OTAGO ART SOCIETY’S EXHIBITION.

Otago Witness, Issue 3116, 3 December 1913, Page 81

OTAGO ART SOCIETY’S EXHIBITION.

THIRD NOTICE. “Dulse Gatherers on the Clyde” (155) 's reminiscent of Millet in its composition, but scarcely shows Miss Park’s best vein, being tentative and undecided in treatment —a phase in this talented lady’s artistic development which is evidenced in much of her landscape work this year. On, the same wall hang two portrait studies by the same artist, of which, probably. No 141 will be more generally preferred. In this class of work it must at least be admitted that Miss Park shows remarkable variety of colour treatment, and models the heads of her sitters with careful attention to form and character.

J. R. Morris, after a rest of a year or two, contributes two largo studies ci breaking waves in quite his old closelystudied style. “ Rocks, Lawyer’s Head, Dunedin” (136) and “Breakers, Waverley, Sydney” (155) both exhibit patient study of the characteristics of incoming rollers and surf, whilst being rendered in tasteful colour. J. 11. Oliver’s second landscape “The Edge of the Bush” (137) has some excellent features. It is good in composition, even if a little artificial, and the bright sunny glimpse through trees is very pleasing in colour, besides being of distinct decorative value. “Mount Earnslaw” (138) is both a typical view of that much painted mountain and a typical “Carrington.” A clean precision is a marked feature of the artist’s work, and is always accompanied by pleasant colour as well as good pictorial effect. These qualities are in evidence in “Greenstone Valley” (147), and in “Pigeon Island, Wakatipu” (158), the latter picture being strikingly brilliant in the light effect produced by the sunlit clouds and their reflection in the waters of the lake.

Interest will be taken in the figure study by E. W. Payton, showing a Maori woman “Making Whariki” (140). The crouching figure, the interlaced manuka walls, and the flax-strewn floor are depicted with a sure knowledge of Maori life. But much more admiration will be bestowed upon the very sympathetic landscane by the same artist which hangs a little higher up on tile west wall, and is entitled “Scrub Burning” (148). The grey smoky atmosphere is rendered with much feeling, and produces an effect familiar to most Otago people who are accustomed to see large stretches of bush country from the hills. Its truth will be immediately perceived. In the centre of the west wall hangs a large painting of considerable historical value as a representative of the work done by the famous group of British historical and portrait painters who founded the Royal Academy. It is a painting by Mather Brown, .who died in 1831. Born in America, Brown came to England as a youth, and became a portrait of the celebrated Benjamin West, the historical painter best known by his famous “Death of Wolfe.’’ It is a matter of history that the Society of Incorporated Artists was at that time the leading Art Society of England, but Kirby, its president, "was the centre of a group so autocratic that Reynolds and West seceded from it. King George 111 »as its patron, but being offended at a criticism on West's work, “The Departure of Regulus,” given in his Majesty’s presence, lie" declared that the work should be exhibited in his gallerv—- “ The Royal Academy.” Reynolds, * of course, was first president, but West succeeded him on the death of the celebrated portrait painter. It was natural for Brown to study under West, who was himself American. Brown became a fashionable portrait painter, the King and Queen sitting to him, but his powers are said to have decayed early. His portrait of Admiral Popham hangs in the National Gallery. Near this picture is an interesting example of Miss Sale’s work in “ Market at Venice ’’ (144), which fully supports the contention that she is doing excellent work just now. It is full of quiet colour, *-cr.tod and of intriaVc rn ■ ” J. Elder Moultray’s “A Dangerous Ford ” shows a coach crossing a swollen river. It is a carefully painted incident, and the horses and coach are depicted in closest detail. “The Banks of the Waikouaiti ” (149), by J. Holloben, possesses such sense of unity and atmosphere that his more ambitions “ Autumn morning on the Waikouaiti River ” is somewhat disappointing.

Mr Holloben evidently appreciates Nature, and if he would cultivate the vein he displays in the former picture should be capable of communicating to others the pleasure lie derives from worshipping at her shrine. Another series of possibilities is opened up by the work of A. Vaughan. “ The Bridge” (154), like his “ Twilight” (32), shows that Mr Vaughan is an inexperienced painter, but that, with a knowledge of draughtsmanship and technique, he might be capable of doing excellent things. In any case both of these pictures are very strikingly original and worth attention.

Miss Hartley, in “ Margaret ” (159) has attained probably the most successful result she has ever realised. The study of the girl sitting in a wicker chair is really admirable. It is a smarter bit of work mansbip than the majority of figure paintings in the oil section this year. There is a good sense of broad planes of light and shade and of value in the harmonious scheme of colour. Good modelling and drawing is in evidence throughout, and the. picture holds its own well at a distance. Miss Hartley is to bo congratulated on her success.

Miss Hutton's “Boses” (155) and her careful study of “Chrysanthemums” (161) attract favourable comment. Thev are both very faithful studies from Nature and full of natural truth. Miss Park’s composition “ And lo ! Ben Adhem’s name led al! the Best ” (163) shows this lady at her best. It is a very suggestive little picture, imbued with imagination and dreamily poetic. Miss H. Chnurnan also has scored quite a success in her “ Portrait ” (154), which shows firm, if somewhat hard, drawing and very decisive treatment. There is distinct originality in her less successful “Firelight” (169).