NEW ZEALAND SOCIETY OF ARTISTS

Otago Daily Times, Issue 22371, 19 September 1934, Page 4

NEW ZEALAND SOCIETY OF ARTISTS

FIRST DUNEDIN EXHIBITION By Eros. I. What must appeal to those who have seen the first Dunedin exhibition of the New Zealand Society of Artists at the Pioneer Hall is the unified appearance of the pictures in spite of a great variety amongst the individual works. This is due chiefly to the care that has been taken in arrangement, and a unity in quality and outlook that would appear to be one of the chief characteristics of the new society. It is difficult in the circumstances to single out the works of any one artist unless it be those of Miss M’Arthur and Mrs M'Farlane, which in their wealth of rich colouring and interesting pattern form a distinctly decorative centre piece for the end wall of the first room. Miss M’Arthur’s “ Nightingale,” while open to considerable criticism from the point of view of immaturity, has much to recommend it as a mural decoration full of emphatic colour, thoughtful arrangement and a pleasant though tentative feeling for solidity in form. Nos. 158 and 159 by the same artist have a similar flair for pattern and bright colour. Mrs M - Fa' - - lane’s abilities as a composer of wellbalanced and dignified panels stamp Nos. 175, 179 and 180 as works of merit. Especially noteworthy is this artist's rhythmic colour arrangements. There are a goodly number of other works in the exhibition—be it Louise Henderson’s beautifully arranged and gaily coloured “ Wellington from the Terrace,” or her “ Farmhouse ”; Robert Fraser’s “ Abstract Fantasie,” and his more astutely coloured “ Logan’s Quarry ”; Miss Lusk’s interesting “ Cafe ”; Edgar Seelye’s composition “ Conversation,” and most of the works shown by Rodney Kennedy, H. V. Miller, W, H. Allen and R. N, Field—that are dominated by the decorative ideas also. Indeed, there are few works in the whole exhibition that are not noteworthy for strength of pattern and definition of form. That is_ natural when one of the main objects of the moderns is simplification and definition of subject matter. Most of the works on view have something novel and interesting to tell us and it is said in a manner neither half-hearted nor vague. On the main wall pride of place has been given to an imposing display by Russell Clark, though for sheer beauty of colour and feeling for sunlight Sydney Thompson’s two oils sing out in no uncertain fashion. No. 241, “The Green Chair,” is a telling piece of work in its harmony of yellow, green and blue, while No. 242, “ Evening Shadows,” very sympathetically framed, is an object lesson in the use of bright colour in harmony, especially in the sky work and in the figures against the sunlit walk Mr Clark’s two portraits, Nos. 60 and 63, are very satisfying both from the point of view of likeness and colour; they also show a great range in handling, the warm browns and greys of the “ Moffet ” contrasting forcibly with the cool greys of the other. Clever, too, in the latter work is the position of the red scarf on the canvas, unifying as it does the whole design. In his “ Workmen ” this artist displays a mawkish, almost Orpenish, sense of humour, and the figures here are intriguing character studies. Mr Clark’s flair for caricature is also seen in his finely coloured and composed “ Saturday Night ” and in his large composition, “ Lament,” No. 59. Every figure in this work has meaning for those who care to search it out. It is a scathing indictment on certain human endeavours.

Of Mr Clark’s two nude studies “Ruth” is the more appealing. There is some very fine painting and colour in this work, especially in the grey harmonies.

Two of the most interesting groups of pictures in the exhibition occupy the extremities of the main wall. They are by Rodney Kennedy and H. V. Miller, Both these young artists evince a considerable amount of thought in arrangement and interpretation of subject matter, and both show, as in examples Nos. 133 and 181, two very striking flower pieces, that they can use bright colour very harmoniously. Both are landscapists as' well as painters of still life, and No. 134 again makes interesting comparison with No. 183, In Mr Miller’s “ Lawrence Landscape,” pattern and a bright green colour harmony are the dominant notes, while in Mr Kennedy’s “ Landscape ” a more reserved and subtle use of colour is made. His interest is obviously centred in a study, of rhythm and form. The other works by these artists have considerable appeal for those who are initiated into modern compositional ideas. Landscapes in this exhibition are numerically strong, and there is some very good work in this department. Outstanding are groups by Basil Honour, W. H. Allen and Charlton Edgar, though this last-named artist’s best work is undoubtedly his “ Chez Russell Clark,” No. 81, a very capably handled and conceived interior. Mr Edgar’s “ Lizard Rocks, Barcwood,” “ Central Otago Landscape ” and “ Sunlight and Shadow, Black Face,” are excellent examples of his ability to interpret Otago landscape. Mr Honour’s 10 landscapes present an imposing array. This artist’s colour, though subdued, is eminently satisfying. The luminosity and beauty of No. 120, “ Evening in the High Alps,” make it finer than his other snow piece, “ In the High Alps,” though this picture is as cold as the snow and ice it represents. Two other very pleasing pictures by this artist of snow-clad mountains are Nos. 110 and 117. No. 114 and 119, paintings of Lake Wanaka, are finely contrasting representations. The beautiful shimmer of colour and sunlight on the water in the former contrasts forcibly with the dramatic blues of the latter. As a painter of moving water, as seen in Nos. 115 and 113, Mr Honour’s ability as a painter of New Zealand landscape is also much to be admiicd.

W. H. Allen’s work comprises both New Zealand and English landscapes. Of the latter, No. 0, “ Summer in England,” No. 11, “Gloucestershire Landscape,” and No. 8, “ The Avenue,” will be for most people the most interesting. There are other pleasing landscapes by Grace Butler, who shows some fine colour work of mountain scenery, Kathleen Salmond, James Johnstone, Mrs Shaw Thompson, who has a remarkable propensity for interpreting the clarity of Now Zealand atmosphere, Cedric Savage, and Edgar Seelye, whose little “ Moeraki” contains some charming colour. But for sheer simplicity and dignity Cora Wilding’s “San G'iminano,” No. 268, will be, in the estimation of many, the finest individual work- amongst the landscapes, if not in the whole exhibition.

Still life studies by Marion Tylee, Constance Boulton, Robert Fraser and Grace Butler are also of considerable interest, but Doris Lusk’s two examples, No. 147 and 148, stand out because of the mobility in the handling of the oil medium and their emphasis in colour. And . the work of Edith Alexander, though she is primarily a figure painter, is worthy of attention.