AUCKLAND SOCIETY OF ARTS

New Zealand Graphic, Volume XXXVIII, Issue 18, 4 May 1907, Page 22

AUCKLAND SOCIETY OF ARTS

FIRST NOTICE.

Everybody should visit the Auckland Society of Arts Exhibition, which is now open daily in the Society's handsome gallery in Coburg-street, for amongst the collection there are many very beautiful pictures, which it is both a delight and an education to see. At the same time it would be idle to pretend that the twenty-sixth exhibition is equal to the best the artists of New Zealand have presented to us in past years. In point of numbers alone the falling off is not perhaps important, but, with notable exceptions, there is something of a deterioration in the quality of the work shown, and the absence of canvasses from several well known and talented contributors to previous exhibitions is to be greatly deplored. No doubt—at least one can only earnestly hope it is so —the International Exhibition at Christchurch has much to answer for. The best and most representative works of local and southern artists were no doubt contributed to the big gallery in Ilagley Park, and the date of our local exhibition followed too soon after the closing of that in Christchurch to enable paintings to be forwarded to Auckland! But even granting this, the elder working members have apparently been subject to a spell of weariness, not at all unnatural, and there is less, ambition shown than one remembers for quite a number of years past. Mr Goldie, it is true, has a number of Maori studies which, in point of technical skill, equal anything he has previously given us, but he would be the first to admit, one imagines, that lie . has this year contributed no canvas approaching in artistic attractiveness or charm the two beautiful pictures exhibited soine years ago, and presented to Lady Ranfurly. The brothers Wright, too, though both showing some delightful little pictures, pictures in which thought, care, and pains are clearly shown, have, to some extent, rested on their oars this year, and .neither has attempted to, excel the best of more ambitious efforts (single or combined I which have delighted us in more fortunate exhibitions. Mr Steel does not exhibit, which is to be regretted, and Mr Watkins still prefers to stand aioof. in a species—one supposes —of splendid artistic isolation, a deplorable attitude for the cause, of art in Auckland; when one r> members what he has done, and can do, in perpetuating the beauties of the New Zealand bush, now so fast disappearing. The several paintings sent in by Mr E. W. Payton are amongst the best and most beautiful he his ever contributed, but hen again Ambition has failed to nerve to some supreme effort, which should make each exhibition better than the last. And so one might go on through several more names, and regret several more absentee*.

But while mating this plaint, not in any captions spirit, but in the earnest hope of stimulating further activity, next yeitr, let us admit, and as generously as possible, tlie good work the society is doing. We all wish for more ambitious work, but all must fully understand the difficulties under which our New Zealand artists work, and that in its quiet: way the Auckland Society of Arts is doing good and valuable service to the cause of art. The old reason is the root of difficulty. Lack of patronage. To expect a painter to devote months to an ambitious'picture, which 4io has but little if any chance of selling, is scarcely just, especially when, in the time thus taken up. he could paint (and with due care) half a dozen small canvasses whose more modest price puts them within the purchasing 'power of the public. There is, however,. one ray of hope. The Mayor last year succeeded in getting the Council to vote a sum for the purchase of pictures from the lilternational Exhibi-

Mon In Christchurch, and it wt» decided t« recommend a similar grant each year. It this’ is done it is not too much to exwet that this money shall be spent on the works of New Zealand artists, and with this stimulus to encourage them we are quite certain that our artists will rise nobly to the occasion.

And now, having generalised at such length, let us eome to particulars, and warmly welcome the work of Mr. W. Hounsam Byles, R.8.A., whose very beautiful pictures arc a very striking feature of the exhibition. For delightful colour, for charm, and for skilled craftsmanship, “A Question of Colour-”. (85) and “Pepa —a Gipsy” (22) are unquestionably the pictures of the year, and it was with no surprise, but a distinct pang of envy, that one noticed the ticket "sold” on the first-named a few moments alter the exhibition opened. *’A Question of Colour” is most happily christened, for that is exactly what the picture is. No liner feast for the eye could be imagined than this dainty maiden of the Dolly ■Varden age, standing over a sumptuous array of sweet peas, from which she is selecting a bouquet for the front of her corsage. Its daintiness is delightful, the grace of attitude is fascinating, the charm of the picture increases every time one gazes at it, and every time it enchains the eye longer. Painted with consummate skill, it is a picture worthy of a place in any gallery or collection, and the fascination of which can never die- Equally fine in technical skill, and rich also in colour, is “Pepa,” while the genius of this line artist is also noticeable in the “Arco de Rota,” an archway in an old-fashioned Spanish town, where a muleteer is exchanging greetings with two girls leaning over a balcony. Mr. Byles is a notable and welcome exhibitor, and we hope to see much from his elever brush at future exhibitions.

Of Mr. Goldie’s inimitable Maori studies, the most popular will doubtless ba “Suspicion,” the head of the model from which he has painted some of his most memorable and successful pictures. The title of the picture is not felicitous, but this is of the smallest moment, for it is the picture, and not the title,- that matters, and the picture is altogether and superbly beautiful, with that poetie suggestion, too, without which' it would be less perfect. The deeply lined tace of the aged Maori chieftaincss . looks out of the picture at us with curiosity perhaps, but surely not with suspicions. The technique is, as always with Mr. Goldie, superb, the painting of the hair, and tne treatment of the eyes and the portion of the face immediately below the eyes being little less than marvellous. The skill in the painting of the mat is also extraordinary, and is equal to anything Mr. Goldie has yet done, which is saying much. The vocabulary of praise becomes exhausted, indeed, in dealing wit.i Mr. Goldie’s technical skill. It is displayed equally finely in No. 8, “A Chieftain of the Ngapuhi Tribe,” a full-face portrait of as perfect a Maori aristocrat as the heart of artist could desire. Mr. Goldie has reached his highest level in the painting of-this superb model, and though we ■have seen more attractive paintings from his brush, not one in which his skill and faithfulness were more strikingly apparent. “A Noble Relic of a Noble Race” (a profile study of the same model, unless one is mistaken), though equal in technique, is less pleasing. The expression of the month is disagreeable, and there is something of strain in the pose. In his other paintings Mr. Goldie has not been so fortunate in his models. They are not such handsome or even picturesque Maoris, but are, nevertheless, notable examples of the art of Maori portraiture in whicl) Mr. Goldie is the finest living exponent. And having thus paid due ami just tribute to his genius, may one lament the weakness of this artist in signing his pictures in the centre of the canvas. It js a very serious artistic blemish, for the signature being, so to say, flung in one’s face, in this way, distracts attention from the subject of the picture, and causes a feeling of distinct irritation.