AUCKLAND SOCIETY OF ARTS EXHIBITION.

New Zealand Graphic, Volume XXXVI, Issue 22, 2 June 1906, Page 19

AUCKLAND SOCIETY OF ARTS EXHIBITION.

A FEW PRELIMINARY REMARKS

It would obviously bo both easier and more pleasant to take “the primrose way,” and to declare, as is usual at the opening ceremony, that the present exhibition of the Auckland Society of Arts equals, even if it does not surpass. Ihe best cf it predecessors. Unforlunately, it is impossible to truthfully congratulate the society in this fashion, for though there have unquestionably been one or two more mediocre and less interesting exhibitions, it is impossible to deny that there have been others which immeasurably outclass that of the present year, which, judged as a whole, is somewhat disappointing and below the average of what we had come to expect now that the society possesses its own gallery, and after the somewhat encouraging fresh start made last year. It not that there arc not some very beautiful pictures, nor is it that there are many which must be written down bad. There is a small percentage of both oil and water colour which any gallery in the world might honour at their annual exhibitions, and the weeding out of atrocities on the eyesight has been thorough, but mediocrity is the keynote. Then* is not that advance which one might reasonably hope fdr. No old exhibitor has risen so far above his or her form as to perceptibly raise the general llatness, ami no young painter has (lashed into the art firmament to startle us with the brilliance of originality ami genius. H is not reasonable to expect miracles, but it U surely a matter for serious consideration that lhe exhibitions of some years ago were Ind ter than Hull of this year, both in quitliiv. and if one mistakes not. in quantity Auckland possesses its e L wed Elam School of

Art, at which a very large number of pupils are annually educated, and also there is an almost Gilbert ian proponderenee oi teachers of art in proportion to the population, yet (in the last decade, shall we say) how many promising artists have emerged, whose pictures now grace the walls of the present exhibition? The state of art in Auckland would in fact appear to be like the claret objected to at a banquet by a farmer used to stronger potations—“Fair enow, but we doan’t seem to get no farrader wi’ ’tin.” It is again disappointing to find that Southern artists are either not working, or do not care to send their pictures up to Auckland. The number of exhibits from Christchurch, Wellington and Dunedin are below the average, a state of affairs which is as surprising as it is regrettable. What is the reason? The society appears, so far as one knows, to do its best to encourage Southern exhibitors, but the response seems to grow less and less, with occasional flickers of revived interest as tne years go by, an exactly opposite result to that one might have hoped for. The cause for all these things may not be easy to find, but a valiant effort should be made to do so, and to rise above the slough of listlessness and mediocrity into which we are now sinking. With regard to local artists, one cause of nonadvancement is fairly obvious. Only a certain level is apparently to be reached by the teachers, and since these have not the opportunity of journeying to the foreign or even English ateliers of art, where they might advance themselves, they of necessity remain “in statu quo,” and are really unable to help forward a pupil who might rise to higher things aided by hints which, unfortunately, the teacher is not in a position to give. 'This difficulty is enhanced if. indeed, not caused, by the fact that painting is so little encouraged financially in the colonies that it is not only infeasible for almost any artist to save money enough from his pictures to journey to Paris or Florence and Rome, ami there to sojourn for a season; but it is really not possible even for the men at the top of the colonial tree to live on art, or even to obtain from the annual sale of pictures the bread without the butter. Therefore, it arises that in many cases pupils of our various art schools directly they have exhibited, themselves set up studios, and set forth' giving lessons of that of which they barely know the rudiments, thus rivalling the almost ludicrous, if it were not tragic, state of things prevalent in the so-called musical profession in Auckland, wnere half the unfortunate teachers of music—from sixpence a lesson upwards—scarcely know more than their own notes and the beginner’s first book, “The Maiden’s Prayer,” or, perchance, “Alice, Where Art Thou?” To ridicule is not our object, and it is also only right if one describes the unfortunate facts to endeavour to find a remedy. This, as has been said, is not easy. It is all very well to cry aloud for the raising of the standard of colonial art, but it is equally easy for the artists to retaliate with some natural exasperation. "That’s all very well, but how are you going to do it.” Scholarships, or what would amount thereto, junior and senior, for the two finest pictures of the year seems the only solution; and, to the writer’s mind, not an infeasible one. But how about the raising of the money? Well, is a really line loan exhibition out of the question? We believe certainly not if energetically handled. Sir Chas. Booth’s example would, we believe, be followed by other owners of notable piet ures if an enthusiastic canvass were set in force. An opportunity to try may bo afforded after the New' Zealand Exposition in Christchurch, where there is promised a fine loan collection. Why not endeavour at once to gain permission for this collection to come on to Auckland, and then to be exhibited under the auspices of the Society of Arts? This, aided by an art union amongst local artists, for which each would paint a picture, would easily set the ball a-rolling, and provide for. say. a year's residence for a senior artist at such art school as he or she might choose, Certainly something of this sort should lie attempted if the level of our art exhibitions is to be raised. FIRST NOTICE. In our first article, the suggestion was thrown out that, with the object of the improvement and encouragement of colonial nrt, scholarships or diploma pictures should be arranged for, the prize

offered lieing sufficient to keep the winning artist at one or other of the great Continental ami British Schools of Art for a couple of years at least. Funds for the purpose, it was suggested, might lie in the first place raised by a loan collection. It had been intended to go on to say that this might not probably prove sufficient; but the requirements of space then forbade furthe rdiseussion. Now, however, it is desirable to recur to the matter to point out that the City Council and the Alackelvie trustees might well join forces and assist in the betterment, of colonial art, and incidentally the addition to the city treasures of pictures of true colonial value. In all the larger municipalities of tire Old World, the City Councils 'nave their arts committees, who arrange for the annual exhibition, from which in due season they purchase so many pictures to add to their permanent collections. Now, it is not to be expected that in Auckland we should spend any very' large sums in this direction, while purely' utilitarian works remain undone. But a few hundreds — say three for a beginning—would help wonderfully. If this amount were expended on the diploma pictures of the year, we should soon see a surprising advance in the character of the works of our senior artists, who have at present no encouragement whatsoever to put forth their best endeavours, or to devote the time and outlay of money in efforts to secure a really great picture, which they never could hope to sell. But if there were the hope, then we should see the difference. All this has been said many times before, of course, ana more than once or twice insisted on by the present writer. The only excuse offered for repetition is that connected with the importunate widow. However, to come to the pictures of the present year. As observed in our preliminary remarks, there are in the exhibition one or two paintings which would unquestionably have obtained good positions and clue notice if submitted to the hanging committee of Burlington House or of any of the Metropolitan galleries. Of these unquestionably' the most noticeable —one does not say' the best, since different styles and subjects cannot be thus compared—is the large canvas of Mr. Goldie. Another of those splendid specimens of the fast disappearing native race, studies of which Mr. Goldie has made particularly his own, and of which he is unquestionably the finest exponent this colony' has seen or is likely to see. It is, we believe, the opinion of the artist himself—and the conscientious artist is often his own severest critic—that this picture contains the best work he has yet done. And so far as technique pure and simple goes, this is probably true. The technique is simply' marvellous, and it is not too much to say' that in this branch of his craft Mr. Goldie is probably one OX the greatest masters south of the equator. The treatment of the grey-white hair, the marvel of the tatooing, and the extraordinary detail in the painting of the cloak, where every' little cord stands out and shows its shadow, all these are nothing less than amazing, for while possessing every minute exactitude of the most pronounced pre-raphael-ite school, the artist has yet steered clear of anything approaching “finnicking” or redundance of detail which should detract from the broad effect of the majestic figure as a whole. In technique, then, and as a specimen of Maori portraiture, absolutely without rival, Mr. Goldie’s great large canvas for 1906 is, perhaps, the best thing he has done. But this is not saying that it is either in itself or in public popularity his best picture. We venture to think that in those fine pictures "Widowed,” and “The memory of what has been and never more will he,” Mr. Goldie was not merely more popular, but that the pictures. as pictures, were better. That there is sentiment in the present picture there is no doubt, but it is not so striking as it was in the earlier canvases alluded to. The old warrior does not stir in our breasts the immediate surge of pity as did "The Widow.” The picture does not tell its story to heart and brain so quickly or so well, but it is none the less a painting of which Mr Goldie and the Society may be duly proud, and the possession of which we should like to see in the hands of some colonial collector or municipality. The portrait of “Sophia” by the same artist is another specimen of superb technique. The only criticism save unadulterated praise one has to offer is that it appears just a trifle younger than Sophia is now. Possibly it was not painted this year. Sophia, to the

writer’s recollection of a month or so back, was that the old lady was considerably more wrinkled. But memory is apt to be treacherous, and possibly, again. Mr Goldie caught her on one of those “young days” which visit the aged every now and then. And while the word technique is yet at the tip of the pen, and portraiture is being spoken of, it is altogether fitting to refer to the portrait of a child, “’The Daughter of Dr. Pabst.” by that veteran artist. Mi' Louis Steele. In the painting of the dress, more especially the white embroidery on the white silk dress, there is a fine example of mastery of technique which would be hard to excel. It is wonderfully clever, the touch is almost Messonier-like in its minuteness, and there is also some exceedingly elever work—trick work one might almost call it—in the treatment of the blue satin lining to the velvet, over-robe. As a lady standing near the writer observed, “That is real velvet and real satin.” The figure stands a little stiffly perhaps, but the portrait as such is quite as good as anything the artist has given us of recent years. The title, “The picture of the year,” ■will probably go to Mr E. W. Christmas’ very' fine oil, “Bettwys-y-Coed,” which, measuring as it does 90 inches by 60 inches, is easily the largest picture in the exhibition. But it does not derive its importance merely from its size, though this, and the fact that it is boldly and broadly painted, unquestionably aids it in impressiveness and beauty. Unquestionably it is a very' fine picture, and well deserves the position of honour allotted it by' the hanging committee. It displays much power, much capability for seizing upon the most beautiful aspect of a beautiful landscape, and making a picture therefrom, which is the metier of The landscape artist. Mr Christmas, who has exhibited frequently' at the leading galleries in London and Scotland, may be congratulated, and it is a subject for general satisfaction to know' that he is at present at work on some New Zealand landscape subjects for the Christchurch Exhibition. SECOND NOTICE. The Society can scarcely be too warmly congratulated on the acquisition as exhibitors of Mr. Sydney L. Thompson and Mr. R. Sydney Cocks, both of whom are artists of ability, whose work adds very' considerably to the tone of the present exhibition. The pictures of Mr. Cocks are specially' fine, and each and all well repay study, revealing him, as they do, as a fine eraftsman in the water colour medium, and an artist of great versatility, with a bold and original style and method. In number nine, “An Easterly Breeze,” he gives us a delightfully effective coastal sea picture. The subject is handled with much force and vigour, and the result is altogether admirable; the tossed and swirling waters affords a fine sense of movement, and it is impossible to look at the picture without almost feeling carried to the coast and being refreshed by the sting of the breez e and the spume and spray of the surf. “Sea Gull Bay, New' South Wales,” is another most admirable picture in quite a different style. Here we have another coastal scene, with a calm sea, and a grass-clad cliff, and a dull, cloudy sky to show up the vividly brilliant colours, combined in the picture, which is painted with great daring and much originality. A tiny sketch, “A Winter Storm,” will, though small, delight those who like bold handling; while certainly one of the finest pictures in the whole exhibition is “Storm Torn and Tossed,” yet another coastal scene, where the wind blowing in from the sea wracks and tears the inland landscape, the prominent features of which are the torn and tossed trees, which gives the title to this exceedingly fine and effective painting. Air. Sydney L. Thompson is an exhibitor in both oil and water colour. In oil, his best and most effective work is No. 159, which is entitled simply “Girl and Mandolin,” but which from the admirable haughty post of the head and mirable scornful expression of the eyes, and mouth might well have been called “Dear Lady Disdain.” It is a really clever piece of work, pleasant, effective, and altogether well conceived and wrought out. And the artist has, moreover, been exceedingly moderate in the value placed upon it. “Shy” (No. 179) is another capital study by the same artist, and “An Old Fish Vendor” (No. 30) is a remarkable example of what

may be done in mono tones. Impressioaate in style and treatment, it is a good because unexaggerated specimen of thib school, and well deserves the attention it receives. Mr. Frank Wright, most certainly one of the foremost of New Zealand’s landscape painters, exhibits both in oil and water colour this year. His most important picture is in oil. and may, one thinks, be fairly set down as one of his very best things in this medium Mr. AVright has yet produced, and assured one of the most notable and best pictures of the present exhibition. “ When Nature Seeks Repose” is a beautiful and charmingly truthful picture of the New Zealand bush scenery, painted with almost a poet’s love of nature, and an artist’s eye for the beautiful. The subject is handled with much delicate careand wonderful skill, and Mr. Wright ean be warmly congratulated on having produced a very beautiful and lovable picture. In water colours —his favourite medium—Air. Frank Wright has several dainty examples, of which the best is, without question, the sunset view of St. Paul’s and Whangaroa Harbour. “ Sunshine and Shower” and “ Evening Calm” are about the next, and are fair examples of the pleasant, soft, dainty, delicate little pictures in this popular artist's well-known style. Still in water colour. Mr. Wright has not, -we venture to express the opinion, given us any single work which equals the best he has shown in some previous exhibitions, notably, if memory serves, the year before last. Mr. Walter Wright has no very ambitious effort in this year’s exhibition, having preferred to confine his attention to a large number of smaller works instead of venturing on at least one large and important undertaking, as has been his custom of recent years. One can scarcely blame the artist for this decision, since patrons for works entailing months of labour, eost of modejs, and generally expensive outlay, are to all intents and purposes non-existent, but while condoling with the circumstance one must certainly regret the fact. Air. Wright had shown himself an artist of discernment, who had long since passed the milestone of “ promising,” and his progressive achievements led to high hopes of a new New Zealand subject painter who should give the Old AVorld some really- characteristic pictures of New Zealand and native life and character amidst the country’s unrivalled natural surroundings. To find the artist somewhat apparently discouraged and content for awhile to rest upon the not unnoteworthy achievements of the past, is to say but natural enough, but we trust Air. AValter Wright will next year onee more “ take his courage in both hands,” as the French have it, and again give ambition rein. The works which Air. Walter Wright does place before us are pleasant enough little canvases, and show tna- the artist still possesses latent those forces which justify one in hoping for—and expecting—a great picture one of these days. The eye for effect, the knack for felicitous composition, the clever handling of light and shade, and the grip of reproduring sunlight, all these are to be found in the various little canvases scattered round about the oils section. “The Pieaninny” (No. 132), “In the Shade” (128). and more especially “At Ngaruawahia.” may be singled out as perhaps the better of the collection, all of which are, as has been said, pleasant enough. . CO Al PETITIONS. The results of the competitions are’ as follow: Shaded study from the round (ornament); “Patsy,” A lied Mary Farnsworth; study of still life, in oil, G. K. Webber; decorative panel, “Taniwha,” Al. Winifred West:wood; Brett’s special '(prize (subject) “Evening”), “Jupiter,” E. J. AVebb; silver medal for best work in monochrome, Alice Mary Farnsworth.