Fine Arts.

Star (Christchurch), Issue 5256, 11 May 1895, Page 8

Fine Arts.

MESSES WADHAM AND SINCLAIR'S

pictures;

The water-colour paintings of the two South Australian artists now being exhibited in the hall of the Chamber of Commerce are, for several reasons, well worthy the attontion, both of artists and of the general pubiio. Firstly, because of their merit : they are a revelation, to some persons at all events, of what can be done In water-colours, for many of them combine with tho delicacy and softness which are associated with these the depth and power such as characterise a good oil painting. Again they are a revelation as to methods of manipulation, and a striking exemplification of what can be effected by enthusiasm and love of Nature disciplined by careful training and diligent study. A marked characteristic of the work of both is ita sympathetic quality. They have caught, and as it were "fixed," tho very spirit of Nature in her quieter moods. Power and vigour ore not wanting, and one or two of the pictures show that they oan successfully portray the wilder and more tragic aspects of Nature. Aa oolouristß they are distinctly good; they deal in toDes whioh are soft, clear, effective and thoroughly natural j indeed, a second striking characteristic of their paintings is Bdelity to Nature. This is due, in no small degree, to wonderfully effective rendering of air and light ; ono looka at the objects portrayed through a veritable atmosphere. As compositions, the pictures are of great merit ; in an aotißtic sense they are exceptionally well j balanced. As might bo expected with two artistß closely related and trained in the same schools, there is little perceptible difference in their styles; each maintains a high standard of work ; each sometimes rises above his average ; neither ever falls far below it.

Mr Wadbftm Bhows what, to many people, is the most effective picture in the room— ■ "Sunset, Mount Earnslaw" (No. 20). Here are strong, broad treatment and minuta accoracy of detail combined. The tone of the Now Zealand buoh ac sunset is represented with wonderful faithfulness, the luminous mist arising from the valley, and the peaks glowing crimson in the declining rays, being depicted with great artistic skill. This is one of the larger landscapes — nearly all the pictures ou the walls, by the way, are landscapes— and it may be accepted as a typical one. There are, however, many other pictures which approach, or even equal, it in excellence. No. 46, "On the Onkaparinga, South Australia," a lovely river scene, with a piotureeque blendin-.; of European and Australian trees, ia noticeable for the exquisite tones of tho foliage, and the skill with which the effect of the rippling, plashing stream in the middle distance is rendered and contrasted with the repose of the still "reach" in the foreground. A picture of a very different character, yet equally effective in its way, ia No. 42, "Twilight, Port Eiver, South Australia," the quiet gray toneß of which are very pleasing. Similar gray tones prevail in No. 44," Macdonald Bay, South Auetralia," a well balanced study of "sky and sea and shore," seen on a cloudy, but almost windless day. The Bky is wonderfully well treated; the breakers lazily rolling iu on to the beaoh are admirable in their' naturalness, and tho distant sea is rendered with great skill. This picture is an example of the artist's power in breadth of treatment; an adjoining one, No. 17, "Nicholls Creek, near Dunedin," illustrates hia aptitude in rendering minute detail. The stones in the foreground, and

the foliage through which the stream almost tunnels its way, are delineated with almost pro-Baphselite distinctness, yet with breadth and vigour. The tone of the painting is most ploasing ; and eapecially happy is the effect of the sunlight struggling through the branches* in the middle distance. Another of Mr Wadham'e moat successful efforts is No. 43, " The Murray at Mannum, South Australia." The treatment of the reads and broken water in the foreground is au admirable example of the manner in whioh elaborate detail may be effectively -suggested. The picture may be said to be one of contrasts, not glaring, but artistically striking, such as those between the light on the wuter in the foreground, in the centre of the painting, and the still, dark, shady pool on the right-hand side. The skilful treatment ot the light in this picture, as in many of tha others, ia moat effective. Several of this artist's small landscapes are deserving of high praise. Especially so is No. 3, " A Relic of Antiquity " — Australian antiquity that is, for the relic is a ruinous, whitewashed slab hut, standing out againßt bush and hills, with a perfect, though tiny, gain of rich colouring in the purples and blues of far distant mountains. Another fine thing among the small pictures, is "Evening ne».r Clair, South Australia." (No. 4S), a view of a picturesque village aeon in the twilight. The skill with which the details are rendered — veiled, yet not blurred — is remarkable, and the treatment oi the waning light in the eky is excellent. A reference to two other pictures, entirely dissimilar to any of those above mentioned, and also to one another, must conclude the notice of Mr Wadham'a work. One of these is No. 50, "An Australian Bush Fire/' a large painting, startling in its realism, yet uneraggerated in its effects, and marvellously accurate in its details. All the artist's power seems to have been lavished on this lurid but fascinating work, which does not depend for any of its tragic effectiveness on accessories introduced merely to "heighten the sensation"; neither man, beast nor bird is visible; the tragedy is that of the destruction of nature. In strong, but pleasing, contrast ia No. 61, "The Unemployed," which proves the artist as skilful in the representation of animate as of inanimate nature.

While Mr Wadham has devoted some of hiß best work to depicting the scenery of I South Australia, Mr Sinclair has applied himself with much success to the portrayal of that of North Wales. One of his besb efforts is No. 54, " Penman Pool," a large picture, bright and clear in tone, and (ull of firm and broad, yet delicate work. No. 22, another view in the same locality, is a clever little bit of colour, and unites vigour with delicacy of treatment. The effect of the distant lulls, moreover, has been excellently rendered. No. 23, ; " Llangollen," is notable for its tone and ; atmosphere The scene is depicted as it appears on a " gray day," and the representation is very effective. The skilful treatment of detail in this picture is also noticeable. "On the Dee," No. 8, is a late summer scene in which tbe rich and varied hues of the foliage are admirably reproduced. As an instance of artistic and effective representation of detail may be cited the treatment of the silver birch tree in the middle distance. Like his confrere, Mr Sinclair has been very happy in dealing with New Zealand scenery. One of hia finest pictures ia "Evening, Cosmos Feaks, Lake Wakatipu," distinguished' by power, delicacy of treatment and splandid colour. A very successful work, of a different Btamp, ia No. 12, "The Eootburn, Wakatipu," which haß some fine cloud effects, and is notable for the lifelike manner in which | the cluster of trees in the mid-distanca stands out against the sky. No. 14, "Glenosmond, South Australia," is a typical landscape of the English school, though not painted on English ground. No. 56, "Stone Peak, Wakatipn," is fall of vigour and power. It io admirable in compoaition, aud the effect of the dark foreground and the peak standing out againßt a luminous sky is ' rendered with great artistic skill. Many other pictures of thiß artist might well be treated" of, but those abovementioned may be taken as types of his stjle.