PICTURE EXHIBITION

New Zealand Times, Volume XXXIII, Issue 7930, 13 October 1911, Page 4

PICTURE EXHIBITION

NEW ZEALAND ACADEMY OF FINE ARTS. [By “The Lay Figure.”] THE OILS (Conclusion). * The portraiture in the oils calls for no extended criticism. A new comer, iv. Goodohild, is highly successful in her likeness but the painting is so smooth as to suggest the faces had been carefully vaseliued at each sitting. Sirs Tripe’s portrait of a well-known anjl much-re-spected Wellington lady. No. 270, has many excellent features. It is stronger work than Mrs Tripe usually gives us in portraiture. Mr Scott’s portraits of J. Mandel, Esq., No. 231, and T. E. Y. Seddon, Esq., M.P., 319 (the latter a mere sketch), are hardly satisfactory as to'likeness, but there is a bold handling of cololir in each. Mrs McNeill (Miss Lingard who was) must bo congratulated upon her fine portrait—-a very fine picture —No. 313. It is at once a conscientious and pleasing painting, and marks a considerable advance in the artist’s work. Some Omissions. I find, upon looking through my notes on the oils, that there are several artists with whose work I have not dealt. The repairing of this omission must, however, be as brief a« possible. The following pictures strike me as being deserving of attention by visitors to the exhibition No. 314, “Gum Trees,” Lower Hutt, a conscientious and successful bit of direct nature work by lan Bruce; No. 239, “The Blue Shawl,” by K. M. Ballantyne; and No. 297, “Sand Dunes,” by H. E. Hoffer. Of the pictures by. a Christchurch artist, 0, Biokerton, X prefer No. 273, “Evening in the Harbour.” THE WATER-COLOURS. On the' whole the water-colours this year aro better than the oils, but the selection committee would have acted more wisely had its members been a little lees good-natured. Many of tho smaller pictures are mere sketches and should not be here at all. After all, a certain ■ standard of finish should be exacted at an exhibition of this kind. It were better to have one-third fewer pictures than to include a lot of trumpery, wishywashy bits of landscape that moan no thing, teach nothing, and are practically worth nothing; But to details. Mr A. W. Walsh.

Mr Walsh's “Low Tide, Ptelorus Sound,' No. 107, is easily first, to my mind, at least, in this section. The artist has chosen a- scene well varied as to detail, and the result is a most effective composition, carried out with sound draughtsmanship, and bold and yet harmonious colouring. It is,, the Walsh I have seen for some time. Of the other drawings by this artist 1 preier No. 119, “A‘Bushman's Hut; ' No. 60. A Xi'armlionse," seems hard and inky. Note, however, a telling little portrait study “Climic McPherson," No. 51. Mr Lenley Richardson.

Mr Richardson's vivacious little picture “Morning in Rotten Row" (No. 108) deserves, although, of course, -in a. to tally different genre from Mr Walsh s “Pelorus," to be brackettod with the latter. It is one of the, best things Mr Richardson has ever given us, and 1 1 it doesn't earn a red seal before the exhibition closes, then assuredly Welhngton picture buyers will show a most lamentable lack of appreciation. In drawing, iu colour, in atmosphere, in all pervading gaiety of tone, this is a veritable little gem. Mr Richardson sends too, this year, some very charming pastel portiaits. * In one. No. 49, the child's feet are perhaps a trifle too _ long, but the delicacy ot the colouring iu these pastels ia completely charming. , Mr Kachardsbn should, and X hope, will get not a few commissions for pastel portraits of this type, now that he has , given the public such pleasantly convincing proof of his ability in this direction. Miss D. K. Richmond.

One may quarrel with Miss Richmond's technical methods, but it is idle to deny tho decorative quality of her work. This year she is, I think, eminently successful—according: to her own artistic canons —in her striking and decorativoly, most attractive harbour scene, No. 127, “11 oats from the Coal Hulks." Next to this 1 prefer No. 48, "The Reclaimed Hand, in which is a fine perspective and some very charming low tones. The same artist also sends a flower study. No. 137, “Anemones,” which will be much and deservedly admired.

Mr C. N. Worsley. There are two' Mr Worsleys this year. The Worsley of the hard, atmosphere less art .is exemplified in No. 41, “A .Scene on Lake Garda," and in No. 78, "The Hake of Como." But turn to 1 No. i 106, "A Street in Bridgnorth," and you shall see quite another Air Worsley. This„, is in every way an excellent piece of work. Another very weicomo contribution from Mr Worsiey's brush is No. 143, “The Cornfield,” a typjcai English scene reproduced with unerring skill and good taste—a most .desirable possession for any lover of good pictures. Owen Merton.

The clever young Christchurch is not quite so desperately “slick," and smart, and “tricky" as he was last year. Apparently, ho has, fallen under the spell of more sober-sided influences. Once, ho was all for colour,, colour, colour, colour beidre and beyond anything and everything. He gave us a touch: or Haite and something, too, of Brangwyn's riot in blobs; and blurs and dashes and splashes, all to be regarded, as a whole, from a most respeota ble distance. The chastened Owen Merton is a colourless Merton, and i find him—always excepting in his “Scheringcn," No. 117 —a trifle overohastened, not so say lifeless. His contributions this year mainly depict old streets, old houses, at Concarueau Uifce St. Ives, a sadly over-painted place) and in Harrs. Atter the Bcheringen , scene 1 like best his "Old Houses, Coucarncan," No. 30, iu which the figures are well placed and break up tire monotony of tho buildings. Why Mr Merton should price No. 8, “Kuo de Cloistre, Notre jjamo," at ten - guineas, while No. 31 is only half that price, 1 cannot say. The former may represent tiro oldest house in the dingy dirty He de la Cite, but 1 could, unless the neighbourhood has altered very greatly since I knew it, find him twenty vastly , more picturesque “bits" ih the same historic, if malouorous, locality. Mr Merlon has quite a number of other drawings in tho show, but there is nothing that calls for special mention. Indeed, his contributions this year must bo voted somewhat disappointing.

M. H. Hartley. Some excellent work is shown by Mr B. Bartley, whose most notable contri-butions-aro Isot. 133, “A Gdrn kard Bruges," and lid, a otudy ■ of an old woman sitting by the road side. The former has been most unjustly treated'by tue hanging committee; it certainly much better merited a place ‘'on the line.' than many of the pictures 10 honoured. It is one of the best things in the show, admirably composed, with some clever figure drawing, and a good regard lor light and shade, m every way a very successful effort. The pathos and a quiet dignity in the toil worn woman in the other picture referred to are most convincing. A third picture by this artist, “A Canal Middlesex,” No. 113, is another meritorious effort. Mr Noel Barraud. Prom Mr Barraud we have learnt to look for unpretentious but sound and soberly artistic work. His best picture this year is No. 193, "A Village Street,” which la wonderfully like Mrs Ailing-

ham’s work in style- ’[The May the Wind Blows, I’ackakariki,” No. 16;, is another of Mr Barraud’s contributions for which I have a great fancy. One and all of this artist’s pictures display evidence of ploin air work. The colour is never riotous, nor on the other hand, is there any too palpably laboured striving after delicacy. Mr R, Herdman Smith. Mr Herdman Smith, formerly of ths Wellington Technical School, mid now Art Director at a similar institution in Christchurch, has sent some conspicuously good work this year. There is btilh perhaps, a something lacking in atmosphere, but the subjects, mostly taken from the picturesque old Yorkshire towns of Richmond and 'Whitby, are well chosen, and the treatment is broader and stronger than was formerly the case with this artist’s work. Hie "Richmond Castle,” No. 383, is an ex ccptionally attractive work, and one upon which the artist deserves warm congratulation. “Whitby Market; Place,” No--171, and “Old Cottages, Whitby.” No. 19, are also pictures by Mr Smith which merit the attention of visitors to tho exhibition. Miss M. 0. Stoddart.

Miss Stoddart is sadly disappointing this year. Her hand soems to have temporarily lost its cunning, for the majority of her pictures arc thin and commonplace in colour, and one at least is disastrously weak in drawing. 1 like best tho garden scene. No. IC2, though the green is surely too. metallic and chemical, and No. 179, “A Grey Cornish scene”—tho inevitable St. Ives from the sea.

“Roses,” No. 103, is a pretty cnongh picture, but it is quite untrue to nature. Unless one is half blind, one doos not see a bowl of roses placed on a tabhs close at hand, as if “through a glass darkly.” It is becoming the fashion, X know, to paint flowers as if bathed in a sort of haze, but it is a departure which means a disregard of the natural effect# of ordinary vision. Mr Albert Hanson.

I regret I cannot say much this year in favour of Albert Hanson’s work which, as a rule, is so charming. It seems lifeless and vague, and is largely devoid ot the qualities which have made the Australian artist's paintings so popular on previous occasions. The Wakatipu scenes are-agreeably painted, but they will not bear comparison with other pictures ot similar scones by more than one New- Zealand artist I could mention. is. however, a good marine study, "At Anchor, Port Melbourne," ■ and I like, toe, the drawing of the bush hut, "The Shades of livening” I think it is called. But the ‘‘Droving” scene 1* weak and inconclusive. This ,is one of Mr Hanson’s “off” years. Two Lady Artists.

Mrs Hannah sends two pastels, neither of which can be considered satisfactory. The artist may bo able to find a Cingalese type of face in a young Wellington girl, but flesh colouring which is a combination of zebra stripes' and the garish hues of a circus poster can hardly be accepted as a faithful transcription ot nature. Mrs Field sends four pictures, all singularly alike in subject and woudrously similar in treatment, save one. No. 117, "The Pool," a delightful study of trees, restrained in colour, with an admirable suggestion of atmosphere, and possessing a genuine pictorial effect without any pandering to the merely popular. “The Pool", is one of the best thiugs Mrs Field has done for some time past. Mr Welch.

That painstaking and industrious young artist, Mr Norman Welch, is well represented this year. No. 20, "On the Coast Near Wellington,” is a vigorously painted seascape, brimming over with the vitality which is so notable a feature ia Mr Welch’s fine oil on the opposite wall. No. 54, “A Spring Noon," is another ah tractive drawing, but Mr Welch is at his best in his Sydney Harbour scene. No. 181, which is quite in the approved Hardy or Dixon stylo, and is by far the strongest and best study of shipping wo have had at these exhibitions for soma years past. 1 ’ ; And Some Others,

There is not much to be said about the work of other artists not above named. Miss Kimboll has two 1 . rather striking figure studies, “The Toilet," No. 3, and "A Hay Bream,” No 9G. Each has a distinct decorative value, 1 but in each the colour is somewhat aggressive. -Mr Wall* work sends an effective little genre study, “Cards,” No. 79. and some very promising sketches are contributed by H. Hoag, kins. W. Elliott's “Old English Village,, No. 20, is, in subject and handling, on somewhat- conventional lines, but a word of praise is due to M. 11. Meynck s In the Hesert," No. 71. Miss Holmes a “Mitre Peak," No. 75, is a conscientious study, and the same lady's “Autumn near Ottawa,” No. 82, certainly deserved kinder.treatment from the hanging committee- Mr Atkinson fails somewhat to maintain the promise of his last years works, but a Christchurch artist, VV. bWaucbop—a pupil of Miss btoddart s, i should presume —sends one at least No. 9, “At Eendaltown." which is most’pleasing in composition and ..pleasant in,- ■ its colour : scheme, i Miss L. E. Baird's best -'Contribution ns No- 161, "Evening Glow," but though the artist has gained in delicacy, she has. lost some of her old breadth ei treatment. The shadow <sf the tree on the water is hardly accurate —at. least, such is my impression. Miss Baird must beware of temptation to mol's pretiincss. 'Misses Newton and Ew-en contribute pleasant little sketches, and Mr Walter .Leslie deserves great credit, for tackling an extremely difficult subject in his Island Bay scene. No. 68. The swirl and foam of the waves driven up on to the beacb by a raging southerly arc most convincing, Limit of space will not permit of-.in-ference to other work, much of which* if not specially notable, and- some of it more suitable for a sketch exhibition, show's conscientious if : not always en» cessful effort.

Some Etchings. I am glad to notice that Mr Noel Bap. i-aud has been experimenting with etch, ing. Two of his Paekakariki scenes, nob. / ably No. 327, “ Manuka Scrub,” are excellent examples of bdnest uflort iu this delightful medium of artistic expression, and in the aquatint of “ Nurcmburg," No 325, there is some admirable light and shade. Mr Wallwork contributes a couple of etchings, and Mr L. H. Booth, of Christchurch, a black-and-white figure study. Two lino charcoal drawings aw signed C. M. Beard. ,

Plastic Work, Miniatures, Etc. Some very attractive miniatures art. sent by Mrs Waliwork, and some painted china by Mr H. Makeig, and there is e, small but pleasing display of art jewellery and silverwork by Mrs Pitkethly, p. Jlex-Trott, Mrs A. Atkinson, and by the pupils of the Wellington Technical School." The plastic work is decidedly interesting. A sketch in the round, “ The Sunbath,” by the ex-president of the academy, that veteran and true art lover, Mr H. S. Warded, is sure to at. tract attention.' it is a bit of delicate and truly artistic modelling upon which its creator is warmly to be - congratu. lated. Messrs Pitkethly and Ellis send sketch models of four symbolical figures; E. Gyles a modelled figure from life, and C. Brassingtou a bust in statuary marble, “ Vanity." A head of tho late Lady Von Haast is also a striking object, the face showing strong character. A few architectural drawings are placed on an ad. joining screen.