THE MODERN IN ART

Otago Daily Times, Issue 22257, 9 May 1934, Page 11

THE MODERN IN ART

A NEW TENDENCY ENCOURAGEMENT OF THOUGHT An interesting discourse on modern tendencies in art, with. particular relation to the exhibition at present being held in Duuedii), was given by Mr T. H. Jenkin. A.R.C.A., before a large attendance in the Pioucers' Hall yesterday . afternoon. Mr P. L. Halsted briefly introduced Mr Jenkin. who is art master at the Invercargiil Technical College, and formerly occupied a similar position at the King Edward Technical College. When he was a student in London 20 years ago, Mr Jenkin said, he was accustomed to . seeing the work of Augustus John, Sir William Orpen, and others represented in'the exhibition, and such was their genius that in the .circumstances he'found it difficult to talk of their paintings without going into superlative terms. What he wished to speak of particularly, however, was the modern trend in art, and the present exhibition provided a wonderful opportunity of studying this. To appreciate the work of the moderns it was necessary to find out what their aim and object was. because theirs was a change of outlook, a change of object. The picture of the past . few generations had been painted fronin certain point of view—representing things as they actually were in the photographic style—and they were judged from that point' of view. The moderns, however, were not satisfied with that sort, of thing: they, wanted to explore new avenues and find hew methods of expression, and if their work were regarded in that light the student would find more in it than if he looked merely for a representation of Nature. ... Mr Jenkin then drew an interesting analogy between, art. a 9 seen by the child and as it appeared in its symbolic form to the primitive peoples. The speaker said he came into contact-with young children,, and he found that they knew a great deal more about art. than did the grown-ups, and were prepared to \say what they thought about it, in no unmistakable manner. They would draw on a piece of paper their conception .of a subject and not bother in the least whether it was a good representation. The child was a primitive person, and thus tried to represent its conception of a subject rather than its actual appearance—exactly as was done in primitive art. Many of the modern painters were trying to get back to the childlike or savage way of doing things, and to portray conceptions or emotions rather than appearances. Their work .was,, perhaps, difficult to appreciate, but it could be more easily understood if regard were taken of'the elementary forms of symbolism employed. Speaking of the John portrait. La. Duehcsse de'Grammont." Mr Jenkin referred to the striking manner in which the personality of the subject had been portrayed by means of a bold, sweeping line, which provided an excellent example, of symbolism used in a portrait. -He then gave an interesting analysis of William Roberts's much discussed picture, "The Chess Players." This he described as the most striking of all the pictures in the gallery. People who were, seriously playing chess, he said, were concentrating on the game and thinking of nothing else, and when the artist painted that picture he had to paint the idea of concentration. Everything that had nothing to do with chess must be left out of the picture_or reduced, as much as possible. In this case the grouping of the figures had a great effect on the picture, as the winner, in the centre of the two onlookers at the top, formed a great mass pressing down on the losing man,, thus showing clearly the difference' between winner and loser, while this idea was also assisted by the expressions on the faces, which were, however, just as well done ac by a naturalistic painter. The sleeping woman on the right of the picture, he thought, was intended to express the , attitude of the general public towards chess, which was a game engaged in by only a few. The moderns. Mr Jenkin concluded, encouraged thought instead of. appealing only' to passing likes or dislikes, and Itheir pictures were experiments—a means to an end. The modern tendency was a new avenue alone which -art was travelling; they knew not where it was going, but it was undoubtedly going somewhere, and they should study ; and think about it. . Mr Jenkin was accorded a hearty vote of .thanks at; the conclusion of his talk.