OTAGO ART SOCIETY

Otago Daily Times, Issue 25386, 18 November 1943, Page 6

OTAGO ART SOCIETY

THE WATER COLOURS By A. H. McLintock While the oils in this exhibition are interesting and in the main competently painted, I beliwe that the water colours, especially those contributed by the Otago artists, form perhaps the finest and most stimulating section in the entire display. Dunedin is fortunate in having a group of water colourists who would be a decided acquisition to any art society in the Dominion 'and it may with justice be conceded that the work of these artists reaches a very high standard indeed. Yet in this very competence there lurks a danger, for frequently a facile technique tempts the artist to win an easy, though fleeting, success at the expense of sound draughtsmanship. In one or two instances in the present exhibition it is evident that skilful use of. colour cannot atone for fundamental weaknesses of line or composition and that more preliminary thought' and study are always an essential prerequisite to success.

It is to be hoped that, as sound drawing is unquestionably the basis of all painting, it might be possible for the Otago Art Society to arrange an exhibition devoted exclusively to black and white. There is perhaps one further general criticism that can be advanced, that too many artists are content to paint stereotyped and conventional subjects from one year to another, forgetting that the artist can be both commentator and interpreter, of man as well as of Nature.

Eana B. Jeans is as vigorous in her water colour technique as in her oils, and in “ Hina Hina Trees ” and “ In a Gully ” she again courageously faces the difficult problem of painting New Zealand bush, in full light or in broken shadow. She is to be commended, moreover, for her selection of an unusual subject in ” Stable Door,” while in “ The Old Shot Tower, London,” she displays a delicacy of colour in portraying the beauty of soft light on the Thames, a most successful piece of impressionism. Kathleen Salmond is now painting with a rich background of technical experience at her disposal, and her fine work lends distinction to the whole display. “ Farm House, Central Otago," owes a great deal to the purity of its wash, and students could learn much from the directness and simplicity of her handling of colour. “ Central Otago Sunshine ”, is also certain to appeal, if only for it 3 glowing qualities, as will " The Barn,” bathed in winter sunshine, clean and bright. " Polyanthus ” is a very characteristic flower study painted with that control and verve which is the essence of technical excellence. It is perhaps appropriate to mention here W. S. Sutton’s solitary water colour, "Afternoon Sun,” a prosaic subject marked similarly by brilliant treatment and certainty of attack. ....... Myra Thompson has never exhibited a better group, and it is pleasing to note a striking improvement in the quality of her recent work. She deserves special commendation for her enterprise in painting local scenery, particularly in Acioss the Harbour ” and “ City Landscape which are thoughtful compositions Pliant in colour and treatment Jubilee Park,” however, suffers f rom a varietv of interest and so lacks the appeal of her two fine Central Otago studies ?Nos. 112 and 124). which deserve very high praise for their clean colour and S °As d in d hef n oils, Mabel Hill displays considerable versatility and an accomplished technique. Her two portraits are marked by the polished restraint of mature accomplfshment; her " Street in Capn clearly no studio product, is an o pi e ct lesson of the value of direct painting based on sound drawing. But her finest exhibit is her tempera study of Azalea? which in its mastery of tone and colour harmony is a fit companion for Tulips. H V. Miller is too sincere an artist to be guilty of misusing colour merely to achieve cheap sensation. For this reason his group of water colours are in danger of being overlooked by those who emphasis to restraint. His four Cailms studies stand as. exemplars of that sensitive draughtsmanship which by its sin cerity conveys the essential character of bush country in transition. The Maclennan River ” and “Afternoon Light, Catlins,” are specially worthy of commendation. . . Another artist whose work is full of promise is D. H. Jones, who displays directness and vigour, reinforced by a pleasing clarity of colour. High Country, North Otago,” with, its receding planes so simply suggested, possesses a fine spaciousness and strength of design. " Hutt Valley,” however, is rather too am- < bitious a venture, the composition being out of balance and the colour rather hard in the shadows. •On the other hand. “Tasman Valley,” "Outlet, Lake Tekapo, and "Sunny Day” are most successful, and give distinction * to. set. . Deservedly in association- with such good company is R.’ ! T.’Little;; a lover’ of 2 ships and coastal scenes, whose pleasant stilllife groups, strongly decorative in character, would brighten any wall. "Port Moeraki " appeals particularly for its care, ful drawing, clean colour, and pleasing recession; “ Leith Valley ” for its delicacy and sympathy, and " The Foreshore, Dunedin,” for its unexpected strength of colour ■ and interesting design. . ' F. G. Shewall’s thought-provoking work, full of a strong rhythmic line which his essentially modern technique exploits to the full, may perhaps appear somewhat forced to those who prefer the traditiona, handling of the medium. ” Blackhead,’ for instance, is characterised by a simplification of form and a dramatic use of colour, and "Fishing Village, Moeraki, is equally free and vigorous, but Still Morning, Banks Peninsula,” probably possesses the most popular appeal, full of soft light and marked by a commendable restraint Roy J. Dickison is represented by two water colours, of which “ Twilight,” simple and direct in colour, is unquestionably the finer and more sincere. “ Ribbonwood Gulch ” is a most ambitious effort, but on such a scale as to produce only an over-straining of effect and a posterlike simplification of technique. Colin Wheeler’s work is also not as interesting as his oils, but he, too, will develop with experience, for his “ Quarry Interior ” and « The Bridge ’» possess undoubted merit. Colin F. Qameron is another whose gifts of draughtsmanship and control of colour promise well for the future. His " Christchurch Cathedral ” is particularly noteworthy, as are Winifred M. Cox’s attractive flower pieces, fresh in colour and pleasing in design. , ~ It is again unfortunate that, owing to limitations of space, I have had to pass by the work of other artists in this section, most of whose contributions, if not outstanding, are nevertheless well worthy of study. Indeed, it is questionable whether H. Lyndhurst, Hilda Pattillo, E. Syrett. F. C. Walker, Ida H. Burton, T. E. Gallagher—to name but a few—have ever submitted better work, a fact which has contributed in no small measure to the general high standard and wide appeal of the present exhibition.