THE OTAGO ART SOCIETY’S EXHIBITION.

Otago Witness, Issue 3115, 26 November 1913, Page 73

THE OTAGO ART SOCIETY’S EXHIBITION.

SECOND NOTICE. In the neighbourhood of the northeastern corner of the Art Gallery are several of Mr Bollard’s best contributions to this year’s exhibition. “ Backwater, Taieri’’ (75), is a pleading little landscape composition of trees, pasture and still water; “ The Cliff Foot” (77) shows refined handling of a breaking sea by moonlight; and “Mount Cook” (91) is a strong little study of snow effect and a mountain path; but quite the most important contribution of this artist is “ The River Bend, Taieri” (92). Mr Bollard has contrived to fill this picture with scintillating light, which sparkles in the clouds and the river reflections and gives a very pleasing and convincing effect to the work. The trees and distant reaches of the river are well in their places, and the atmospheric peiepective is well managed. “ Innocence : a twilight effect ((6)> by H. Linley Richardson is a picture which will scarcely command its full measure of appreciation at the first view. Its quiet reserve and absence of light and shade make it liable to be passed over quite casually. Yet it is a superb bit of draughtsmanship and modelling, inspired with, the quiet refinement which springs , from a sense of power and deep conviction. Its neighbour, “ Raupo Bav and the Long Lookout, Banks Peninsula ’ (78), is also the work of a trained artist, R. Wallwork, and is worth close attention. Though poor in colour in the immediate foreground, there is undoubted sense of line in the Jong breakers and a cleverly conveyed sense of the glare of reflected sunshine from the lapping shallows left by the receding waves. Just below it will be found Miss Park’s most pleasing exhibit this year in “ A Cottage Window ” (79), a little domestic picture of the lorn Praed type, showing granny at her spinning wheel near the window. Though lacking possibly the intense interest of the famous Scotsman’s work, it is none the less an attractive and appealing little composition. A bowl of “ Red Roses” (85) by Miss N. L. D. Hutton, appeals by its rich warmth and well preserved unity of tone. Another among Miss Hutton’s several flower studies in the gallery, which meets with many admirers, is “Wallflowers’ (54). “ Rakapa, an Arawa Chieftainess ” (87), k one- of , those inimitable little studies which are known to fame as “ Goldie’s.” \ Certainly Mr Goldie has acquired a knack of executing these small heads with a minute fideuty of detail and modelling which places him in quite a distinct class of artcraftsmen. These unique records of a fast vanishing tyne of tne V.aon ■;"* will some day be of great value. J. C. Veitch in “Ocean Breakers, Moonlight” (84) reaches an unusual height of poetical insight. There is a quiet charm about the colour and effect of this composition of moonlight and. shadow, of ocean rollers and rocky shore which is impressive. J. F. Scott is represented by two small landscapes which show his mastery over tone and technique. “The Farm, Wandanian, New South Wales ” (89) is very Eowcrful and well massed, truthful and armonious, and is very evidently a transcript of Nature. “ A Sultry Day, New South Wales ” (93). has many of the same qualities.' Both pictures are very professional and among the chief attractions of the north wall. “Wedded” (95), by R. Wall work, is a good study in composition, in which arrangement of line and light are very cleverly played up to. It is a pity that more attention has not been paid to the colour scheme, which considerably impoverishes the general effect obtained. The stage is occupied principally by an exhibition of the worlcs sent in by art students for the annual competitions arranged by the Otago Art Society. These competitions play a very important part in encouraging and developing a spirit of enterprise among students of art schools, and are wisely limited to direct studies -from Nature. That this side of the society’s labour for the dissemination of art culture is bearing good fruit is amply demonstrated by the collection of examples on view. Unfortunately, the poor lighting of the stage places the exhibits at a considerable disadvantage; but in spite of that it will be scon that the paintings of heads from life in colour are of a very high standard, especially those of “Phil,” “Flapper,” and “Evans,” in all of which there is plenty of evidence of more than ordinary grasp of essentials and a striv- • ing to work broadly and vigorously. The prize still-life painting is very professional —broadly and decoratively brushed, close-toned and very faithfully studied. Great vigour, combined with close study of colour, light and shade, and form, arc also seen in the works bearing the noms de plume “Palette,” “Dancer” and “ Espagnola.” The prize landscape by “ Pine Tree ” is a pleasing little watercolour study of trees, easily outclassing its neighbours, la the studies of heads from life in pencil and charcoal, the work of the judges must have been somewhat difficult, for all the entries are good, and among at least three of them it must have been hard to discriminate. The winning drawing by “Rails” is tender and truthful. Beside it is a fine "Study of an old man by “Pencil.” Both of these drawings are full of character, as is that by “ Dago ” and, indeed, all the others. There can be no doubt that the work of the art students of New Zealand is reaching a high standard and is full of promise. On the stage also will be found an example (105) of Miss M’Leod’s work in the course of her Home studies. It will be seen that she has put in much faithful labour and observation, and tne tones in the arm of the nude are worthy of especial admiration. G. W. Carrington has another pair of his characteristic landscapes near this point —“ Coast Study, a Calm Morning ” (118), and “ Morning, Upper Dart ” (122). Both are distinguished by clear, light, and simple statement of fact. In the latter will be found some interesting and atmospheric treat-

ment oi the middle distance in the maimer so long associated with th© work of L. W. WUson. It is pleasant to be able to congratulate J. H. Oliver on the excellent progress he displays in his pleasant little study, “ The Farm Yard ” (123). It is nicely toned and modulated, wmle the lighting is very successfully carried through the picture. An allegorical composition, “ Spring,’’ by W. Hounsom Byles depicts that virgin deity pouring her showers upon the responsive earth which springs into bloom beneath her airy tread. Though of the pretty order, Mr Bylee’s work is always attractive, carefully wrought, and never fails to please popular taste. The graceful figure of Spring and the yellow and purple blooms will bring this picture many admirers. A pleasant study of moonlit waves by J. Elder Moultray is entitled “A Midsummer Night at Brighton.” Near it are two more landscapes by Miss Park, who is this year the contributor of a very large and varied number of paintings to the exhibition. “A Day in Spring ’ (134) is a very telling effect —a child pushing her way though the saplings into the woods—simply, but strongly stated in pleasant colour. The largest painting on this wall is recognisably by H. R. Cole, and shows all his well-known acquaintance with the sea and ships. Illumined by a break of light through a sullen sky, a barque, close reefed, rises bow-on to tne spectator as it crests ~a turbulent sea. In the gloomy middle distance a steamer stolidly forces its way against the wind. The heavy ocean swell, the ominous sky, and sturdy battling of the ships make an interesting picture.