THE ART EXHIBITION.

Otago Daily Times, Issue 19020, 16 November 1923, Page 2

THE ART EXHIBITION.

AMONG THE PICTURES. No. I. i The Dunedin Public Art Gallery Society I,- certainly to be congratulated on its present exhibition. Taken as a whole, the display. which is botli large and attractive, seems to furnish distinct evidence of an advance in (ho average standard of attainment. That there should be a wide gulf between what is highest and what is lowest in tho scale of merit is, of course, inevitable. the system has not been continued this year of grouping the works of individual artists in the different sections. There is something to be said, from the viewpoint of securing a balanced arrangement of the exhibits, for tho plan of placing them without regard to authorship. Hut there is an unquestionable advantage in the grouping system in the. facility with which it enables the spectator to identify the work of the various contributors with a minimum of perambulation. Ui this account the consensus of opinion will probably favour the grouping system. “In the best days of art there were no art critics”—upon this premise Oscar Wilde ha j penned some elegant dissertation. But we must take the world as we find it—pictures and all. THE OIL-COLOURS. In portraiture and figure work this section is perhaps .stronger than usual. Conspicuous is an admirable example of Mr .Archibald F. Nicoll’s work, the half-length portrait. No. 18, most satisfying in the skilful execution and the combined refinement and strength of the result Is it possible that so experienced an artist has made the sitter appear unnecessarily short-bodied? The question is just hazarded. In altogether different manner, but none tho less decidedly telling in the freedom with which a life-like representation has been secured, is tho portrait of Sir I hornas Mackenzie by S. H. Mackenzie .Ellis. Two important figure studies (hat must arrest attention are the work of Mr W. A. Bowring. In boln of them the obvious has keen somewhat accentuated. The drapery in the “Lady with Cigarette” can be freely admired. iso much good work has gone to tlie, painting of the attractive young lady in the gown of a romantic period who figures in “A Love Song” that it is a matter for regret that the stageiness of the picture cannot be ignored. “The Sleeper,” by Mrs tripe, merits the prominence it is given, it is well worthy of the brush of this reliable artist, and reveals clever and effective handling of a difficult subject. That is not to say that the scheme of the work has been carried through with quite convincing felicity in every part, or that the appeal offthe picture is quite what it might be. The large portrait. No. 10, bv A. Elizabeth Kelly, is an ambitious piece of work in which creditable success has been achieved, though the subject depicted makes her most satisfactory appeal from a distance—u not altogether flattering result. Mr A. H. O’Keefe has rarely presented a better study from life than that scon in his “Negligee.” It is a picture that, repays scrutiny and grows upon the imagination by virtue of its simple fidelity; the rod wrapper is an inspiration. Though making no great pretensions. “The Blue Feather.” by W. Idler, is a successful example of figure painting (hat is not likely to be overlooked. From a difficult angle the artist Has secured admirable form and definition, and there seems much promise in this achievement, A portrait upon which Mr F. V. Ellis is to be congratulated is entitled “The Craftsman.” It is easily superior in point of character and general treatment to this artist’s other two exhibits in a similar category, though both me of interest and the colour scheme of No. 183 is striking. Two studies by Betty Rhind reveal very sound work. No. 42 showing excellent modelling and doing the artist special credit. From the same brush is the unassuming but most natural-seeming portrait entitled “Annabella.” There is grace and refinement in tho depiction by Ngaio Marsh of the early Victorian damsel who is amusing herself with a kitten. Among the contributions shown by Mr T. H. Jenkin the portrait No. 55 is likely to command most attention, especially as the subject is a well-known Dunedin citizen. Other examples from this artist’s brush are “The Debutante” and “Young Mistress Nancy,” typically faithful in treatment. Rata Bird’s “Seventeen” and “A Bachelor’s Hearth” create a very favourable impression, and C. Thornton’s portrait No. 127 has agreeable vigour. No. 87, “The Tease,” stands out, among some contributions by C. Lovell-Smith which are not lacking in individuality. Landscape, with a leaven of genre, is, as usual, the predominating feature in this and ' all sections. Among its exponents Grace Butler takes a very prominent place. One does not recollect seeing previously exuite such an excellent all-round display of her work. “The Rain Squall—Avon Estuary” is a delightful harmony in colour and composition, and in her two larger landscapes, No. 36 and No. 46, the artist has been conspicuously successful in a search for air and atmosphere. In “Evening, Auckland Harbour,” she shows another uncommonly pleasing picture. Mr A. F. Nicoll’s “Rocky Bay” is a very telling example of what can be achieved by broad and simple handling, and is a bold piece of work that cannot fail to make appeal. No. 14. the first of Mr R. Wallwork’s contributions to take the eye. is a particularly restful little seascape. “The Old Smithy” presents an attractive domestic scene. Tlie sweep of the sea and freedom of movement in “The, Coastguards, Kaikoura,” are admirable. Th© skill of B. C. Dobie in the depiction of horses is seen in several exhibits among which No. 19 makes an attractive showing. As a delineator of ©quino movement \V. Hbunsoin Byles needs no introduction. He is again to the fore with jockeys and their mounts, and excels as usual in expressing movement and action. Of the two conspicuous works bearing the signature of J. Weeks, No. 172, “Tranquil Evening” does the artist much the greater credit, and is a picture that should attract a good deal of interest. _ The composition is effective and the artist has certainly secured most telling results in the lighting. The general effect is just suggestive. however, of some over-statement in that connection. “Golden Evening in tho Now Zealand Bush,” (he other large canvas, is, however, anything but convincing. IT. Horridge’s “The Avon. Christchurch,” is one of the imposing landscapes on view, and is unquestionably an effective gallery picture. The breadth and vigour of the treatment are to be admired, and respect, grows for the work with distance. Mr Horridgc has some smaller contributions of interest, and his view of the bridge at Waianakania should not bo overlooked. One important, landscape is shown by Cecil F. Keely. No. 13, “Kaikoura,” a very sound and pleasing piece of work. Tlie little glimpse from the same locality shown by A. Elizabeth Kelly is frankly a joy—a breezy and spontaneous piece of out-of-door allurement, with a genuine breath of the sea. Mr W. Allen Bollard is represented in this section to undoubted advantage, and his work is revealing a new freshness and variety. In "The Cloud” is seen a most pleasing composition, agreeably quiet in tone while “Our Coastline” and "The Valley Farm” well repay inspection, the latter being conspicuous for a distinctive method of treatment. Mr G. M. Carrington contributes some characteristic examples of his work, which is always reliable. He has perhaps secured his lumpiest results in “The Ocean Bench from Signal Hill,” and “Th<> Rees Valley from Kinloch,” comprehensive landscapes handled witli skill and refinement. Mr A. H. O’Keefe, while eschewing landscape on this occasion, makes some noteworthy contributions in flowers and still life: among such his “Onions” speaks eloquently for itself. In “Log Hauling at, Wainoni” Mr W. Greene presents an ambitious work upon lines with which he is usually to be identified. This artist, always commands respect in Ins delineation of horses, but in the ensemble bo has not achieved complete success on this occasion, there being' no real felicity in the colour scheme. Ills No. 185, a simple equine study, is however quite the work of Ronald M’Kenzie, of which there arc two examples in this section, will attract most attention in being quite out of the common. His “Pantomime.” a view from above the slam? in a theatre, is a daring effort, revealing indubitable cleverness in drawing and colour. Originality is a rare quality, and the progress of (his artist will ha watched witli interest. Among the contributions of Iva M’Eldov, ney “Sentinels of the Old Farm Yard” fakes a foremost place, mid is a thoroughly hapnv effort. The work of Marcus King will all repnv inspection, and ! reveals steady progress. Parlicularlv offer;1 five is No. 75, “The Home Boat,” and I (fierc is a pleasing decision in this artist’s 1 otter unpretentious exhibits. The lanrl- ! scapes of R. L. Tingey are of even merit. I Of the two smaller contributions by 3V. i Tiller No, 85 is perhaps the preferable. I being a quite attractive and vigorous nr.to j landscape. “The Thief.” by Rhona M'Kenzi’n, mav be described as an arrestI inn- picture, though Grimalkin looks paini fullv conscience-stricken. Tho still-life accesI series are cloverlv handled. In No. 146. “Grab Apples,” there, may be lack of mt nit not of light, and in No, PR I “The Etcher” and other _ examples work * of very genuine promise is recognisable.

Of the conventional landscapes from the brush of C. Biomficld “On the Wanganui’ easily takes precedence. It offers a very typical glimpse of New Zealand scenery. Mr F. Brookesmith shows in “Passing Showers, Awarau Plains,” a largo work ot considerable merit, though the treatment is somewhat heavy. ■ There is distinctly good quality in the little landscapes shown by C. Thornton; the cleverness of No. 144, “Tho Beach. Napier,” is undeniable. The work of Andrew Reid has distinctive characteristics that- make it readily recognisable; it runs to quality if not to quantity. But for tho fact that the moon is very obstrusive. and almost suggests an afterthought on the artist’s part, his quiet little landscape, entitled “Kush.” would be extremely satisfying, even more so than his other modest contributions. The exhibits of Miss Ethel Richardson furnish evidence of progress and include an attractive little seascape. A very agreeable instance of niultnni in narvo is seen in No. 152,? “The Lagoon,” by Minnie F. White, a very charming little effort, full of harmony and feeling, on the parr, of an artist whose contributions are all of interest. Variety’ of style and treatment is seen in some capable work shown bv Miss Evelyn Poison. In contrast to her impressionistic examples is No. 126, “Devotional,” a capital little piece of interior painting. Some excellent results have been achieved by O. Vial in flowers and still life. In “The Builders” is seen a rather ambitious contribution in which the artist, J. Fitzgerald. has shown courage in tackling a somewhat laborious scheme of composition. Mrs P. L. -Ritchie, is represented in this section by some four landscapes, among which “Near Mount Cargill” holds its own. Two exhibits by F. R. Brown show sympathetic treatment of foliage. Moderate success has been secured by -T Hollobon in the more ambitious of his two landscape contributions. “The Upper Leith” is perhaps the most pleasing of Miss Jimsie Eraser’s three creditable exhibits. “Japonica,” by J. Mcrrilees Mee. has its interest. A pleasing little seascape “Pencarrow” is by G. K. Daniell, and near it is a diminutive picture bv A. C. Hipwell. entitled “An Old World Street.” which illustrates what can be achieved by shadows and a little imagination.