THE OTAGO ART SOCIETY'S EXHIBITION.

Otago Daily Times, Issue 16542, 16 November 1915, Page 7

THE OTAGO ART SOCIETY'S EXHIBITION.

I—AMONG THE WATER-COLOURS. The water-colour section of tho Art Society's exhibition is this year larger than over. There can be no doubt of tho increasing popularity of this class of painting, nor of tho steady growth of power of expression, through this medium, on the part of artiste the world over. The old -watercolour drawing, with its thin colour, has disappeared with the growth of improved conveniences for working ra'pidly and forcibly in moist colour, and in its place is a painting which vies successfully for power, light, shade, and colour with its classic and lcss-easily-destroyed rival, the oil painting. In these qualities of luminosity and clear shadow Mr C. N. Worsley has found a metier, and, though he may be accused (in common with nesyly every other artist) of repeating himself, one really never tires of the sunlit walls and shady, narrow streets in his. Italian pictures. Tho one weakness Mr Worsley docs eoem to us to retain from tho older school of aquarellists is a tendency to make his figures water-colour drawings, -whilst his landscape is full of the atmospheric qualities of tho modern school. But with these concessions to his critics, it may bo candidly avijtayed that his sunny "Lago Maggiore, Italy" (306), with its brilliant colour and gay atmosphere of " dolce far nicnte" about tho idle fishing boats and tree-girt chateau, is a most enjoyable picture; and that his typical "Porto d'i Susanna, Perugia, Italy " (299), is an impressive and dignified expression of those characteristics about the Italian streets which wo have grown to associate with the name of Worsley. Of a completely different type is the fine atmospheric vision of the "Thames, from Tower Bridge" (219). A really poetic effect is obtained by the treatment of a warm sunrise glowing through the smoky fog which envelops the heart of the Empire. Mr Worsley has let the rein lie loose, and his flight of fancy has been unrestrained. ,Seven example,s of thisc clover artist's work are to be seen in the gallery.

Mr Houijsom Byles had always a tendency to deal with that aspect of art known as "the pretty," and this year "his contributions are limited to a set of four pastel " drawings," representing th'e "Minuet" (296), "Gavotte (302), " Classic Dance" (352), and a " Spanish Dance" (359). In all these the evident aim has been to present in light vein the charm and grace of these measures, and the slightness of the technique is really in exquisite taste. They afford agreeable relief to the more serious efforts of most contributors.

Miss M. O. Stoddart still shows that fiery vitality which gives such masculine force to her art work. Even in pictures in which she ' allows herself to run riot, such as "Clearing After. Rain " (258) and "Garden, Cashmere Hills " (284), one can still admire her mastery over colour and her vigorous statement of her case. But where her enormous power is held in reserve and one feels the restraint of her colour and sentiment, as in "At the Gates of Rome" (236), her fine massing and natural truth make her pictures thrillingly convincing. " Gathering Pipis" (243) is somewhat out of her usual track, but it gives a fine suggestion of grey sky and wet beach, with a burst of light reflected in the still water of the lagoon while the restless sea tumbles without. Her cottage effect, "The Anchor Inn, Suffolk." (209), js very telling, and shows the same appreciation of mass and light. "Mabel Hill" has 10 examples of her well-known skill in water-colour in various parts of the gallery. In all she shows correct technique and brilliant' colour. " A Woodland " (249) shows a charming 'rural landscape, whore moist summer clouds float and fleck with shadow the hills and woods, through which runs a rippling brook. There is almost enough quaintnese in the figure composition bn Brighton Beach " (286) for a Shepparton. It is just a jumble of sea and sun and sand and rocks, yet it is very pleasing, and was one/of the first pictures snapped up. It needed all Mrs M'lndoe's talent to make a picture of "A Country Home" (300), but she has succeeded. Of her other pictures, " The River" (215) is remarkable for the light on the middle hill; but all are good.

Mrs E. Woodhouse's contributions are no less in number than those of Mabel Hill. The quality of "Stone Burn" (214) and " Peach Blossom" (257) makes them convincingly simple and satisfactory. In all her work this year Mrs Woodhouse shows interesting colour and serious interest. Of Mr J. W. Brock's list we much prefer "The Elms" (271), which has tenderness and "quality" and "On the Creek" (329). Mr F. Wright is always warmly welcomed as a professional water-colourist who is a master of his medium. _ His brushwork and draughtsmanship are irreproachable. "On the Waipa River" (198) is a nice bit of workmanship, as is also his popular " Maoriland " (245), one of those pleasantly stated and coloured pictures of native life which are so typically "Wrights"; but it is in "Low Tide" (292) that we find the artist in his happiest mood. Although the sky is a little vertical, the rocks,- sea, and foreshore breathe a tender, moist atmosphere, and show a depth of feeling which compel admiration. Just beside it in " Sunshine and Shade " (293) we see a curious example of how unappealing even this, refined, clean, delicate manipulator of form and colour can be when his heart is not in his subject. It is perfect in treatment, yet utterly unconvincing. Another artist to whose work one looks forward is Mr N. Welch. He still maintains his progress, and is gaining distinction in composition and reserve. Even his email "Coast Near Nelson" (225) i 6 dignified in quality and simplicity, wiiile his larger works, such as "On the Coast, Takoka" (241), are strong in composition, massing and refinement of colour. Like Mrs Tripe, his most important work is in the oils section this year. This clever lady has, however, a charcoal drawing, "The Last Letter" (211), which is very appealing. It is a powerful presentment of that stupefying grief which so many delicate women are having- to endure in these times of trial. Technically, as well as artistically, it is admirable. Another charcoal study, just as masterly in an entirely different way, is M. Arridt's " Head of Cornish Fisherwoman " (281). Hanging among the work in watercolours are also etchings by the saifte artist which are worth attention. The most remarkable etching, however, is that of Su6an Crawford, A.R.E., showing a monumental "Edinburgh Castle," which was one of the artist's contributions to the war fund in 1900. It has been lent by Miss M. A. Park, and from the artistic point of view, as well as historically, it is full of interest. One of the most striking pictures in the gallery is the large "Entrance, -uggerate" (233), by J. PI. Young, of Sydney. It is a bold, simple "tour de force." One distant breaker, of which little but the white crest and the emerald translucence can be seen; a stretch of sky and a plain of sand; yet there is atmosphere and truth in the deliberate, crisp statement' in somewhat vivid colour, and the imagination is captured.

Comparisons can scarcely fail to bo instituted between the "Rosjs" (252 and 294-), which Mrs J. G. Rollo Fisher has given us this year, and those which wo have been in the habit of receiving from tho brush of Mies Stoddart. That Mrs Fisher's work should recall that of the veteran, and, whilo retaining marked personal characteristics of silky, almost tullo-like impalpability, suffer so little by the comparison, is the highest testimony to the excellence of her exhibits. It is not so easy, however, to appreciate the current examples of.Misa D. K. Richmond's •art. 'For some years wo have followed with interest and pleasure her development of tho decorative, but with the exception of "Mouth of the Hutt River" (367), which is brilliant, wo cannot say that her contributions to the present collection aro worthy of her reputation. Nor is Owen Merton's quaint style more than a slender reed on which to base a solid reputation. "Promises butter no bread," and we have yet to See something to justify tho hopes which have been indulged in for his future. There appears to be more solid truth in his little "Old House, Fantarobie, Northern Spain" (287), slight as it undoubtedly is, than in "Peasmarsh. Sussex" (288), where the windmill, sky, and meadow aro possibly different from the work of anyone else, but not regrettably so. Mr Hcrdman Smith has not sent down any very important work, but his small | icturcs are pleasant and bright. Probably the most attractive will prove to bo "Chartres" (272), a brightly-coloured and effectivelylighted street scene, which conveys quite a Continental impression. Nor has Mr W. Menzies Gibb been able to exhibit any large work, but his small water-colours are equal to his solid reputation. Attention will bo given also to the two works of R. M. Hughes—"Twilight, Walbuswick" (185) and "Evening. Waibuswick"(224)—in both of which there is a strong vein of poetry.. Atmosphere and tender gradation of colour aro wholly responsible for tho charms of each picture. In the second one there is apparently a more powerful effect- obtained by the glow in the eky which is reflected in tho river, but, in the purelv twilight subject, the artist has had a most difficult task, and has emerged with consideraiblo success— he has obtained' a mellow, transparent twilight with great depths of atmosphere. Stylish treatment, delicacy of sentiment, and refinement of colour mark Mrs A. Elizabeth Kelly's work in aquarelle, however slight may be the subjects on which <shc lavishes these qualities. "Low Tide"

(228) is a froely icndered imprceeion, "The Shepherd's Hut" (301) is a (iifftiu-g-uished littlo example of "style," and "A Revorio" (354) is worth dwelling upon by those who are interested in method. Mr Kelly has only one example in this section, "Lake Moana" (266). K. M. Ballar.tyno also makes a much bigger showing in oils than in water colour. To bo frank, although the treatment is direct and skctchy, "Holiday Making" (234) and the figure subjects "In tho Garden" (200) Mid "Looking Over tho Manuka-u" (259), seem cheap after tho solid seriousness of this artist's work in the heavier medium. In "A Fishing Pool (217) thero is a strong bid f9r distinction in stylo, but there again conviction is lack'"fiiss M'Leod's "Wallflower" (227). is a delightful little study, the depth, of the vase contrasting pleasantly with tho golden blooms, but she cannot bo congratulated on its companion. "Pansics" (276). Her art' does not take itself seriously enough at P r ®" sent; it is uneven in quality, a factor which is perplexing to the visitor in the case of more than one artist. J. E. Mcnziee, for instance, seems so extremely certain ot statement, method, and colour, as to .be really admirable in "The Road to Herring Bay" (254), but, unfortunately, his other contributions leave tho critic in doubt as to the true measure of his ability. No apology is needed for Miss V. Nelson's clever little compositions in line, They 6how ability of no mean order, and a quaintness of outlook which might _ lead anywhere in the ■world of social satire. . One of the first little pictures _ noticed on entering the gallery, although it is skied, makes one search the catalogue to find that it is the worlc of W. S. Wauchop, whose painting in both oil and water colours- is always stylist and attractive technically. A little more nature added to his craftsmanlike qualities might take tliis artist well along the road. He has four pictures among the water colours, and all are creditable. E. S. Barker's equipment is also at present ahead of his achievement. There is something about/ the slap-dash, sketchy "In the Village Kerdelahomme, Belle Isle" (247), -which is So also there arc obvious potentialities in the producer of "Sunset across Thistle-field" (372) and "Birds of a Feather" (377), however much ■we may feel that mannerism outweighs reserve in his present stage of development. Thero is excellent drawing in the little contributions of A. H. Dunstan and a less miserly treatment of colour would have made his "s.s. Tyrone on the Rock'" (239) an attractive picture. H. R. Cole has not his usual display of ships, but we never remember seeing in any of his large paintings such quality as is to be found in "Golden Afternoon 'at Sea" (291). The sea and ship are bathed in warm sunshine, gilding the snils. but increasing tho rrarple sombrencss of the oeean to a tropical depth of colour. Unfortunately it is skied on account of its small size, but its merit is big. "Summer Moonriso" (391) is also very _ satisfying in composition and harmonious in colour. W. A. Bowring has on view a spirited and successful caricature of the New Zealand "Court of Appeal" (381), and the Royal Arms. The Chief justice and otir own Sir Joshua Williams, and Mr Justice Sim will be hailed with delight, but all are excellent character sketches; This is Mr Bowring's forte; he is not. quite so happy in the large "Departure _of Hospital Ship Maheno" (385), in which the defiance of perspective laws has produoed a decidedly uneasy sense. The gleam of sunshine during a, heavy rainstorm is, however, admirably caught. A spirited and bold composition by E. Hughes is one of the most striking features of the south wall "of the gallery. "Tho Valley" (355) is impressively massed in light and shadow, while the spirit of decoration is present in every line of the clouds, the trees arid the stooks of oorn. Its colour is bright and attractive, and thero is greater' unity in it/ than in its neighbour,. "Suffolk Marshes" (353), by the same artist.

ZEALAND PRODUCE. FRUIT AND~VEGETABLES. In view of the fact that fruit culture is already of considerable importance to the dotainion, and bids, in the near future, to rank as a leading staple industry, it is not surprising that the public takes so much interest in regard to its production and the capabilities of the (various localities in which it grows; but, once grown, sorted, and; carefully packed and despatched, the public interest apparently wanes, with the Tesult that little is known as to the methods of local distribution. With respect to the absolutely indispensable, yet humble, vegetable, the growth of which is so vastly important to the community—rendering, as it does, the dominion to a great extent self-sup-porting—an even greater lack of interest is displayed, which is strange, indeed, for probably, if the truth were known, vegetable culture is one of the greatest industries in New Zealand, both in value and quantity. No better first-hand idea of the dimensions of . the local trade in fruit and vegetables oan be obtained than is evidenced at the daily sales of Messrs T. Paterson and Co., of Vogel street, Here, every Thursday morning at 9.30 o'clock, just before the city tradesmen commence keenly bidding for their requirements, the firm's 80ft long by 45ft wide saleroom is a picture, so really beautiful that it is strange householders generally leave it entirely to tradesmen to admire. Patent movable benches, the whole length of the room, will invariably at that hour be found heavily laden with all that >is seasonable in the form of fruit and vegetables; and, as the growers, Celestial and European- both, take, naturally as keen an interest in effective display as do the firm's' storemen, the senior one of whom, Mr D. Wilson, has been with the firm for over 30 years, it is little wonder that at least a few of the business men of the immediate neighbourhood frequently avail themselves of their opportunities as they offer each day of viewing the resultant picture. An artistic mind could not fail to admire the sweet freshness of everything displayed, or to envy the colouring which the master hand of Nature lia-s produced. The picture' may be admired in detail, but is also superb as a whole conception. Look at it as long as you will, there is no deception in it. Every detail faces you -confidently, whether it be at the bottom, middle, or top of a. tier. The high lights of the picture at this season are, of course, the pure whites of the enormous, smooth-faced cauliflowers, and of the opulentlydeveloped leeks. And it is the beautiful green shades, which, relieving the eye, prepare it to 'admire the rich and bright colours of the various other vegetables and fruits displayed. Messrs T. Paterson and: Co. find that, by fully displaying their consignments, they_ command fullest confidence, entirely doing away with the, disappointments inevitable when the sample at the top has to be the criterion for a whole bag. This is not to say that fruit and vegetables are not sold by the case and bag at Messrs T. Paterson's, but that the rule is a fair sample. In the fruit season it is necessary to be on the scene by 9 a.m. at the latest in order to fret the full benefit of a visit to the firm's store, as the sale of soft fruits, such as strawberries, cherries, etc., starts promptly at that hour, the reason being that,, as perishable goods, they must be delivered as early as possible. The volume of the fruit and vegetable business of Messrs T. Paterson and Co. mav be gauged, firstly, by noticing the long line of carts delivering to and receiving from the premises; but, better still, by a few moments sffent within the nremises. It is no uncommon thing on Thursday, the principal day for vegetable sales, for IVIr Paterson to dispose" of 200 or more different lots of vegetables to the trade, and, in addition, in°the height of the fruit season, he is frequently occupied in the rostrum from 9 a.m. till close upon 1 o'clock. Although Mr T. Paterson has been in business as a fruit and vegetable salesman to the trade since 1879, it is only d-uring the past few years that he has taken up the sale of vegetables on the comprehensive scale suggested above, and the confidence the firm has inspired in both the growers and the retailers is manifest as each sale proceeds. __________