In the Studio.

New Zealand Illustrated Magazine, Volume V, Issue 2, 1 November 1901, Page 144

In the Studio.

By H. P. Scaly

MR. G F. GOLDIE'S WORK.

fEW ZEA.LAND can hardly be said to be rich in Colonial-born figurepainters. Most fimateurs prefer landscape, and most of our figurepainters come from the Old World. The subject of the' present article is bybirth a New Zealander, and did some

excellent work in " still life " before he finally decided to leave for Paris. Of Mr. Goldie's early work before he left, we recall most distinctly some fish lying on a marble slab. This study was a fitting predecessor of much thas was to

come, for it showed at least that the artist was fully prepared to talie the infinite pains which' we have come to believe are indispensable to genius.

It was a fine piece of woi'k for a young student, faithfully drawn, and tenderly painted, ;iud it created much favourable

criticism when exhibited at the Exhibition of the Auckland Society of Arts. This was about the yeai' 1890, and working steadily on till 1892, Mr. Groldie decided to leave for Paris, and immediately on his arrival, commenced his studies at the

Academic Julian in the Rue dv Dragon.

Unlike most new students, who perhaps, knowing little of the difficulties to be surmounted, start from the model right away, G oldie made his first study at Julian's from the antique, and we remember the Professor's words when he saw the work : "I am glad one of my students had the toill to carry his work so fai\" And M. Bouguereau, honest old gentleman that he is, was quite right. The French student is too flighty to be thorough. Con-

centrated effort, is not the strong point in the Paris Art Student's work, his atrougpoints are feeling, sentiment, and fine appreciation of outline. But ho likes to sing and talk while he is at work.

Mr. Groldie's work shows some excellent results between this time and his final return home in the year 1898. He took the prize for the " Drawing from Life," and afterwards for the " Torso," being a study in oils, life size, of the half-draped figure. This is a much coveted honour at Julian's, and gives the winner considerable prestige.

One of the advantages of the school is that the student may be criticised by any professor he choses, and, besides the veterau above quoted, Mr. Groldie studied under MM. Ferrior, Constant, Doucet, Baschet, Schommer and Bramtot. He made a considerable number of studies from the Old Masters in the Louvre, Luxembourg and elsewhere, and also visited the Italian Galleries, so that when the student returned to Auckland after six years work, he could fairly claim to start on his

A STUDY FKOM LIFE. Edwards (Exhibited last year). Studio. Vol.V— No. 2— lO.

own account. A partnership with Mr. Steele resulted in the painting of a large picture representing the sighting of land by the first Maoris who came to New Zealand. The subject was an ambitious one, the drawing alone of a lot of half-naked, living skeletons, being a pretty strong test of the artists' knowledge of anatomy, and — though we havejseen happier work from Mr. Goldie's brush since— this picture, which was exhibited at Ohristchurch, and has been purchased for the Auckland Art

Gallery, was certainly a work of undeniable merit, the drawing being exceptionally good.

The partnership being eventually dissolved, Mr. Goldie's brush has been devoted to a great extent to painting of Maoris, and those who visit the local Art Exhibition this year will admit, that he has hit the Maori colour and expiession with marked success.

A large picture, containing many figures and much careful study of drapery, is as yet unfinished. The subject is a sacred one, being "The Child Chrisi before the Elders," and the picture, if finished for this year's Exhibition, will be one yet exhibited.

Besides an excellent portrait of a fellow piece of very rich colouring entitled "Of End," the subject being an old man, rathe absorbed in literature, the rest of the picture colouring and handling of the latter showing ing a bit of " Still Life."

of the finest works of its kind that any local studio has

artist, Mr. Goldie exhibited last year a the Making of Many Books there is no r perhaps, of the bookworm type, deeply being occupied with a few old books, the that the artist is master of the art of paint-

While on the subject of last year's show we must not omit " Tamehana," now in the local Art Gallery, which was reproduced, among other Exhibition pictures, in last November's issue of the Magazine, and we should mention also a study of a Native Head, with the eyes turned upwards, giving the more serious side of the Maori character, and who that has witnessed a Tangi will deny that underlying all the genial good humour and bonhommie of the Native character runs a deep sentiment of sadness, every bit as genuine, though perhaps more lightly borne and more easily disposed of than that of their more civilized brethren. " Tamehana " may be remembered as the portrait of a well-known Native identity. The portrait is a strong one, and the picture as thoroughly Maori in its character as one could wish to see. Among the studies exhibited this year by Mr. Goldie, and reproduced here are several which are the outcome of a recent visit to

Rotorua. These are all studies of heads,

and will be l'ecognised as giving strongly the characteristics of the old native, the aboriginal who recollects the early days of the white man, and who has probably many histories to relate of the invading Pakeha, and the days of the Maori War. The old Native heads should be much prized, as the type is rapidly passing out altogether, and will soon be obsolete. Two good studies, painted in Auckland are here reproduced, the boy with closed lids, and the study of an old loaliine smoking a pipe, in accordance with the custom, prevalent, at any rate, with the present generation, though whether it will obtain in the future is doubtful. Both studies show the Maori colour and expression, and there is a dash of humour in the old lady's face, which lends an additional charm to the work. Besides this Maori work, Mr. Goldie has devoted a good deal of time to portraiture, the most noticeable study in this line being the portrait— and " portrait" it is— of Mr.

From a Portrait by C. P. Goldie,

Swanson, a very well-known identity in Auckland. We hope to see this work on the walls of next year's exhibition

A glance round the various unHnmhod portraits of local familiar faces and fellow students shows that should ho turn his

attention to Unit most lucrative branch of the profession, he would undoubtedly succeed. We reproduce Mr. Svvunsou'n portrait, and also one of h young l»<ly, recently painted.

Among the many treasures tlmt surround the walls of the studio, some visitors would be most attracted by 'the large collection of sketches, evidently painted by various hands, and by artists of divers nationalities. Matty of these rough sketches exhibit great vigour in the drawing and colour, and the artistic skill shown in the composition,^' some of them suggests the making of great painters in the future. These sketches or eaquisaeti, as they are called, have been mostly painted for the usual weekly competition, described in an article on " Julian's " in last month's Magazine. They display the freer hand of the pupil who has allowed his artistic sentiment to have full swing. Apart from any intrinsic value they may have, these sketches are always highly prized by the students in after years, more especially, of course, when, as is often the case, the signatures become famous in the Art World of Paris and the Continent.

England is conservative, and keeps usually to her own countrymen, unless a foreign artist takes up his abode there, in which case he would at least be tolerated. It is owing to this feeling that a French painter of note might be almost unknown in England, though having a wide reputation in America, which is a recognised market for French pictures. Mr. Groldie is fortunate in having such a fine collection of these sketches, most of them being " exchanges," and showing tha

be took the trouble to master the language of the country during his stay. The French student does not usually think much of the "Anglais" who cannot speak French. He probably finds his society a little dull, and he is unlikely to negotiate a deal in sketches with him. Mr. G-oldie's method of working has no pecularities ; he paints faithfully what he sees, and has stood the hard test of criticism. He indulge.-* in no limelight effects, and the

vivid purples of the impressionist have, so far, been unknown to him. Wo can. fairly

call him a genuine enthusiast, true to his art, and capable of making a reputation in the Old World.

Ed. Note. — Some fine reprnduoiions of photos of the French professor.*, under whom Mr. Goldie studied, and their studios, will be fonnd in our Picture Gallery thiu month. We are indebted to Mr. Gmldie fcr the originate.