ART SOCIETY'S EXHIBITION.

Press, Volume LIV, Issue 16159, 13 March 1918, Page 8

ART SOCIETY'S EXHIBITION.

AMONG THE PICTURES. No. 1. Amid the present turmoil it is a matter for congratulation, and some wonder, that the 1918 exhibition of pictures under the auspices of the Canterbury Society of Arts, does not show a much greater falling away than is actually the case. In point of actual numbers of exhibits —which, after all, is relatively a small matter— there is little to be complained of. In the sections for oil and water colours there are 3'29 pictures, three less than last year, and no doubt if the hanging committee had been a little raoro lenient—which Heaven forbid—it could have easily made up the numbers with work which it would be a* kindness to neither the public nor the painters to display. Even as things are there are productions in the gallery which are proof, if such be needed, that the gentlemen who decide the fate of what shall be<.and what shall not be, hung, are of a kindly and tolerant disposition. loth to hurt the feelings of the budding or possibly misdirected artist: Whether in certain cases it might not be kinder to be more cruel is a matter of opinion, but no doubt it goes against the grain of tho management to see any available space on the walls left uncovered.

A fairly careful survev of tho present exhibition leaves one with the feeling that the Canterbury Art Society has had better ones. Except in comparatively few cases tho pictures do not seem to sparkle -with originality, either of conception or treatment. Luckily there are exceptions, but they are fewer than has been the caso at the previous three or four displays, and the bulk of the work is inclined to bo amateurish and indefinite, though the situation is redeemed in some respects by sparkles of promise. In a few instances "vaulting ambition has o'erleapt itself," and an original or unusual idea has failed 'more or less lamentably through the inability of ■ the conceiver to carry it out. Of course it is admitted that a gallery filled with pictures is the worst possible place to. see them, and works which are passed by in an exhibition might be found to have more charm if by themselves. However, it will be some time before we can carry out tho Japanese idea of having only one picture or work of art at a time in a room so that the attention can bo concentrated upon it, and at any rate it can be said that the present disability is common to all the exhibits. It is proposed to deal here with the more prominent works in oil—(reserving the more numerous water colours for a future occasion—and to proceed, for the sake of ease, "by the book." Miss Flora Scales has three pictures, painted in the bold, decided style which nas been favourably commented upon on more than one occasion. She has turned to rural life for her inand all three pictures are on similar lines, horso teams drawing heavy farm drays. Tho theme is simple but well treated, and all three works, but No. 28 particularly, ere distinctly good. Mr It. Proctor shows five pictures, none of which attracts quite so much as some of his work which has been shown at the Canterbury gallery in the past. All are of the Italian scenes which he is so fond of depicting. Possibly the two which stand out from the rest are the "Street in Itavello" and "A Sunlit Barge." There is something very disquieting in the perspective of No. 30, "Along the Guidecca, Venice." Mr R. Wallwork, A.R.C.A., is prolific and versatile as usual, and ranges freely in eight pictures over a varied selection of subjects. He touches rather a new note in "A Memory iof Old France," a three-panelled picture, decorative rather than realistic in treatment and reminiscent of the 18th century. His most striking work is the dramatic "Marooned," a • picture with the right piratical flavour, which attracts a good deal of attention. "Spring on the Coast" is a charming little picture, apparently the fruit of the Kaikoura trip, which gave tho inspiration for his* last year's work. "The Young Rouseabout" is a taking studv of a small country lad. Sir C. Hay Campbell shows a number of

pictures in which tho merit varies a good deal. The most important work from this painter's brush is "The Old Courtyard, Dnwlish, Devon," a picture so attractive both in colour and composition as to make it one of the most • > important works in the exhibition. ■ "Mapledurham Mill" is another ; worthy picture, but in "The Mower"! the rather wooden attitude of tho ceritral figure detracts considerably from the general effect. Mr J. M. Madden ; has two oils hung, one a rather dismal - and unpleasing monochrome, and tha other a small and pretty study of "Evening, Otira Gorge." Mrs *M. • Tennant's two most striking pictures are Nos. 27 and 173. The first, ■ "Lyndall," is one of the finest figure '' studies in the exhibition: the modelling and colouring of the head are excellent; and the picture is extremely satisfying in almost overv way. "Love, Life, and Death" is "a remarkable effort. Its conception is lofty, but ■] its handling is weak in many respects, and it has tho appearance of immaturity—very different it is indeed from No. 27. Mr W. A. Bowring has a J good selection of his work hung, some ' being worth particular attention. Probably his most successful effort ir: "Roverie," in which the composition and colour are singularly effective. This is quite one of the best things this painter has done for some time, and it is a great pity that it is hung in such a position that it is hardly possible to got a right light on it. No. 31 compares but poorly with it, and it is a relief to turn to" the bright "At the Bay" and "Glorious Summer," an idyllic scene full of warm, glowing coir sur, something like, hut considerably better tliMi, a picture rom the same brush at last •ear's exhibition. Mrs M. E. R. Trip* • • * •« . Of> '

uis two portraits in oils —Nos. 32 and >0. Tho first is a really excellent >icture, both in treatment and colour. Hie clothing is subordinated to tho lead, but it is not obliterated, as is he case in some other painters' work, nto a more or loss meaningless mudllo. Her picture of H.M. Gore is also rood, but a little harsher in>tho hand-, ing. A picture, apparently illustrafcng some Maori legend, is shown by Vfr W. Tiller. It is a rather unfortuinte affair, but there is obviously an dfia in it whioh lias boon beyond tho painter to adequately secure. _Mr ."■Jeo. Sheriff, who at former exhibitions 'ins shown pictures with more than a little originality about them, is a littlo :lisappoiuting this vear. He has two pictures in "A Present from tho CJountry'' (still life) and "Dear - Old Dobbin," which give evidence of extremelv painstaking work, but whicli, nevertheless, arc unconvincing, and almost irritatine. In No. 85, "The Early Tints of Declining Day," he has Minu rather effective colour, and Jus' almost secured a good cloud effect, out there is much hardness in the foreground and middle distance. Mr A. L. Durand has only ono picture, a portrait, in the oxhibition. but it is a good thing, with good colour and free, strong treatment, the whole effoct being very satisfying. Mr F. Sedgewick's most important picture is "The Ford,"' a work that lias: some good colour, but which seems a little carelesß in part?, and to be a littlo unbalanced as regards composition. The work of Mrs A. E. Kelly is always to be regarded with interest. Hor portrait of Miaa Booth is probably one of tho best. 6ho has yet shown in Christchurch, but ltt "The Butterfly" there seems a certain flatness that is not entirely pleasing, though the quiet colour scheme is soft and soothing. Mr C. F. Kelly has made a reinarkablo success in Tho Estuary," out of an apparently unpromising subject. There is a fin® spaciousness and bntodth in the picture that is splondid, and a blessed lack or _ unnocessarv detail in the marshy foreground. The colour, though subdued, is typical, and the picture has caught the spirit of the scene admirably. * Miss Grace : Butler has several landscapes. chiefly of mountain scenery. Her tone almost throughout is sad, and in some cases positively gloomy, and a touch of sunshine occasionally would be a relief. There is some fine bold work in her picture of the BealeT Glacier (No. 71), particularly in the forbidding mountainous background. Mr F. L. Hutchinson's most pleasing

picture, but not tho largest, is a rath or charming landscape, a stubblefield in the foreground. backed up by clowns, with Mount Torlesse in tno distance. There is nice colour ana character in this, and the picture is a good d*w»] more attractive tbnn tM morn, flnhorpie tree studi"". which art inclined to be woolly. H. Men* zies Gibb hj><* one oil en exhibition. * T-erv nice pl'Tinse e F the nlains rVchmere Hills- The picture nas fine ntmo«;p}ipre. nnd tbe nr+'st n®" cnurht tbe tvr>i<\il colour of tbe SJ**® admirablv. ' Mfc* Olliford. who i« oily mciit'ined last by reason an uncrnllant mti>lpejie. ias lIT JI It. Yt* r v fvnical p'otun*. t F»U of the jrWing rolorr that +Ms nai"ter loves. tV> '* exfeeclinfrlr nfFectivn. and the on verge notW. f b»t ptril-e* the IS _ anoarent height of the siung from tno groan d.

Barraclough's Magic Nervine instant!* Stops Toothache.