THE BAILLIE GALLERY.

Dominion, Volume 5, Issue 1428, 1 May 1912, Page 6

THE BAILLIE GALLERY.

AMONG THE OILS-NO, 1. Turning: our attention to tho oils in Mr. Bnillio's fine collection of pictures, No. '9 calls for notice as being tho first example that catches tho eye of visitors, who seem startled at tho brilliant bluo tone of the picture- The subject is a. viejv on tho Mediterranean by E. Melfrcu. This artist does not appear as an associate or member of any of the fourteen aoademies represented in the exhibition. Tho blue of this picture is essentially characteristic of the great middle sea. The sunshine is what is aimed at —in tho glare-.one is apt at lirst to miss tho details, but a monuiit or two's careful scrutinv reveals the local details, which are well worth studying. The distance is good, and the drawing is good. Passing on to tho next, No. 10, there is at once a strong contrast, whether in subject, treatment, or style. This is a seashore study—"Reading the Line, BurnmouHT-by J. 0. AVintor, A.R.S.A. It -is essentially a study of detail. The fisherman's daughter is busy. The whole scene and surroundings -are in keeping. Thoro is no riot of colours.- Tho whole, ton« is .subdued; but there is no confusion although there is suck a. quantity of. tintail. The drawing is admirable. Though but a. small picture, it is one. to study and linger over. "Barnard Castle," by H. Bellingham Smith, N.E.A. (No. IB) is un entirely different method of work; it is a good example of bold uso of colour—forceful and effective. Tho point for' observation is tho depth of tone in the ma.ss of foliage. An interesting piece of work is found in No. .18, "The House With the Stono Steps," bv Svdney Lee, another member of the NIE.A. (New English Art Club). I The aim is evidently' to depict tho mellowness of age in the brick walls, whilo presenting a picture- of a house with a history. One wants to know more about that house, and who trod those stono steps. There must bo a story, and the artist niannges to arouse a spirit of inquirv. A New Zealand Artist. "The Joy of the. Earth/'by C. E. Butler (No. 23), brings us nearer home, in the sense that the Work is that of a New Zealand artist. Sir. Butler is one of the rising artists now making his way up the ladder in London, and on tho Continent. For the last six years ho has boon coming to tho front. This example of his. work was exhibited at tho Paris Salon- Inst year, and was much admired. The picture is very interesting, and tells its' own story. Tho bright, happy child, fresh from slumber, is watched .by its mother. It is a simple -theme, . well expressed, ami its great merit is found "in tlio charming simplicity of treatment. Tho artist has escaped tho modern epidemic of violent I extremes. :• Tho colouring, the subject, tho idea, all harmonise, anil where detnil is necessary tho artist has been absolutely truthful. Tnio the fringe of the ohawl'. Take note of the faithfulness of the composition of.the picture, then note the delicate gradations of colour, tlio avoidance of any discordant tone. Tho work bears the stamp of earnest, good work. ■ Seeing that it is proposed that the public schools shall be asked to purchase a picture for the National Ofaliery, it would be a graceful act on their part ■to '.purchase this example of tho work of ail'old school-fellow. Not only because tho picture is a good one, but also as recognising the fact tlint it. marks a etago in the development of our education. : No. 11, "Roses," by Slary Young Hunter, is a very fine piece of work. Strong, clear, definite, and yet delirate in effect. The horticulturist can feast his eyes.The artist, dr. oriel with an artistic sense, will not. fail to discover that good drawing, means true art. This flower study is deserving of close attention. It is ix model. Turning to No. -10, wo meet with'B: AW Leader, R.A., at Bettws-y-coed (Wales). But no familiar lines of the Leader as we .havo known him here for some time. 'We meet him now in that vein so essentially his own, years ago. This example off hig style is an interesting and attractive one. Though small, it is a good picture. , '_'■■ Soma Figure Studies. Nos. 46, 50, and 53 must claim attention, the artists being" Rubens Santora ("Tho Slandolino"), 'Slelton Fisher ("St. Lit Pcnserosa"), and Ruth Hollingsworth ("Tho Statuette"). As the respective titles imply, these aro all figure studies. Though widely, different in treatment, they aro each of them remarkable for their subdued tone. No •Iβ is qnito a unique- piece of work, showing what can bo done by a dexterous use and freedom of colour. Tho artist is found in every line and touch. There is meaning in 'the work, and even tho brilliant dash of colour has its place at tho back of the chair. ; No. 50 is essentially a modulation, and is a fitting link between tho hot-blooded, pulsating bandoline player and the girl, the subject of No. 53. This is the simple story of ono occupied with her own reflections, quite unconscious of any surroundings. The picture does not fail to, reflect her spirit. . -No. 58, "Antigone," by Robert Herdman, R.S.A., is ono of those striking pictures that are not met with every day. It arrests and holds one. The modelling, tho attitude, the colouring are all good. Tho'fttce speaks clearly that the coming tragedy has been determined upon, and there is no reprieve. Grace, will, force, pathos, devotion, self-sacrifice are all expressed. The moment suggested by this picture soems to be that where Sophocles represents Antigone n-3 saying:

"Friendless, unwept, unwed, . I. sick at heart, am led The way prepared for me; Day's hallowed orb on high I may no longer see; For me no tears are spent, Nor any friends lament The death I die." It would appear that this work is one that should remain in tho Dominion. It is one thing to read the great dramas; it is niictlior to see an illustration and interpretation of this kind, and to bo given (lie opportunity of secivrins it. ' In the Second Gallery. Passing into the second gallery, the first picture that calls for mention is No. 4, ''In tho l'nrliuui Woods," by Stewart Wood. The scone is in Sussex, and tho subject is n part of the forest, with a woman gathering sticks. Tho points in the picture to be observed are the treatment of the trees and foliage, the way the light is introduced, aud the subdued tone of tho wholo picture. The artist has avoided the glare of the conventional Ted shawl. The scene is perfectly natural: there is no jar. We pass from the forest scene to the \nme of "A Cornish Fisherman" (No. 6). This is onu of the works of Stanhope Forbes, R.A. It is a small canvas, but a very interesting picture, An instance of the way in which green can be used as the prevailing tone, and just sufficient light introduced by means o( a complementary colour. This picture should not be overlooked.

No. 11 strikes quite a different note. It has more of tho' French inspiration ami method, nnd is a pood example of the French school—"l* Petitp Modisto." by Alfred Tlnyvnrd. N..R\. There is vorv little detail, I>nt the little picture is full of life nnd vi.ec-ur. The band-box gives the needed contract in colour. The treatment is broad and free, but Rood. .' Nfxt. come= a fine example by J. Campboll Noble, U.S.A., "Yesetable Market, Holland" (No. 12). This picture was considered by the Committee of Selection, but still mwiits a purchaser. The soft srev tone, is very attractive. There is no lack of sunlight! and the skill of the tvrtist is shown in the way he hn.s suppressed nny desire , .for "relief" by bright colouring. Tie lias (inly allowed the merest suspicion in the perfectly natural tints of the marl;ct produce waiting transport. This is an excellent picture for a gallery.

'A Fine Sea Study. No. 17, by Nelson Dawson, S.T.P., • 'Hrigp.ntine Going into Littlehampton Ttiirlwur," is an excellent epecimen of seafiaipe. TVe vessel being towed into port is quite what one would see. The tug has the vessel well in hand, and the stiff breeze is well suggested. There is no lack of movement nnd vitality. The style is quite attractive. It must be deemed a pood picture, well balanced, and with no IfM'ish ccloiirinir. This nlfords a good opportunity to n generous donor, but in any case the'picture' should find a purchaser. "\ Daughter of Judnli" (No. 22^.—The artist is Arthur Hacker, A.R.A. He has been fortunate in his model, and has appreciated to the full the complexion and t)i" μ-raccful lines of head and neck. The tuft I'mo is well painted, firfiat pkiU it

apparent in the method o£ production. There is mi absence- of nil tricks, and no morctvicious aids linvc been sought. 'Dip bold but eimnle linos have done, their work. The. simplicity of tho dress, just sufficient to bring out in contrast tlio nook and shoulders, all show tho artist hand and mind. It is a most companionable study, and at tlio same tirno a refined piece of work, with the human note preserved. AN EDUCATIONAL BOON. Tlio National Gallery was- tlio subject of a resolution )>,y tho 'Wellington Edue«. tion Hoard at its meeting yesterday, when the chairman (Sfr. Robert Lre) moved-.-"That. recognising that tlio National Art. Gallery is un nid to our educational system, the board approves the efforts made by several schools to collect voluntary subscriptions for tlio purpiso ot picture, and the board will be pic-used to see other schools throughout tho district making efforts in Iho same direction." Mr. W. C. Buchanan. M.V., suggested that tho board would be more non-com-mittal if it merely expressed its pleasure at what had already boon done, refraining from any remark which might Iμ interpreted as ii desiro that, other schools should follow suit. The chairman said that the motion was not intended to convey that interpretation; whatever was done by tho schools would bo dono in a purely voluntary spirit. Thereupon Mr. Buchanan withdrew his objection.