THE OTAGO ART SOCIETY

Otago Daily Times, Issue 15301, 15 November 1911, Page 4

THE OTAGO ART SOCIETY

ir. THE OIL PAINTINGS. Paintingß in oil colours have always Assumed an air of anterior importance over so-called drawings in water-oolour, probably for the reason tint is said to have ttade Michael Angelo prefer sculpture. "Paihta were made for women and children," the groat master is . reported to have affirmed; and the innate delicacy of water-colours has probably led to the popular impression that the practice of painting in oils was a more manly procedure. Whether this be true in tho present age, when the barriers between the traditional,handlings of the various media liavo been broken doivn, is an open question, but in the present exhibition of the Otago Ait Society there is no doubt that the oils are the stronger section of the works on view. • Probably tbe strongest -work in the room devoted io this medium' ffi the large landscape by J. F. Scott, A Rflral District, New South Wales" (No. 62). It is evident that in the rendering of the play'of light, shade, and. colour under foliage the young: Dunedin artist has found his metier. JThe picture is strong in fimplo statement of natural fact, strong in thn subtle hnrroonising'of brilliant hues, strong in the painter's, technique, which seeks to express its inersago with conrentratcd directness, and strongest of all in the evident accord between artist and subject. Mr Scott clearly; loves to be under tho trees, and he ktiow6 what kind of tree ho is under. Ho docs,not feel himself to dp in dsep shadow there,, but merely in a delightfully, cool breathing spacr, and lie cxpitfises his personal wrisitions.' Wc :do not feel that the frame ia hemming in the foliage in any way. On tho contrary, there is room to walk about, iu between the frame and tho me*. Dug no longer needs to talk about this artist's cleverness, and bring forward explanations why it should be caviare to the I uninitiated. He has evidently found the eternal truth that the language of tho highest art is as easily read by babes as by recre. His other picture, " Fetching the Cows" (No. 25), displays similar qualities,- and is a "similar subject. ..There is a .general feeling <among habitues of the gallery that G. E. Butler has scarcely given irn of his best this year. This may indeed be so, but ive reibember nothing of this artist's creation ,moro convincing than the Bimplo littlo "Pink Parasol" (No. 95), on the east Trail. It is a \rurk of slight pretension/:, but : s full of superb atmosphero and sunny glow. Strangely enough, its only rciilljr weak feature is tho pink parasol. His large painting hard by, '.'The Morn•tpg Gallop" (No. 93), although full of meat 1 careful work sound drawing and painting, lacks conviction. The figures aro too large for the' landscape, or vice versa. Both figuro work and landscape work aro good, but they do not seem to belong to each otlier. * In "The Shepherdess " Mr Butler ha* again by his title drawn attention to the only unsatisfactory feature of the picture. Every other portion of this work breathes 'poetry; but the figure is too stilted and artificial to secure tho complete unity of an otherwise charming competition. The eeascape, '.'Bull Point Lighthouse, North llcvon" (No. 146), recalling, as it does, the many admirable local studies of similar nature which the quondam Dunedinitc gave its in :'days gone by, serves as an admirable tobject-leeson the difference in aim which his residence in England has produoed. Mr Butler is undoubtedly in art circles at Home., and the tendencies' revealod in this picture, as well a* in No. 93, aro therefore to bo seriously taken into acsjunt as evidcncea of. tho influence •of his environment. It will be noticed that lie is developing a habit of rendering s<> closely the natural facts in his subject as to be almost hard.- Look at the'painting of the cliffs in this picture—evidently photographically true. How closcly studied arc the smaller variations of form and movement in the water, so that,nl- ■ though we still recognise his old breadth of treatment, there is a marked increase in; the closeness of ins observation. Mr Butler is evidently passing through a phase of development which is likely to leavo a deep influence upon his future work.

That transitional forces arc also at work in the. pictures of Linley Richardson is 'still more dearly perceptible. His huge painting, "In Cnurch," which dominates the south wall, is a oompleto puxzlo to hio admirers. It i 6 not an nttractivo picture. Whatever impression the line {rem the Rubaiyat of Om;ir Khayyam may .have made upon the consciousness of tho .artist is not transferred to the beholder/ "Some litUe talk a while of Thee and Me there was " ia not easy to apply to this gltnmy nmw of figures, apparently j in the gallery of a church, utiles? it bo that the aged lady and gentleman, between whom is a grandchild and •behind, ! barely percfptible in th<: gloom, probably i' their eons arid daughters, feel that their j little day. is closing,, and that, having r given " hostages to fortune, they may honourably slip into the shadow of eternfty. The pictute is too dark to ba : properly-. viewed in a gallery containing 60/ much vivid colour, and its tones aro 'k> eubdiisd as to appear colourlcss among .its neighbours. It is csrentially a picture 'to be viewed nione in suitable surroundisgs. Wo like best Mr Richardson's little " Good-morning" (No. 54), with tho doubtful smile upon the chubby face of. tho wee I&ssie bravely setting out to the' drudgery and confinement of school. " It is somewhat a relief to turn to th'J pleasp.nt prettinefs ol Walter Wright's work. The Auckland artist has again sent" down some charming examples of. his New Zealand landscapes with Maori figures, which, it is pleasing to notice, are finding .purchasers. "A Maori: Wahine" (No. 2) shows a typical fat' old wahine with her kit, by a Maori girl, a Nativo village lying in the background. It is carefully and truthfully drawn and painted. No. 7 shows a number of children playing with a boat in the Auckland Harbour. It _is very sunny and bright in colour, with some dainty bit* of modelling and drawing. But "probably his best contribution this year is " Near Taupiri" (No. 149). which contains some charming colour passages. The handling of the sky is quite a lesson in colour gradation and delicacy, the trees display feeling for line, and the whole composition has a supplo grace which is very pleasing. Richard Wallwork, whofc first appearance in Dunedin this is, appears to make a specialty of decorative composition. His colonr is somewhat dry, and his work at limes lacks atmosphere, but thcro can be no doubt that ho supplies a deficiency in New Zealand art which has been lon/ felt. Our iirtist3 have generally avoided the imaginative and the romantic, but ivc hope that example will firo iliem to invadi the realm which >Ir Wallwork ! j brings before their notice. His largest 'work, "A Midsummer Night's Dream." ! shows Bottom with liis a«s's head amorously embraced by Titnnia. A huge peacock, tho inclusi'.n of which somewhat puzzles us, rests at their feet, its body and tail forming a continuation of thi

nam spiral lino upen whieh tho composition is founded. Behind the figures a species of columnar rotunda, surrounded by yews, masses against the sky. It is an ingenious composition, with plenty ol colour, but suffers somewhat by tho fact that it inevitably recalls Noel Paton's work in the same field, and lacks the intricate delicacy of tho great draughts man. "Cloistefcd" (No. 19) is another gofld composition feriously marr::d by the lack of atmosphere in "tlii arches ami figures seen Bcrr«s the courtyard from the cloistcrf. The monk's face is u strong character-study of a very physical type of recluse. In "Fugitives" iNo. 137) we fee a small of King Lear and the jester tramping through the-pnowfltorni, of very much Fimilar charactu to those fine old ill'istratioiH of tin late Sir John Gilbori His ore landscape, " Ricks in the Open," has the usual characteristics of a figure painter's work in an eloment not his own. It is bold and simple, but decidedly paint, not Nature. Owing to.the strike in Australia only two small oils by 'Julian .Asliton havo reached tho exhibition, but thev contain many point? worthy of study. The handling of "Tho Bridge over tho Creek" (No. 61). and the many fine colour traneitioiu it contains should be carefully

noted. In its neighbour, "Morning Dew." wo see two horsemen making lip tfi'j side of a gully who.<e prevailing blue green against a pink sky at first strikes oikj as peculiar; lint there is t ft quality of atmosphere about it wlnrh alkhvp that th« fartujua Australian has had a tlelibernte object in view in hw ?e!ertio.i of a colour scheme. Another well-known at lift, l\ N. Wornley, liaa little in the oil section, niul thai jittlo is by no means equal to his reputation aa an aquarellist. Mr Goldie defies criticism in his email Maori which ho liou \vork«d to such a pitch of perfection of finish that they are absolutely as perfect reproductions as any colour photograph could. be. They aro all of the same consummate standard —inimitable. Many aro the comment/! thw year passed upon the contributions of Mr W. Sleniics Gibb, of Christchurch, in whose work his recent European cotirae of study appears to have produced a marked improvement. He has abeorbod some of tho best traditions of English landscape painting, and there is now a fresh atmospheric simplicity in his transcripts from Nature which in most refreshing after the strained artificiality and worship of "style," to which we are sa often exposed. ' This is especially evident in his fine "Head of Loch Goil(No. 94), in which the trees, tb|> lane, mid the .essentially English middle distance display a dimming directness and freshness. Mr Gibb is not now afraid to paint a green tree green, and has learnt the luminous value of cool greys. The fishing fleet in " Afternoon, St. Ives " (No. 13), and the other Cornish scene "At the Closed Day" (No. 26), are both delicate studies worthy of approbation ; while " Dumbarton Castle " (No. 13) and " Windeor Castle." (No. 74) ate each very tenderly and pleasantly handled. Mr Gibb is to be congratulated upon Irs progress.

Mr Greene is not quite so well represented as tiMinl. In "Expectation " (No. 9). he shows us a pair of horses' heads, which arc. carefully drawn, but, although he is always at home in animal studies, these are not too pleasing in colour.. His best work this year is probably "A Shady Pool, Iwex" (No, 140), representing cows drinking from a brook, wliero there is a pleasing peep of harvest colouring through the trees. There is a nico sustained tone, too, in "At the Close of I)ny,'' ; whiro two draught liorees aro being ridden home in the glow of sunset. Mrs M'Neill, formerly well known as Mik> Lingard, has some imposing canvases on view. A fine close golden tone narks "The Mask" (No. 24), where a girl in pnrplo robe ami ruddy brown hair looks up from her books to tho plaster cast which hango oji the walls of her studio. The tabl'.' is (ailing forward, and the mask is so closely studied ins to come in front of the piano in which it should lie; but it is a distinctly iucoeasful picture. So much can scarcely be said of her nud'i study, " Le petit oiseau," which is hard and somewhat harsh in colour, but her large "Portrait" (No. 80), shows a considerable amount of succcwful grappling with a difficult problem. Mrs M'N'cill has kept a very successful harmony in her general colour scheme, and tho modelling and painting of both drapery and flesh on so large a scale are higlily creditable. The picture is one of tho most imposing in the gallery. . ' ' Mica 11. J. Edgar contributes two canvases. both of which aro worthy of more than passing :notice. -In " Patienoj" (No 63), a study of a girl in white, thero is fiiHj oobur and sound brushwnrk, the painting of the chiffon upon the hat being very attractive. "Veronica" (No. 162) is, however, in so quiet a scheme that is generally pasoed over by tlio visitor. Yet it is probably the more artistic effort of the two—a spler.did harmony in rich low tones, with good form and modelling. Quite tho most convincing modelling .if a head in the exhibition, though, is generally conceded to bo shown in a portrait by It. C. Crawford, of Glasgow, lent by Sir Wm. Brown (No. 66).' This painiin',' is in .1 quiet,.unattractive schema of colour, but is eo well drawn and truthful iw to be really remarkable, Hounson Bylcs's one contribution is a head, "An Old Salt" (No. IS), in just the same scheme, and it is interesting to compare the workmanship and the result. Thero is also a good portrait by Mrs Tripe, formerly a, well-knowu exhibitor as Miss M E. Richardson, tho drapery ill particular being successfully treated

A finely-modelled and very faithfullyrendered head makes Miss Durrant's "ifandarin's Coat" (No. 88) a conspicuous contribution. The larger canvas, !'Work" (No. 52), by the same lady, rcpicscnting a girl bookbinder ivorkiiu near a window at a table littered with tools, skins, books, 6ize pota, stitching frame, and the other paraphernalia of her occupation,| although good, ia hv no nwuuj so convincing ns was her "Weaker" of a . prnviciu exhibition. Her landscape, " Ghosts '• (No. 110), is pitched in too low. a key for a gallery picture. Mif« Warn has five landscapes to hor credit in the catalogue, and undoubtedly t tho best t cf them is "Mount Softon's Footstool." This is a very conscientious study cf enoit-clad mountain and tussocky plain; but the nature of tho '.-bmposition teems to lead tho eye out of tho picture Tather than iuto it, so that liic attention is not too easily centred upon it. Her other pictures aro not quite up to her ißuil standaiJ, though " Near, the Hermitage, Matint Cook" (No, 78). shows signs of the master hand in tlie foreground rocks. - From Invorcargill F. BTOokesmith sendt- a large canvas, "floreo, Gleam, and Mist " (No. 20), which is far tho best piece of painting ho has exhibited 'here. The lighting of, the foreground is distinctly successful, and, though exception may 'be taken to tho technique of the water and the distant mountains, it has to be admitted that the effect across the gnltery is very telling. •W. Allen Bollard hasten of his characteristic paintings on viow, many of which mark a distinct advance in his artistic progress. If ono ntay be permitted an Irish bull, the artist has broken new ground in his seascape,-"The Incoming Tide" (No. 21). Tho white light of tho sky reflected in tho water introduces a seii«) of cool luminous grey to which wd are unaccustomed in h!s work, in spito of tlic prolific nature of his brush. Mr Bollard has evidently b.'tn working more" in the open, and many of his pictures bear that impress of Nature character-' istic of the outdoor study. " Irono Farm,. Taieri" (No. 69), is an especially satisfactory littlo painting well sustained in tone, and pleasing in eVery way. "On a Hillside Farm, " (No. 18), is also worth special attention. !■'. R. Brown's landscape studies, experimental though they lie, show an elevated aim and an appreciation of colour. W, G. Brown is still developing along his chosen path of strict exclusion ui everything interfering with simple massing." Tliic lends a distinctive character to his work which is enhanced by his appreciation of a similar simplicity in his colour scheme, which generally rellects anything but tertiarics. "Mount liarnslaw" (No. 178) and "Under tho Trees, Pine Hill" (No. 168) show how far he eucceedj by these simpla means. G. W. Carrington has made a considerable advance this vcar, and has s°ve-

r,vl landscapes which attract the attention of vifiitora to the gallery. Jlis ''Dart Valley, Wnkatipu" (No, 8) shows a solidity of massing in the distance ami mitldlo dislii.ee combined with a owbo of light and atmosphere which boar tho imprint of truth, and similar (lui.'.ities are apparent in his "Routebum Valley" (No. 151) ami "Cape Saunders" iXo. 159). Mr Carrington's work takes high rank among the purely dcsoiiptive landscape work ol tho exhibition, bavin; (lie nttractivc virtues of freshiKW and fidelity in the;r presentation of fniliiliar semes. Mrs J. G. Hollo Fisher's flower studies exhibit a daintiness and delicacy of colour which is pnstel-liko in quality. It is generally alleged that her " Peonies" (No. 29) arc rather too much like chiffon constructions, but no one will deny tin charm of tho colour scheroo of the study A iimilar schemo of attenuation marks tho "Study of n Cirri's Head" (No. 11). but Mrs Fisher's work has at least the "flair" of distinction. Miss Marv Hartley's work, too, is distinguished rather by a curtain air of stvlo than by solid statement of fact. Tho influence of Mr Butler is extremely evident, especially m

th» grey lono studies "The Thames" (Xo. ' 133) and " By " (No. 129), which hav;! a Him suggestion of sustained lone, lint littlo else. Mi« Margaret Hartley's principal contributions aro "Reading" (No. 40) .md "An Interior" (No. 110), both studies of old ladies, the one reading and the other knitting. Bach shows a tender appreciation of tills subjcct, but the drawing audi construction are a trifle limn. It. Haweridge has a large picture of a churchyard in late twilight, ";?ad is tlio Hour" (No. 51), showing children placing llowctfl upon a iiowlylifled grave. Clouo by, in an attitude of* Kiicf, stands the father. Those who know the littlo English Church at Warrington will lt'cognisc that it is a faithful rendering of tint beautiful littlo Ood'6 acre. Unfortunately, tho tone of the painting is in tco sombre and gloomy a key for its surroundings and it is somewhat difficult to «oo >t, but it appears to be verv solidly treated, and tho main incident is reverently depicted. Ilia small portrait, " Sketch" (No. 1241, is most appreciated by visitors to the gallery, ana is admittedly, a clever piece of palotte-knifo technique. Three very direct out-door sketches in the neighbourhood of the Spit fit the entrance of Otago Harbour show Mr Ilawcridge'i appreciation of Nature and his ability to record her juods.

Mia M'l/cod has this year excelled her-self-in her "Study" (No; 166), which is full of promise, 'Iliough ,-omewhal ".busy" in tho nettso that tlio details of lict cchcmo arc too independent of each other, there is an immenso amount o! lioncat effort in the painting, the caiefui drawing and modelling being very prniseworthy. Very promising also ar r i Iho contribution) of \V. S. Mylca, who niakt# his debut with four pictures, nil of which show a maturity of acquaritiuo with his subjecta. Thero is an appreciation of close tono.shown in his colour, whic!!, together -with hia instinct for expressing natural fa/ji, Bhowii English inflit:nco. "Autumn in fllen Finlas" (No. itf) nnd "In tho Woods" (No. 56) attract west attention.

Six -landscapes aro contributed by J, Elder Moultray, and nil boar the characteristic features of the work which has always been associated with the family name. Possessed of infinite l>crsevc'raficc, Mr Moult ray continues to produce fresh exaipplcs of New Zealand scenery witn most painstaking carc, "'liie Jordan, Kaikoura" (No. 1} and " Prccipico Peak" (No. 176) appear to moet with much favour; but his principal claim to notice is undoubtedly the " Men of the Red Brigade " (No. 127), a spirited rendering of a firo fcene. In the foreground figures Mr Moultny has excelled hinisolf hath in drawing and fceliny, but ho hiw been handicapped by his instinct lor detailed landscape in the treatment of the mass of figures in the centre of hw p:ctore, and his desiro to produce ii nice moonlight scene a* a background. A littio less appeirlwco of laboured effort would have increased tho sense of Tcalisni, and helped to carry conviction. A quiet-toned portrait (No. Ill) reveals A. H. O'Keeffeina somewhat. new work, and one which mc«t people will apprec; ate. Always oeeply improved with some characteristic of his subject, llks artist sccnts to have been inspired by the ltnv tones of the flesh of his model, with a desire to keep within a quiet rango of colour that is yet harmonious and pleasing. The likeness is said to be good. "The Sixth Ago" (No. 36) holds a prominent place on tho west wall, and near it is a ;very boldly-treated study of rocks, clay and broken sea, which is full of movement and colour, " Sou'-Wester" (No. 31). Mr Portman, whose work has previously appeared in the students' section, and who this year wins the seawape ariw makes a modest appearance with a'ittle sketch, " On the Side of the Leith " (N\> 107). which contains tome nicely-studied masses of trees and very liquid water. Mr Rae'a work this year is disappointing, and not equal to the reputation which he has bocii slowly building up, We hope to sco him return to the charge next year with renewed vigour. The work of A. S. Wood always attracts tho attention of the connoifsoiir, on account of tho spirit of refinement which keeps him within such icstraincd limits. Hi.? appreciation of Nature is great, and his appreciation of art reverent, nulling into ielf-advmiscmcnt, Mr Wood paints with a subdued forco which is always satisfying. Although his small "Silent Tool" (No. 68) is ill its way a gem, we are inclined to think that, given a chance to see it, we sliould liave been even more improved by "The Kvening Light" (No. 133), which, in company with many other low-toned pictures in tho exhibition suffers considerably from the flanging Committee's viow of the " line." It is reasonable suggestion that the "line" Should pass through tho centre of the favoured pictures, not under tho lowost odgo of tho frame.