OTAGO ART SOCIETY.

Otago Witness, Issue 3117, 10 December 1913, Page 73

OTAGO ART SOCIETY.

FOURTH NOTICE.—THE WATER COLOURS. Once again the water-colour section of the exhibition of the Otago Art Society is proving the chief attraction to visitors to the gallery. There is a freshness and brightness about the view en masse ot a collection of paintings in water colour whioi is always a source of delight. Although, possibly, there arc fewer important pictures this year than usual, the general standard of the work, especially by members of the society, is undoubtedly higher than eyei before. The first pair of pictures m the order of the catalogue is " lo they y'cetward” (175) and - in Tropic fceas (1/h), by H. R. Cole. Mr Cole has made a special study of the sea and ships, and undoubtedly knows them, so that to those who go down to the sea in ships/’ he must bo extremely interesting, but to those who look for the artistic expression of the essential truths of Nature there are some disappointments in the work of tins painstaking artist. Probably, now that ho has equipped himself so thoroughly for his special task, he will turn to the larger questions of colour, atmosphere, envelopment, and composition, and produce pictures which will appeal to a wider circle t)f admirers. 1 luit Mr Cole is capable of appreciation of subtle liarraony of colour is fully demonstrated by some charming passages in his little “Afternoon Sunlight, Tomahawk” (190), which, with a ■trifle more planning, would have been a delight. The grey tones of sand and sea are in perfect concord with the purple, grey, and brown tones of the cliff. Mrs Field, a daughter of the late Mr W. M. Hodgkins, makes a welcome reappearance, and shows all the vigorous fearlessness of attack upon the .strongholds of Art which is characteristic of her family. There is a bold freedom of treatment and of grouping of the masses in her composition “ Sanctuary ” (177) which is attractive and impressive. The picture has a message and tells it; yet not so baldly but that it leaves room in the mind of the receiver to indulge in the poetic speculations which it arouses. There is 1 ii.e freedom also in the bright little sketch “ At Stewart Island ’’ (178), by H. H. Pattlc, who has temperament and artistic perceptions, but is at present handicapped by a stiffness of drawing showm especially in bis figures. Lack of intelligibility can scarcely be urged against the free, strong, and sketchy “ Market Place, Candebee ” (180), by Miss F. Hodgkins. Water colour lends itself more than oil to the indulgence of vagaries of treatment which often of themselves possess charms of decorative and intellectual value. It is in the perception of those qualities that Muss Hodgkins excels, and , when, as in the present instance, those mannerisms are not allowed to obscure the main object of the picture, they can he whole-heartedly admired. There is upon tho witrk tho stamp of a vigorous individualism and artistic insight. Mr Pattlc's “Pioneers” (184) frankly puzzles the critic. It has good colour qualities; it is conceived with a view to unity of effect; it is not badly, though a little stiffly, drawn; but it fail; altogether to convince. “Autumn, near Timuru” (185), by W. >S. Wauchop, shows that this artist is as much at home in water colour as in oils. Though the mountains in this pleasant bush study are somewhat metallic, there is excellent handling of the medium and very promising quality. A “Flower Study” (187), by Miss M. Smith, shows considerable advance on anything she has previously exhibited. “ The Hongi ” (186), by H. Linloy Richardson, R.8.A., is a drawing in coloured chalks, showing two Maori maidens meeting each other. Although not so strong in draughtsmanship as is usual with this artist, it preserves the character of tho Maori type well, and is expressed with daintiness. How wfll Mr Richardson can draw is shown in his composition “ On tho Hill Top” (198). where tho delightfully poised figure of a very young girl stands in the breeze. It is rather cold in colour, and tho artist indulges in a favourite early Victorian fondness for pattern, but its many artistic qualities more than outweigh defects which arc possibly imaginary. “ On the Hill Top ” is essentially a picture worth seeing. “ The Long Lookout, Banks Peninsula ” (183) ’is a view of the coast seen through bush, and contains pleasanter colour than Mr Wall work has chosen to introduce into his oil paintings this year. As in all the work of this artist, line anti form are sure, but between the hush and the cliffs in tho middle distance there might well have been more atmospheric sense. Mrs Field’s second contribution, “ Tho Lagoon ” (192), is a bold sketch of a different effect of light and atmosphere upon a similar subject to that of her first picture, “The Sanctuary.” Probably her most important work is “ The Cloud ” (197), which is distinctly good craftsmanship. The colour is attractive, though possibly more decorative than naturalistic, and tho same instinct has guided her throughout the composition. Tho technical qualities of this picture of rough moorland crossed by a winding track, with sheep grazing under the trees which crown tho gentle slope, are excellent. “ York Bay ” (195), by D. K. Richmond, shows the decorative, stylish qualities which have become inseparable from this clever lady’s work. Miss Richmond always achieves distinction, anu u-.-r mannerisms a*« most acceptable in works of this size, to which they add charm rather than challenge criticism. Miss M. S. M‘Leod has given ms a careful and delicate, if somewhat formal study in “ Mignon ” (194). One of the gems of the gallery is “ Tho Evening of Life” (195), by Mabel Hill. A study from life of an old man’s head, it is marked by excellent realisation of character expressed through technique of an exceptional order. The sense of light, the modelling, and the colour are all satisfactory. It is altogether a strong and convincing picture. Mabel Hill has many examples in the water-colour section, and this year she stands almost alone in at least one respect—she has painted from conviction. There is a joyous abandon about all her work in the present gallery which has not been so noticeable on previous occasions; and it is probable that to her own pleasure in working is duo tho pleasure which is go universally Knr n-orl- by i-Jepv^o to gallery. In “Tho Blue Kimona” (236), and in “ Wee Ernie” (245), both figure subjects, she has been similarly felicitous. “In the Studio” (250), is ah excellent character portrait of a well-known artist, and is full of mellow colour and sense of light. Mabel Hill has not quite obtained the same sense of envelopment in “Waiting” (226), but, despite this, it is a study worth looking at. “ From Far Cathay ’

(199) and “ Interested” (237) are both freely handled, but are a little heavy compared with those previously mentioned. In landscape, Mabel Hill has been almost as lappy as in her figure work. There is nice treatment in “Reflections” (223). _ “Autumn” (255) contains more light and is very phasing, sunny, and warm. “ A Quiet Corner’ (260) fully sustains the argument that she is gaining in freedom and quality, while there is excellent “ stuff” (to use studio slang) in her two large landscapes, “A Golden Afternoon” (277) and “Where the Flowing Tide Comes In” (282). R. Herdman Smith lias never previously sent down to Dunedin so largo a' picture as “ Whitby Harbour from the Abbey Stops ’ (196). It cannot be considered a successful work. To paint a flight of steps descending from tho spectator is always a thankless task, and unfortunately the major portion of the work is occupied by such a stairway. But it is principally in the ensemble that Mr Smith has failed—the figures —the lamp and many of the accessories do not “ belong,” as the Americans have it. The work, although good in detail, is neither happy nor convincing. Nevertheless, the picture conveys an excellent idea of the quaint and picturesque oddity of Whi»by —the houses, built on the steep slopes of the cliffs, only negotiable by stairways, and where the window of one house looks down the chimney of tho next. “ Lowry Bay” (200), by D. K. Richmond, has a fine, old-masterly quality, although possibly lacking interest to the uninitiated. H. Battle quite hits the mark with his free bit of body colour, “ Off Lyttelton Heads” (205), which is well balanced and full of movement. H. R. Cole is stronger than usual in “ Colliers” (206). “Making a Landfall ” (213), by K. Harrison, although somewhat “ out ot tha movement” in treatment, is none the k'es a pleasant little study of a ship nearing land. The water and sky are in nice tone, the motion of the sea being, evidently, thoroughly understood. A. H. Dunstan lacks force in his nicoly-handled “ Thfi Schooner, Carrier Dove” (215), and “ Among the Rocks” (222). There is evident draughtsmanship, but they are almost ghostly in colour. Owen Merton does not make 100 successful an attempt to rival Mempes, Brangwyn, and Co. in “ Basque Houses, Fontarabia” (217), which lacks the dignity and distinction which alone can lift this kind of thing into consideration. He, has boon far happier in the “Church of St. Juan Pasagos, Spain” (231), where he has obtained a certain monumental sense of mass in his building, although at tho sacrifice of every other component of his picture. His lack of recognition of a similar dignity of proportion in the human figure is by no means consistent. In “ Fontarabia, Evening, White Houses” (251), he again misses conviction. Mr Merton’s brushwork is free and loose, and he knows what his effects should look like ; but it scarcely appears, from his examples in this gallery, that his knowledge of essentials is, as yet, equal to his ambition In “ Adiniore Church” (257), one cannot help having the same impression that tho mannerisms need support. Probably his nearest approach to success will be found iir “ Entrance to Town, Onato” (263), and, to an ever greater degree, one can admire “ St. Ives Bay” (.283). F. Wright has sent a collection of lour water-colours from Auckland, all of which are distinguished by clear, careful, precise brushwork and nice colour. Mr Wright is in danger of allowing his fine examples of painting to degenerate into examples of fine painting “ Near Lake Taupo ” (219) is very near falling into the latter category; it is workman-like and precise, but lacks the ability to impress. “ Morning in the Bush ” (234) is a very crisp bit of technique, showing careful and truthful study of the best known types of Now Zealand tree's and an excellent knowledge of effect. “ A Bend of the Whirinaki ” (248) is also excellent in craftsmanship, clean, full of tine passages, but scarcely a fine picture. “At Ruatahuna ” (275), however, shows Mr Wright at his best, winch is very high praise indeed. It is quite an impressive tree study, delightfully drawn and handled with a refinement of taste natural to Mr Wright, E. Bartley shows such splendid colour quality in his twilight effect, “ Dormer’s Wells ” (221). and in his refined and intellectual rendering of “My Model ’’ (230), that his very large works arc a source of disappointment. “ Sunset and Evening Glow ” (244) is artificial and unconvincing. The colour scheme is good in itself, but lacks atmospheric truth. “ A Courtyard, Bruges ” (279), is better, has a good light effect and seme strength, but is not inspired, so that one is glad to come across another of his smaller works, “ Tho Old Moat ” (292), which again shows him at his best, without artificial force, but full of delightful reserve in colour and form. “Amalfi, Southern Italy ” (227), should not lie viewed too closely, where it will look somewhat cold; but at tho proper distance it will bo found to possess a fine sense of light, atmosphere, and truth. C. N. Worsley, R.8.A., is a past master of this effect of the sunshine of Southern Europe upon white buildings. He has not shown himself to his usual advantage in tho large “ Corner of Trafalgar Square ” (239). Everything looks long and thin in this picture. Tho columns of tho buildings look attenuated, tho people are elongated; even the ’buses scorn without their usual bulk, and it is universally considered that the crowd is thin. Still, it will be found to be an interesting picture, and to possess many excellent qualities. Miss M. O. Stoddart possesses artistic individuality not easily ignored or forgotten. There is always a force and largo virility about her work which compel respect, even when there is room to differ as to tho truth of her pictorial statement. “ The Old Orchard, Diamond Harbour” (253), strikes one as spotty in its method of introducing the daffodils among the grass under the bare trees. The artist has more successfully grappled with a similar problem in “Springtime” (281), on the next wall. Both these sketches have • tho characteristic breadth and envelopment which stamp all Miss Stoddart’s work. Each year we look forward eagerly for her studies of roses, for under tho stimulus of work upon her favourite flower Miss Stoddart seems at times to reach heights of ecstatic colour sensation which are marvellous. “La Marque Roses ” (254) is full of her old vigour and richness; but in tho cream, salmon, and crimson “ Ecees ” (274), Miss Stoddart has in i ' ui i .-11-.

and liquidity. A charming symphony in grey, with passages of blue and green, is entitled “ The Off-shore Wind ” (284). It is a very distinguished and decorative study, and would be a delightful panel where such a colour scheme was needed. Mrs WoodhoußG has given us nothing better than her contributions of tho present year. “ Harvest ” (240) is an excellent corner of a wheatficld, with ducks foraging

among the piled-up sheaves. The treatment of the stec; oad and “ Old Cottage, Near Dunedin ” is also very good and instinct with quiet appreciation of form and colour. “ The Road-mender’s Camp,” Karitane ” (237), by Mrs Joachim, is a bright little sketch of good quality. N. Welch is fulfilling the promise held out in his work during the past few years. He is a close student of Nature, and he is giving clearer and clearer statements of his observation. He is developing a personal style which is quite unaffected and pleasant, and which adds considerable interest to such strong sketches as “ The Beach, Rena Bay ” (249), and “ A Wooded Gully ” (256). There is good quality in “ A Grey Day, Wellington ” (258) —one of those excellent wharf studies which arc a feature of his work. “The Estuary, Makara ” (261), is a very convincing study conveying a delightful sense of broad lighting and atmosphere. Mr Welch has also a strong appreciation of the decorative, and there is much of that quality in “Sunrise on the Coast” (272). Nature, however, has made too firm an impression upon the artist to allow him to place her in a subordinate relation, and Mr Welch’s experinu nt may be viewed with equanimity. In Mies M'Lcod’s “ Butterfly ” (255) the title draws the attention to what is orobably the weakest feature of this very artificial composition, which has, however, the compensation of being pretty. The very strong handling of J. Balfour’s “Morning ” (262) adds considerably to the impressiveness of this successful study of a foam-flecked, choppy sea. There are admirable qualities of light, also, in the same artists “ Old Harbour, Bangor, County Down ” (265). Some dainty little quaint nursery conceits by Miss D. Osborn are shown in the southwest corner of the room, side by side with a very powerful series of line drawings for illustration by Lionel Booth. These, latter were compositions to decorate “ Dream Fishing.” No. 500 shows a quaint conceit of a young Pan piping to a fish. There is fine humour in the street scene in 301; a strong allegory in 302; and excellent draughtsmanship 'in the picture of the angler slipping over the rocks amid the sly rejoicings of Puck-like imps. The whole series is extremely interesting, and should serve to show what infinite pains go to the building up of the airy trifles of illustration in a dainty booklet. These drawings, in their printed form, would probably not exceed five or s'x inches in size.