ART SOCIETY’S EXHIBITION

Otago Daily Times, Issue 23015, 19 October 1936, Page 2

ART SOCIETY’S EXHIBITION

AMONG THE PICTURES I THE OIL COLOURS

Undoubtedly the Otago Art Society has succeeded in staging this year a very interesting and attractive exhibition. This is gratifying as a sign •of its vitality, and welcome as evidence that with an increasing working membership there is also a definite progress towards a higher standard of achievement among local artists as a body. Their contribution to a which includes examples of the work of most of the leading artists of the Dominion is an important one, and is far from being overshadowed. To a perhaps unusual extent a colourful variety and cheerfulness are features of this year’s exhibition. Heavy canvases with sombre backgrounds are agreeably absent. Of experiments in technique there are examples, but, while no inconsiderable proportion of the pictures is in a manner that reveals what one may call modernistic influences, as a whole it is a very orthodox order of art, attentive to the fundamentals, that is presented. In some instances supposed yearners after rhythm, significant form, and effects calculated to raise the rare and understanding mind to aesthetic ecstasy appear to have been content to produce frankly representational pictures. If fewer interrogations may thus be prompted the progress of the catalogueholder will be rendered the smoother. Landscape, as usual, is overwhelmingly predominant as the subject-matter selected. This need hardly be a matter for regret. New Zealand, with its own individual scenic atmosphere, should be able to produce its own school of landscape painters, and is no doubt doing so. \ Portraiture' is reasonably well represnted, though figure-painting as yet apparently receives the attention of but the few. Perhaps _ the reasons for that will be fairly obvious. One will be that the art 'studio is by no means yet strongly established in this country. But Nature’s studio, tfie out-of-doors, is open to all. PORTRAITURE Among the works under this heading, Russell Clark’s large portrait, No. 3, is a good example of this artist’s avoidance of conventionality. The placing of the figure, the expression of the young woman who occupies the foreground, and the accessories all combine well to lend interest to an effective composition handled with decision. Two portraits by Miss I. M. Copeland are outstanding. Both are strong in tone, while affording a marked contrast. No. 25 is conspicuous for its vitality, though whether the posture is suggestive of easiness or the reverse may be a matter of opinion. No. 29, “A Girl in Gold,” a three-quarter length figure, strikes a note of serenity so far as the sitter is concerned, and reveals much skilful painting in the presentment of a bold and attractive colour scheme.

A very pleasing portrait is Ida H. Carey’s No. • 19, “ Eleanor- Hope.” Broadly treated in harmonious lighter tones, this reflects most successfully the charm of the subject. The painting of the attractive wrap is very deft. In her other portrait, No. 122, Miss Carey submits a vigorous piece of work in a lower key. Very welcome is R. N. Feild s contrl bution in this section. His No. 51 is one of the most distinctive portraits in the gallery. Employing an unusual technique, the artist has secured in his representation of the sitter a spontaneity and ease that are not readily captured. The head is admirably posed and painted. In the companion portrait. No. 62, very restful colour harmonies have been introduced. In his one figure study, “ Ngaire and the Apple,” T.’ H. Jenkin has simplified his subject and its treatment to very good purpose. There is a definite ap-. peal in this young girl in her red jumper, holding an apple green enough to be a subject, perhaps, of some misgivings. It is a pleasure to find Mabel Hill (Mrs MTndoe) again exhibiting with the Otago Society. Her portrait study. Lorna.” No. 75, is not likely to be overlooked. It is an example of this artist’s best work. The refinement of treatment of a charming subject here revealed is somewhat uncommon nowadays. In his portrait of the Mayor of Dunedin, in full regalia, Albert E. Bollard presents an ambitious essay. The measure of success achieved is very creditable to this young artist, whose work is very promising. The colouring detracts from his other portrait. No. 109, but this has character. The more successful of two contributions to this section by I. Martin Richdale is No. 70, a piece of out-of-door portraiture which is vigorous and effective, although the background of green golf links is somewhat frying. No. 94, by the same artist, gives no similar impression of spontaneity; the accessories to the figure are decidedly distracting. Two portrait studies, faithful in draughtsmanship, by Anne Johnston, show continued progress by this artist on sound lines. Greater freedom and sublety in brushwork should come with practice and experience.

No, 90, “A Colonial Scot.” by J. W. Dickson, contains some excellent painting. Uniform and accoutrements make a brave but not too aggressive showing. A refreshing escape from conventionalitly has been achieved by G. Rogers in the picture entitled “The Bantam,” No. 113. This is a skilful representation, with a happy suggestion of sympathy betwixt the girl and the bird which she is holding, while the colour scheme is restrained and effective.

Two studies from life by Mrs N. Thomson have a characterful interest. Portraits by E. M. Brook and K. Robson, and No. 96, a colourful study by Salome Coombs, also call for mention. “ The Green Smock.” No. 104, by Ralph Patterson, presents a well-executed interior with figure and strongly accentuated shadow. No. 139. “ The Life Class,” by Arthur C. Hipwell, is a very interesting little work of its kind, admirable in drawing, colour, and composition. LANDSCAPE

In landscape much of the work shown reaches an excellent standard. Two of the larger canvases by local artists are outstanding. One of these is Kathleen Salmond’s panoramic view of Paterson’s Inlet, which will convey to many a new impression of one of Stewart Island’s most beautiful and compelling vistas. The picture possesses an atmospheric quality; sea and island, promontory and sky blend in a harmonious relationship, and the keynote is one of strength and tranquillity. ' In the other work referred to Russell Clark has returned for. subject to the bold contours of the coast beyond St. Clair, and his “ Black Head ” is a dramatically powerful study, painted with the utmost vigour. In his No. 41 this artist hves a strong and convincing presentment of the Kawarau country which brings out well its characteristic features. Rather startling at first glance is his No. 68, “ Kawarau Gorge,” in which everything has been made secondary to an arresting design. The landscapes of Minnie F. White, of Auckland, gain an added interest from the fact that they include several Dunedin subjects. Into the treatment of these she introduces a fresh and welcome note. Examples in point are No. I, “A Glimpse of the Harbour”: No. 31. “Dundas street Bridge”: and No. 49. “Dunedin from Pine Hill.” A skilful colourist, this artist gets her effects with a sweeping brush. As an example of her technique No. 34, “ Under the Bluff. Kipg Country.” will repay attention.

The landscapes of W. Basil Honour present, as usual, some very capable work. Dimensionally the most important is his “ Evening, Karakanui," an expansive coastal view very well executed, though the greys of foreground and middle distance convey an impression of coldness that is not helpful. His No. 6, “ Upper Waimakariri Valley.” is a particularly satisfying work. This artist has also been painting in Otago, as two or three excellent delineations attest.

Brilliance of colouring and excellent composition are combined by Miss I. M. Copeland with delightful results in No. 14, “ Spring, Linwood.” Particularly interesting is her No. 32, “ Snow, Roslyn,” in which clever and vigorous

handling and regard for tone contribute to a most attractive picture. Two important contributions to this section are made by Cecil F. Kelly in No. 7, “The Heathcote Valley,” and No. 65, “ Ranald." No departure from this artist’s characteristic style is shown in these landscapes. They are low in tone in comparison with much of the work in the gallery, which some may not consider an advantage, but are thoroughly competent, as well as attractive and restful. Among local artists W. Allen Bollard is one of the most diligent of workers, and he is well represented on this occasion. Among his larger canvases “Morning Sunshine, Mount Stuart" has claims to precedence. In No. 74 Lawyer’s Head is presented in a somewhat more romantic aspect than usual. No. 21, “Mount Cook," and No. 58, "Summer Heat, Central,” may be singled out for mention among others in this group. (To be continued.)