ART SOCIETY’S EXHIBITION

Otago Daily Times, Issue 22114, 18 November 1933, Page 5

ART SOCIETY’S EXHIBITION

i . AMONG THE PICTURES ill. THE WATER-COLOURS. ; In keeping with British tradition and achievement the popularity of watercolour as a medium of pictorial expres- ' sion is. strongly maintained in New Zealand. Apart from its recommendations iti on the score of convenience, it has, of f course, enduring fascinations of its own. i j The artist can never say that he has i- found out all there Us to know about water-colour, and great variety of method is associated with its use, no two practitioners working quite alike. The beauty of the medium and its possibilities are brought out in full in the ‘ Work of such masters of water-colour as Mr Russell Flint. For the student watercolour presents more hurdles than oils, for what is required of it is a more or ,t less immediate statement, which, once made, is not to be retracted. Decision, which can only come from knowledge and experience, is thus a necessary factor in all good water-colour work. Persistence in wrong methods in the use of the j medium - soon brings all progress to a stop, ■•1 which 'is quite sufficient to account for the fact that too many who work in ■water-colour go on from year to year rei producing the same unimpressive results, i A great charm of -water-colour painting < lies in the beauty and truthfulness of its aerial tones. The importance of- washes of undisturbed colour can scarcely be exaggerated. To the unskilful superimposition of one wash upon another with the idea of gaining the desired strength is due much of the uninteresting, muddled work that is seen. And water-colour, be it; added, is a sure revealer of weak drawing. But guidance for the student is readily available, and in the present exhibition the water-colour section is of great interest and contains some capital work. i Among the more important contributions Janet M. Dixon’s “Near Otira " is a landscape of impressive quality. The painting is at once suave and vigorous, the gradation of colour is most successful, and the picture recedes without flatness. There is a feeling in this• artist’s work which is rather rare. Her skill in water-.colour is seen also in No. IS3.

It is good to find in the gallery at least one arresting depiction of our coastal scenery. This is discoverable in Russell Clark’s “Black Head.” The almost panoramic scene has been very skilfully laid down, and confident draughtsmanship and colouring result in justice being done, which is saying much, to the splendid coast line beyond SR Clair. The artist’s other important water-colour has been previously referred to. Another landscape which holds the eye by virtue of its dimensions and boldness is E. S. . Hope’s “ Mount Chudleigh.” Undeniably telling results have been achieved in a somewhat daring scheme in blue, and the general effect, thanks to freedom in handling and a judicious balancing of' tones, is distinctly successful. This artist’s other contributions by no means reach the level of his No. 260. Two pictures by Olivia Spencer Bower stand out for the capacity shown in tackling subjects which demand a deal, of thought and concentration. No. 226 is an excellent representation of a scene of bustling activity in a shearing shed, but the intricate composition falls admirably into place, thanks to excellent drawing and appreciation of values. In No. 294, “ St. Nicholas Mount,” the artist has been particularly successful in producing a charming and restful picture in a clever depiction of roofs, smoking chimneys, harbour, and sea. „ r _ . . The contributions of John W. Brock add to the strength of the water-colour section, and all show abijity to handle the medium confidently. No. 199, “ Omafama,” is a well-composed pastoral scene, meadow, trees, and distant hills offering a most attractive prospect. “Mount Kettle, Upper Junction,” is another well selected subject, admirably treated. “Purakanui from the Top Road” will repay attention, while No. 300 is one of the few water-colours in which the human interest predominates. _ Some fine work by Miss D. K. Richmond is usually to be seen at these annual exhibitions. Gn this occasion her principal exhibit is No. 248, a study of roses and berries most simply and delightfully rendered. Sound methods are in evidence in Ella Spicer’s contributions,

among which No. 244, “ City Roofs, will be singled out as a distinctly successful and interesting presentment. It is a pleasure to halt before D. M’Ara’s two little pictures, Nos. 311 and 312. Both reveal a sure hand in draughtsmanship and colour. “ Winter in Ediburgh,” showing the castle, is charming in its solt grey tones, and tnc fine Norman pillars of the famous church in Smithficld are impressively rendered. In the exhibits of Joan there is a very interesting quality, olic paints flowers and still-life as is seen in Nos. 252 and 263, and her trees and landscapes reflect a similarly correct observation and capture ot the essentials. , That well-known exhibitor M. V. Stoddart is again adequately represented. Her landscapes arc as usual readily .distinguishable for their very characteristic style and vigour. Preference will probably be accorded No. 293, “A btream, Kererangu.” In her most important contribution, a large study of roses, the artist seems to have fallen short ot a completely successful result by a certain over-elaboration, but the colourful ellcct is undeniable. Kathleen Salmond’s methods in watercolour conduce to results that are always welcome. Charming effect has been secured in her No. 221, “The Galley, a presentment of excellent tone quality, while the artist’s skill in flower painting is convincingly demonstrated in. No. 264. No. 207, “ Spanish Peasant Knitting, by Iva H. M'Eldowney,; is a strong piece of work in which attention is powerfully concentrated on the well-drawn figure. The same artist’s fine draughtsmanship is exemplified in Nos. 351 and 353, two delineations in pen and ink in which the detail is .really remarkable. J. D. Charlton Edgar’s one watercolour, “Recent Snow, Mount Somnus, is less interesting perhaps in its subject than in its technique. Two examples in this medium by T. H. Jenkin are of satisfying quality, E. J. Waghorn has secured interesting results in both his landscapes. There is much charm in the unpretentious work of Hilda Wiseman as seen in No." 224. “ The Haunted Whare,” which demonstrates the value of simplicity. In the exhibits of Gordon Tovey easy handling of the medium is associated with an unconventional outlook. He is on the alert for Nature’s magical moments, and reproduces form and selects colour for their exploitation. The effects thus secured are certainly distinctive. The Marlborough Sounds have provided the artist with material for some interesting depictions. Increasing dexterity in handling water-colour is hp-

parent in the exhibits of Eaua Jeans. No. 240, “Leith Valley,” is an example in point, but the artist’s tendency is to rely overmuch on heavy tones. Myra Thompson’s work shows a definite advancement in the. application of broad washes of colour with decision and purpose. There is a most colourful glow in her landscapes Nos. 319 and 320, though both would have been improved by a greater attention to form in foreground detail. Direct, painting of outdoor subjects, without attempt at embellishment, is characteristic of R. Little’s exhibits. Typical examples are “ The Quarry, Sawyers’ Bay,” “ Low Tide, Auckland,” and “A Landmark, Wetherstones.”

“ Harvest Time, Cliffs Farm,” will be readily singled out as the most successful of J. B. Hope’s exhibits, and is a restful composition, well handled. Trees form the centre of interest, as usual in\ Elizabeth M‘Crorie’s pictures, among which, No. 197, which offers a vigorous illustration in point, is especially to be commended. M. B. Holloway’s wateiv colours show, progress; “ Mount Cargill ” and “ Diamond Lake ” are good examples. Coreen Browne appears in a new role in two out-of-door compositions, slight but pleasing. In “ The Lime Kiln,” A. M, Darling has secured an effective picture, rather unusual in subject. Excellent work by Dorothy Jenkin in still-life is seen in No. 314. A happy companionship of objects thus grouped is very important. A. Dickisoh’s No, 310, “The Ford,” is the most attractive of his contributions; of the others No. 318 is the preferable. “In a Monastery Garden,”. by John Scott, is a wellexecuted large-size piece ,of decorative work, suitable for tapestry.

G. H. Elliot’s “Young Naval Architect” is a pleasing composition, but the boy does not appear at all comfortably seated. R. Pheeney’s .“Quay Street, Auckland ” embodies some excellent drawing. G. WTgley’s “ Mount Cook” is inbut does not hold together too well. H. Pullene’s tree studies, Nos, 194 and 286, are to be admired. The principal contribution from E. Baird Friberg is No. 192, “ Franz Joseph Glacier,” which presents some vigorous

work. The beech forest in the foreground of her No. 230 is rather too sketchily laid in to be quite effective. H. H. ‘Tombs has produced a distinctly attractive little landscape in No. 210, “ Back Country, Hawke’s Bay.” The characteristic study of trees, by Eleanor Hughes, No. 211, is les s impressive than this artist’s work usually is. E. B. Blunt’s “ Prior’s Hall, Lanercost is most satisfying. Meritorious work from other centres is shown by Hugh Scott, Marion Tylee, Muriel Cole, Lilv Scott, Dorothy Ashton (“Zinnias”), D. V. Young (in “A Queenstown Street”), Wesley Woolhouse, in a well executed coastal scene, No. 209; V. A. Brown and D. E. Hutton. Local contributors not already mentioned include F. Sykes, S. B. Maclennan, Anne Johnstone, Colleen Wood, A. Cutten, M. Wilkie, M. Rae. H. K. Dalrymple, M. Anderson, W. G. Robb, and Albert Bollard.