ARTS CLUB.

Dominion, Volume 4, Issue 1116, 2 May 1911, Page 3

ARTS CLUB.

riilST ANW't'AL EXHIBITION. K The first annual exhibition of painting? by members of the now A-.'ls Club, which is ikiiv open at flutter's (iallcry, on Lambtan Oui'.y, is of considerable interest ;is affording illustration of the quality of (lm work done during the year. Tho dub, which, by the way, is probably the only one of ils kim! in Ausa';'.la-i:i, has luul a most successful slarl, and i:; beginning to take itself somcw.mt seriously, tuibstantial justification lor 111 attitude is found in the collection uf pic lures under review. One cf (ho striking features of the exhibition—the more remarkable 113111 tlie laet. of ils being quite unprecedented 111 kindred exhibitions in the capital cityis the practical absence of picrorml crime, and there is nothing on the walls to make one squirm, it is understood that the method of selection adopted by the club was s.uch as to secure the tearless exercise of drastic- censorship, and the result appears to have been altogether satisfactory, tlic gallery just nicely filled with work cf a very fair standard of merit. The hanging, which was entrusted entirely to one expert (a inn-exhibitor), appears to have been dono with unusual ciuc ami judgment. Comparison of the work in difTorc.lt mediums leads to tho conclusion that the standard of the water colours is collectively higher than that of the oils, although perhaps the most admirable example in the exhibition is in the latter medium. A particularly gratifying fe.iliiio of (he exhibition is tin palpable evidence of very marked progr.-ss made by some of the rising generation, and of tho good effects of tho club's life classes. It will probably be generally conceded that the best landscape in the gallery is "Kveniu,; Shadows," by Xugent Welch. It would bo difficult to praise 100 highly the excellence .of this work, whether in point of drawing, arrangement, colour, or method. Mr. Welch, who, 0110 can imagine, is feeling, the influence cf a school of which llaiiron is probably tho exponent best known to the Wellington puulic, lias other work of equal quality, if of less importance, in the room. Ilis "Gray Afternoon" shows that his feeling is almost, as well expressed in oil as in water colour. . Perhaps tile cleverest bit of drawing in the gallery is to bo found in Miss Myrtle Ice's "Landing Stage," in whicli tho foreground figures are palpably alive, the pose of the girl in tho boat being particularly crisp. The treatment of these figures, as cf that in Miss Lee's "Lion Kock," should have an educative and restrictive effect 011 perverse amateurs who stick foolish figures in impossible attitudes in unnecessary places and so spoil otherwise good work. Linloy Richardson's "Portrait" stands out very prominently amongst the oils as the work of a master in drawing and technique. Admirable drawing also characterises ilie same artist's water-colour portrait of "Miss Itiehardson"; but one cannot help feeling with regret that the principal thcnio of the picture is too much subordinated to the study of white spotted muslin and piuk satin ribbon, excellent though the textures may be. The portrait work of Bolaad Wakelin deserves special mention for sound drawing and strong, conscientious treatment, "Blanky Hill" being particularly good in tone. [A further re.-iow cf the pictures will bo giver, next week.]