OTAGO ART SOCIETY

Otago Daily Times, Issue 23222, 21 June 1937, Page 4

OTAGO ART SOCIETY

THE WINTER SKETCH EXHIBITION

The visitor to the Otago Art Society's Winter Sketch Exhibition who does not go in a hypercritical mood will find much that is .worthy of attention. The display should be the more of local interest in that it is purely representative of the work of local artists, and in that its subject matter is drawn mainly from the local field. Particularly in an exhibition of this kind, in which the hanging is on a most liberal basis, one expects to see a great predominance of landscape sketches representative of work, and in these many glimpses which will be recognised with pleasure of the environment of Dunedin and of the scenery of Otago. While a few of the more prominent members of the society are not represented on the walls on this occasion, the proportion of working members who have contributed exhibits is impressive. The quality of the work shown is inevitably uneven, covering most varying degrees of proficiency, but the percentage which is o;l! excellent standard suffices amply v tb reward a careful scrutiny of the whole display. One of the aims of "the society is to assist the working members by the instructive comparisons which these exhibitions render possible. It is an illuminating 'ordeal to which individual artistic efforts are subjected when they are shdwn in a numerous and challenging company. In a.circuit of the gallery the eye is first caught by the landscape group in oils by W'.' Allen Bollard. This artist's work is, as usual, conspicuous for ease; and vigour., "Settler's Selection, Oatlins," and " Clearing After Rain, Roxburgh," are typical examples of his best style. Mrs P. L. has concentrated on this occasion upon water-colour with pleasing results. "Early Morning. Otago Heads." a tranquil scene, may be singled out as one of the/most attractive of her compositions, ■..; ''Autumn, the Town Belt," is a boldly, delineated landscape of local interest' in oils, by Alice R. Lothian, whose studies in still life will also engage attention. .',.- The- water-colour contributibns of Kathleen .Salmond, while not dimensionally imposing, invite, as , usual, a lingering inspection. "The Flour Mill; Lawrence," is a crisply painted and most effective composition. . "Sunrise, Otago Harbour," is a charming little vista and an object lesson in its simple washes of colour. Her "Clay House" Is another telling, little landscape. The work of Eiina B. Jeans has come well to the forefront in that of the local artist group, and is interesting and individual. Her '" Thatched Cottage, Nairn." is an outstanding contribution to the gallery, a charming watercolour in most restful and satisfying tones. "A London Square" may be singled out as another example of this artist's successful' expression in the same medium.

The all-round competence of Miss Copeland's work is delightfully illustrated in four water-colour contributions. The two figure studies strike a note . which is otherwise too much lacking in the gallery. That entitled " Resting" is particularly to be admired for the poise and draughtsmanship. In their contrasting colour schemes her " Street in Venice" and "Spring" are both most attractive pictures. Among a quartet of watercolours by Myra Thompson, " Deserted Cottage, Hawea Flat" and "Winter" may be specially singled out for their qualities of light and spontaneity. Working in oils. Martin Richdale. has presented a delineation of Hamilton bridge which shows rare decision in the brush work. His " Chalk Pit" will also command attention.

Several contributions by Mabel Hill have the quality which one expects from this artist. Her study of a girl's head in prof'le is very charming. Among glimpses oi' sunny Capri, " The Piazza " and " In a Capri Garden " are particularly satisfying in their colour harmonies, Prominent also among the water colourists is R. T. Little, with an even contribution of studies which have the merit of directness and freshness. The work of F. R. Brown is seen to advantage in four little landscapes in oils, all verv harmonious in tone. Among these "Across the Bay holds its own. W. J. Williamson's group is conspicuous for unusually broad treat- > ment , in several landscapes in oils mainly depicting coastal scenery. The handling of colour as this artist uses it presents something of a problem. "Morning Light" and "Otago Coast are among his most interesting contributions. In "The Roadman s Hut and " Journey's End" A. Dickison exhibits two cleanly-handled watercolours. Mrs M'Crorie's depictions in the same medium of Otago Central scenes are up to her usual standard. The spirit of the has been cap-tured-In her "Street Scene, Naseby and Alexandra has provided -.the artist with an eminently paintable subject.

Several relatively large as well as colourful landscapes in oils are from the brush of F. J. Cook. Among the more successful compositions in his group are " Bluegums—Wakatipu " and " The Fuchsia Tree."

Three portrait studies in oils by Mrs N. Thomson have a decidedly interesting quality, and the still life by the some artist has its distinctiveness and will not be overlooked. In " Catherine," a head in oils by Albert Bollard considerable success has been achieved by bold brush work, with economy of effort. G. W. Edwards has done well in still-life contributions, and several studies from life by Colleen Wood show sound draughtsmanship. Increasing proficiency in water-colour is discernible in Anne Johnstone's examples, and her " Wallflower" is a pleasing piece of colour. Attractive flower studies by Mrs Cox present also a very agreeable note of colour, while her "From My Window" particularly takes the eye among her out-of-door essays in water-colour.

Hilda Pattillo's " Reflections, Queenstown," and "The Lake-Path" merit attention for their crispness and the clean handling of the medium, and the same can be said of her " Roses." Bob Reid, a well-known exhibitor, shows a panel of interesting pencil and wash drawings from life, and several small landscapes, among which "The Old Stable" and "Mount Stuart" will be singled out. Four large landscapes in oils by T. C. Findlater are somewhat ambitious in their scope, but give considerable promise in their more successful passages. Miss M. Kirkpatrick in "Tomahawk," and Miss A. MacMillan in " The Hillside" and "Rata," show advance in the use of water colour. Miss C. S. White presents pleasing glimpses of Akaroa in the- same medium. Working in somewhat low tones in oils,

Miss M. B. Rae has gone to Evansdale for her subject matter. John Scott's " Greymouth," showing the bridge, is conspicuous for its good draughtsmanship. The landscapes of A. Latham stand out for their tone; his "Mount Sefton " and " Hollyford Valley " are perhaps the most successful. In " White Trumpets," Miss L. Gordon has secured excellent results in stilllife in oils.

Landscapes by E. W. Walden, which include a Venetian scene, show, as usual, a careful regard for detail. Miss C. Petrie seems to have been more successful in her smaller contributions than in the larger water colour. That the difficulties of water colour increase in proportion to the size of the paper to be covered finds illustration in the Ontral Otago studies by Mrs E. A. Mce. The methods which produce

reasonably good results on a small scale do not serve where wide spaces have to be coloured. E. Syrett's " Broad Bay Garden" is an example of clean and careful work. P. M. Paterson's " River near Brighton" is the most satisfactory of his contributions. A familiar Dunedin scene has been happily chosen for depiction in "Winifred Stark's " Dust Tins." " Sydney Harbour." by M. Sharp, if somewhat prim, is otherwise a satisfying water colour drawing. In portraiture in oils. Miss M. J. Jackson is prominent. Preference will be given to the example entitled "The Sideway Look." Her two Maori heads are conspicuous for their exuberance of colouring. Certainly this work has vitality. W. C. Wakelin's figure study

" Reverie " is not easeful. The water colours of Max Walker are interesting in the individuality of their technique. Of his two contributions, Max Webb's little out-of-door sketch is to be preferred. Other exhibitors include F. W. Gross, M. L. Passmore. Mrs Becker, F. Fraser. Flora Bowman, A. de B. Hutton. Maud Wilkie, Rene Wilkie, Jimsie Fraser, and Ray Shenken. In effective panel and other designs a display of clever decorative work is provided by Marguerite Cotton, who is also represented by two portraits. The work shown on the screens will repay careful examination, notably that of Miss E. M. Reid, which includes various interesting designs and a capital little wood engraving. Etchings by A. H. M'Lintock are of admirable quality, notably his "At Moorings." In a small but interesting display of craftwork. Miss E. M. Reid is the principal exhibitor. In this section is a charming little picture done in French knots by Mrs J. L. Salmond. while several contributions are made by Mrs P. L. Ritchie in needle embroidery.