributes a half dozen or so highly impressionistic sketches —they can hardly be called pictures—in which there are evidences, plain and unTnistakeable, of pood honest open air work, and conscientious effort to give a scrupulously faithful version of natural effects. Mr McCracken’s work reminds me not a little, by tho .way, of that of Mr Nicoll, which attracted so much attention at the sketch exhibition a few months ago. X liko best Nos. 228, "Fishing Boats at Anchor," and 306, "A Harmony in Grey." His Nocturne (No, 271) is almost repellantly bard, and had better not have nave been hung. And a Wanganui Man.

Mr Babbage has a style all his own, or rather. I should say, a style not often exemplified \by other artists exhibiting here. It is the embodiment of vigour, it is almost too strenuous in fact, but there is no denying its quality*- of effectiveness. His one contribution this year. Xo. 2(30, "Departure of the Pishing Fleet" is a St. Ives scene, a narrow pathway between the rugged, tile-roofed houses leading down to the harbour.

Tho strength of tho picture is astonishing, but it seems to mo that its mere technique i u too aggressive. It would seem as if tho artist in saying— Here, you must look at this, and think over it. It will hit you fair and square in. tho eye- you may not like it, but you simply can’t ignore it.” Then again, is there not some confusion of houses and boats where tho former merge into the harbour scene? But the vivid sunlight in tho background lights up the whole thing wonderfully. It is a lino picture in many ways, but it wants to bo hung in a largo room. Tho greys and silver of tho sea, the reds and brown of tho cottages make a lino colour harmony. Some Young Wellingtonians.

Everything that Mr Boland Wakehn does is worth attention, and 1 extend a warm welcome to his laudable effort to tact-Jo the figure in motion —see No. 230, a s£<*no on tno wharves at 8 a-m. Just three men placing cargo in a sling, with a background of steamers, wharves and buildings. Already the sun is strong as ono sees by the background—but the nwM are working in. partial shade. It is a picture of labour and action, a good subject tackled honestly, and ol \ ,T ie whole, with much success. bar better for cur young artists to try —and may no fail—to do tiieir best with such subjects than to go on everlastingly turning out “footy” little bits of namby-pamby landscape. Who re for to Mr Wakehn, whom personally I don’t know from a crow, my congratulations. Mr Bonder is always striving hard, but wobbles about from one style to another, and even yet has not found himself. Hw seaside scene. No. 203, shows considerable courage in its colour scheme, and there is a certain airy juuntiness about tho figure which is quite alluring. _ Homowards” (253) has a good perspective and eomo attractive colour- But I misdoubt those cows, and have no Taranakian by my side to say whether Mr Bender is right cf* wrong. Personally, Ido not know much about cows. Mr Killick, tho popular secretary ot the Academy, sends a scene on tho Kaiwarra stream (No. 2-tO) painted soberly, honestly, direct from nature, and laudably free from that now so _ prevalent desiro to soften down everything to a key of “calmness.” Mr Killick's was the first picture sold on tho # opening day. A word of congratulation also, to Mr Titllor for his nno bird study, ‘‘The Boost.”

Lawson Balfour and Some Others. Lawson Balfour scores heavily with his finely lit Kensington Gardens (No. 303), one of tho best of the smaller pictures iu this section. The figures are effectively grouped, the colour boldly handled, and the general effect most attractive. For tho same artist’s "Fisher Haven" (200) ; I do not carovery much. Indeed, to mo, it seems quite commonplaco. Mr A. S. Wood’s Evening Light, a cliff and sea scene (232), is a picture which you should not miss. It is ono of tho strongest and best pictures amongst the oils, exhibiting a fine sens© of atmosphere and a warm but restrained colouring. I want to see some more of this artist’s work, and the sooner the better.

The hanging committee have treated Mrs Malcolm Ross’s unpretentious but essentially pleasing little English study "Autumn in Wiltshire" (No. 246) rather scurvily. The water is admirable, and tho suggestion of coming frost in tho haze at the foot of the trees will appeal to all who know English scenes such as tho one depicted. Mrs Ross also sends a delicate little marine study—with some lovely pearly-greys in it —and a tiny but gorgeous sunset scene at Heretaunga. This artist has made great strides in advance during tho last two years. The portraits by H. Scott, E. Goodchild, C. P, Fenton, and Mrs McNeill I must leave until Friday, together with a few other oils, and the large and attractive collection of water-colours.