EMPIRE ART

Wanganui Chronicle, Volume 80, Issue 264, 6 November 1937, Page 8

EMPIRE ART

LOAN COLLECTION FROM ENGLAND ! EXHIBITION AT SARJEANT GALLERY (By H.C.J.) i While it is true that, art knowt . neither geography nor political boun* > duties it is nevertheless equally true that lhe artist is the creature of his environment. Indeed, it can be said . that the artist reflects, sometimes more truly than he realises, the alI titudc of his time towards life itself. Il is this reflection by the artist of his own lime which makes collections of pictures of considerable interest • The first purpose of an artist in paint- ; ing a picture is, of course, to please. But lhe word “please” should nok be construed as meaning the pro\'idhg of amusement. Pure fun is the JK*w of lhe cartoonist, but the artist de- ’ | sires to please not for the moment but in an enduring way. It follows. , then, that the artist must seek for that which is enduring in the minds of men and women. When success is attained in his direction then the artist produces a masterpiece, that is to say, something which shall endure beyond its own time and circumstance. The Nineteenth Century The foregoing thoughts were in-* spired by the viewing of the art collection of pictures which will be opened to-day at the Sarjeant Gallery lor in that collection are many pictures which are the product of nineteenth century British art. The nineteenth century was remarkable in many ways, in economics for its advancement of production, in population because of the tremendous increases in the numbers of human beings which could oe supported in Great Britain, in transportation by the development of steampower, Fortunately this coincided with an inle i.se development on the aesthetic intellric- • ual and moral sides. During the 'fitter half of the century there was in England a troubling of the waters and a deep spiritual development. There were many factors which contributed to this movement, but it was certainly registered in the realm of British art. Nevertheless, the English people did not lose their essential sanity, they never gave themselves over strongly ■o the revivalist movements consequently coincident with a strong moral sense was a vein of humour which could not be denied its place in tiie realm of art. These two phases of the English character were generally subverted to an equally important phase which has endured and that is the love of beauty for its own sake and it is here that the artist finds his main inspiration. There is also the effort at the graphic or the endeavour of the artist to tell a stirring tale. Those who view the collection of British pictures will find presentations of each of these phases of British thought and sentiment and interest, and it will heighten the interest in the pictures if an attempt is made to evaluate the influences which operated to cause the artist to present picture as he did. i The Tate Gallery The trustees of the Tate Gallery have been generous in their contributions to the present collection and this has, on those who have visited tha famous gallery, a singular effect. It Is difficult to appraise pictures which have become established favourites, which have dwelt in the mind for years and then to be made available again. It is like meeting old acquaintances, the mind slips back over the years to the time when acquaintance was being built up, memories joggle each other and London competes with VVanganui for first place in the mind. For those who have not visited the Tate there will be the freshness of first acquaintance, an enviable experience at any time and one which should not be missed. In all probability the most popular pictures at the Sarjeant Gallery will prove to be those which were painted during the last century. There are two reasons for this: One, they are easily comprehensible, and tv they have been so frequently reproduced by the printer. Such pictures as “A Hopeless Dawn,” by Frank Bramley, “Return from the Ride,” by Chas. W. Furse, A.R.A., “Constable Country,” by Sir David Murraj, “Knight Errant,” by Sir J. E. MillaL, and “Love and Death,” by G. F. Watts will be well-known to many. Tiie Hanging I would like to pay a compliment to the hanging committee which has been responsible for the arrangement of the exhibition. Their work has been wonderfully well done. The hanging of pictures is not a matter of balancing up various sizes, nor wifi a historic sequence suffice. There must be a nice appreciation of the balance of interest and this has been maintained throughout. Another matter for .congratulation is the harmony which exists between the permanent collection of the Sarjeant Gallery and the loan collection. There is no break and the complete assembly makes an imposing collection. The Sarjeant Gallery is an exceptionally good gallery in-so-far as lightingM is concerned and the whole collectioif is to be seen under the most favourable conditions.