FINE ARTS ACADEMY

Dominion, Volume 7, Issue 1873, 6 October 1913, Page 9

FINE ARTS ACADEMY

THIS YEAR'S DISPLAY. SPEECHES AT THE OPENING. SCIENCE & ART BILL On Saturday evening, the twontyfifth annual exhibition of tho New Zealand Aoademy of Fino Arts was opened by His Excellency tho Governor (the Earl of Liverpool), who arrived at the academy accompanied by tho Countess of Liverpool at half-past eight, Thoro was a good attendance at tho time, those present including tho Chief Justice (Sir Robert Stout) and iady Stout, President's Speech. Tho president (Mr. H. M. Gore), in thanking His Excellency, for coining to open the exhibition, remarked'that the intorest which he had shown in the academy's work would be a source of encouragement. Tho exhibition this year was quite up to tho standard of former years. . Most of the best artists in New Zealand were' represeiited, and there woro also works from outside, covering a variety of subjects. "No doubt," continued Mr. GorM}'"l shall be expected to say.a few words on legislation of deep intorest to us now before Parliament. I refer to tho Science and Art Bill, under which it is proposed to establish in Wellington a Dominion Art Gallery. Unfortunately for this project thore is'a certain amount of opposition in tho other • centres, duo mainly, I -bolieve, to a fear on their part that, in tho future, any moneys that may bo at tho disposal of tho Government for tho promotion of art, and for tho purchaso of works of art, may be devoted entirely to tho Dominion Gallery in Wellington, ancl that the art societies in the other ' centres may never again receive the occasional grants from i the .Government which they have been accustomed to look forward to. ; Personally, . I do not think such a fear is. justified. We as a council do not believe that thore is the slightest intention on the part of the Government ,to concentrate art in Wellington. On the contrary I take it that under tho Science and Art Bill tho board that is to be constituted under it will have { power to lend, works of art for givon periods to the galleries in the 'other centres.' so that the people in and around tnose centres may be able to, see them' and study them, and there should be power also to receive on loan works from those contres. Such a system of interchange of works i)f art between, the several galleries, and -of co-operation between the Government and tho various art societies' is, we believe, tho true policy for a country liko Now Zealand with its scattered population, or groups of population, and , its' 1 long seaboard Such a policy would, Wo believe, create, a wider, interest in art than anything else could;, possibly do—;than even an extensive ,purchase of pictures for the Dominion .gallery would bo likely to do. And ono great advantage' of a Dominion gallery will be that the Government will he in a much better position than any local institution could possibly be to approach 1 tho authorities of tho art centres of older countries for loans of works of art for Now Zealand, and 1 have no doubt that in the near future we shall find the South Kensington authorities sending out to us some of the art treasures under their control. Dominion Art Gallery. "We are convinced thafr a Dominion Art Gallery will bo a great .thing for New Zealand. : The main, essential, of course, is to see that it is properly and judiciously .'managed, and one of tho most difficult and painful duties of those in charge will bo the rejection of works of insufficient 'merit offered by publio spirited citizens with the best intentions in the, world for presentation to the Dominion Gallery. Although 'thero is a certain amount of opposition in tho other centres to tho Dominion Gallery there are thinking men in those centres who are not unfavourable to the scheme and who realise its advantage, and one of them is the president of tho Canterbury Art Society. If the Science and Art Bill by any ill chance fails to pass I am afraid art in New-Zealand will be thrown back for many years. But I cannot believe it will fail. If it be true that Now Zealand is singled out for distinction and for great : destiny is it not because our publio men when it comes to action in great mattors sink party differences, sink local prejudices, and work together for tho good of tho country as a whole, and for the good-of the Empire as a Wholo? I think it is, and I feel confident that is What our public men will do in this great matter." His Excellenoy's Remarks. His Excellency, in. referring to the fear of the other centres, that the passing of tho Bill now beforo Parliament would result in exhibitions in othor towns—such as Auckland,' Christchurch. •and Dnnedin—being belittled, stated that ho did not sco why that should be< the caso. It was only natural that pictures of national importance would be in tho capital of tho State, but hero in Now Zealand, with tho inherent difficulties of travelling, it would be absolutely impossible for a number of young artists to Bond their pictures to Wellington, and hence' the necessity of exhibitions in other contres. His Excellency commented very favourably on tho enthusiasm which ho had noted in , connection with a .recent exhibition in , Auckland, and expressed the opinion < that thero was no need to fear for the future of theso exhibitions. On the question of landscape, ho considered that there was a great future beforo tho artists of this country, and he thought that everything should, bo dono to encourage art in theso islands. New Zealand .had a flora of its own, and ho ' was of • opinion that the artists hero 'vould do bottor to endeavour to bring out tho natural features of their own ■ country instead of going abroad for ; their subjects. Their ' picturos. would ; go Homo, and in time would bo another ] tie to link us up with tho Motherland, i ] "Cribs" In Art. i Another point, His Excellency wont • ion to say, where a great many ' iirtists went wrong was in doing their < ' work from photographs. It was well known how easy it was to fall back on si crib, but no artist ever achieved fame by siich a method. Photography ' should bo nil art b,v itself. A photograph as a work of art was a very valuable one, but when it was made a ; crib to other art it was a danger. In : conclusion His Excollency remarked that he was himself .very desirous of /E&sing all the pictures, especially those of New Zealand, for o.s he had remarked tho bush scenery hero was unique. Tho Award List. Tho awards in tho students', annual, competitions arc:— I Class I. —Study from antique in. Wack, whito, or monochrome. ' Winner: fiaidia Osborne, Christchurch School of 'Art. Class ll.—Study of human figure from life, black and white, or monocbroms. Winner:- Lena Williamson, Wellington Technical College. Class lll.—Study in still life, in oil or water colour. Winner: Alberta Sugden, Christchurch School of Art. Commended: Evelyn Dawson, Wellington Technical College. Class IV.—-Study of head from life, life sir.o, in oil or water oolour or pastel. Winner: Phil. A. Perry, Dunedin School of Art. Class ' V.—Study of head from lifo, lifo size, in charcoal or crayon. Winnors: Mary

Green, Wellington Technical College; L. H. Latimer, Dunedin School of Art. Class Vl.—Landscapo or marine study from Nature, in oil or water colour. Winner: A. Muriel Wilson, Wellington ' (in main gallery;). Class Vll.—Study in round from lifo or antiquo, in plaster. Winner: Florence Roberts, Wellington Technical College. Class VIII, —A piece of iowellery designed and executed by exhibitor. Winner: Cassandra Pound, Wellington Technical College. THE PICTURES REVIEWED.... No. I.—THE OILS. ' (Bv The Lay Figure.) ,It _ was a very generally-expressed opinion on Saturday evening that tho oils this year are unusually interesting and full of promiso of oven better things to como. Tho exhibits in this class are not quite so numerous as last year, but the general average of excellence is' higher; there is clear evidence of conscientious direct work, and while there. are several picturos of really outstanding merit thero are but few canvases to'evoke the opinion that tho Selection Committee had been more kind than critical. The Kenningtons. Place of honour-is rightly given to the two • fine Kenningtons which hang on the end wall. Essentially gallery pictures, theso are works which attain a very high standard of artistio excellence, alike in composition and treatment. Mr. Kennington, who is a vicepresident of the Institute of Painters in Oil, is an English artist whoso work is as highly esteemed in Paris, Munich, and Venice, as in London; and the Academy is lucky ,to secure for the exhibition two Such characteristic and admirable specimens of his art as those now shown. "Relaxation" (122) sufferß a littlo from apparent lack of coherency; the figures seem to be as divided in tho objects of their attention as in their grouping. This, however, is perhaps in keeping with the title, which implies a certain individuality of action, but the picture, as a picture, suffers somewhat as a wholo. The sound draughts-manship,-the quiet refinement of toneall this, however, is admirable. .1 _prefor the second picture,. "A Mother" (127 a), in which there is some delightful • light and shade. The rich dusky browns and reds are quito in accordance with the old Dutch school, and thero is an all-pervading suggestion of tho dignity, the tenderness, the pathos, and grace of maternal love. Either of those two superb paintings would form a most, desirable addition to the permanent collection. Here is an opportunity for the display, of private generosity, Buch as in. Auckland, finds such frequent and commendable expositions; . . A Notable Newcomer. A newcomer, whose work is sure to attract much. attention and ov<jko no small admiration, is Mr. Vivian Smith, A.R.C.A., whoso two portrait studies, "A Portrait" (1.71) and "The Crinoline" (181) hang about the'middle of the northern side wall. Mr. Smith's work strikes a note of real distinction rarely achieved by isuch figure-painters as have-exhibited in this City, and If ho can teach as well as he can paint his advent to Wellington should prove of signal service to our young artists. Tho "Portrait" (171) is the picture of a lady, of a French (or Polish?) type of face, with raven black hair, and attired in a .dress of deep dark blue, with a lighter blue plume in her hat. The painting of the face, with its expression of wistfulness, is delicately charming. Tho pallor of the flesh adds a note of refinement to tho features, 'but indeed the whole'picture breathes " an air of sympathy and delicacy. "The Lady of the Crinoline" (181) is a quaint. mid-Victorian figure, in keeping with, say, the first act of Arnold Bennett's "Milestones" or one of /the later Georgo ElioE novels. The general colour scheme, of light, greenish blue, and wfrfte, is artfully ■ keyed up by the bluish-grey background. The face, with its deep lines, its encircling hair— • in the depressing falling bandeaux of the period—the largo cameo brooch, the crinoline dress, with its. narrow trimmings of blue—all are admirably painted. ■ In these, two pictures Mr. Smith proves himself an artist of much more than average professional ability , as wo have known it in Wellington. His "Portrait" (171) is distinctly tho clou of the exhibition, and his future work, of fulfilling this present high promise, will bo awaited with some curiosity. Mr. Mounsom Byles. The sound, pleasantly conventional art of Mr. Hounsom Byles, R.8.A., finds agreeable ' exemplification in two typical Spanish scenes, " A Bull Fight" (188), and "A Spanish Fiesta" (198),. The bull fight painting is an admirable little cabinet picture, a most desirable possession. There is nothing slap-dash about Mr. _ Bylos's work. Ho wisely doos not imitate the inimitable brio with which Arthur Melville treated this well-known subject. Mr. Byles works on more conventional lines, may be, but his work convoys a fine dramatic feeling. . The "Fiesta" is a canvas crowded' with well-drawn figures, rich in dexterously combined browns and reds and gold, an eminently pleasing composition all round. An Old Friend In a New Role. The soven contributions from Sydney L. Thompson, formerly of Christchurch, will bo the subject of much discussion amongst those who remember his older stylo, almost gravely sedate and dignified. Mr. Thompson has been studying in " La Ville Lumiere," and tho effect of his new environment is, in ono or two of his canvases, quite staggering. Mr. Thompson has gone over, paint, palette knife, and canvas, to messieurs le3 luministes. . Each and every ono of his pictures represents some new grappfing with the problems of Thero is no denying them evidencos of courage, oven audacity, but as yet, I fancy, the Christchurch man has hardly' "found himself.".- ' His principal contribution, "Sunny Hours—A Dutch Interior" (197), fairly challenges attention by its rioting blues, purples, and greens. The drawing is good, the wholo composition effective. but I find it difficult to understand now, in view of the blazing sunlight wliidh makes the child's scarlet dross fairly blaze, thoro is no shadow, how an artist could got tho insides of window frames of so aggrossively an emerald.green. • Another. almost equally striking picture is a study .of boats, ■ " Low Tido, ■ Whitby" (213). Here again the colour is stridently clamant, but tho suggestion of post impressionism notwithstanding, thero is a quality about tho picturo which is not to bo denied admiration. At tho cud of tho gallery, somewhat unfairly treated by the hanging committee by the way, is what 1 think is Mr. Thompson's at onco most courageous and successful picturo this year. This ' is " A Brittany Lane" (126). Hero tho ; artist has gallantly attacked a' speci- ' ally- difficult colour problem, and witli : moi-o success than in his Whitby scenes (209 and 218). If Mr. Thompson does but tone a littlo his, riotous purples and chasten his present'unrestrained enthusiasm for blazing sunlight, he ought : next year to send us something really : notable. Meanwhile, his pictures are well worth study a3 exhibiting a gallant attempt ' to .master the intricacies of a style which in New Zealand , has, as yet, found but littlo presentment. As an ■ artist friend put it to mo on Saturday: J ' Thompson goes after it ovory time; oven his failures aro interesting." Clever Work from Christchurch. After Mr. TJiQmpsoa'a excursions .

t I into the twin worlds of realism and luminism, tho sounder, moro academic efforts of another Christchurch contributor, Mr. It. Walhvork, A.R.C.A., aro ciuito soothing to oyes to which advanced impressionism may bo somewhat dazzling. Mr. Wallwork is to bo heartily congratulated upon the versatility and all-round fino quality of his contributions, tho most notable and interesting of wliich aro tho ambitious largo study of the nude, "The Awakoning of Spring" (184), and the Tuke-liko plein air study of a nude youth, "A Now Zealand Beach Idyll" (214). Tho first is a completely charming production, with a fine lino in the rocumbont beauty. In the painting of tho flesh thoro is, perhaps, a noto of ultra refinement. The treatment is so much smoother, for", instance, than that of Miss Gloag's splendidly vigorous nude in i tlio permanent collection. But tho grace, ; tho delicacy of the whole composition, ' tho figure, the flowers, tho lighting, is i most fascinating. Why, howovor, Mr. i Wallwork should liavo introduced the ■ bird (genus and species to me, at least, i a mystery) is beyond my comprehoni sion.. To me its presonco is a mischiov- : ous intrusion and a- mistako. Thd second study of tho nudo In- tho open air, tho Tuke-liko picture (214) should bo greatly admired as a plucky and successful effort in one of the most difficult branches of art. Tho foreground seems a trifle over painted, but tho wEte lichen effect on tho rocks fs a wondorful help to. the lighting scheme, and the nudo boy is strongly and soundly drawn. Mr. Wallwork'a. portrait of his wifo (127)—tho catalogued price of four guineas is surely a misprint—should not bo overlooked. Fastidious critics of the artist would find, I believo, the faco a littlo "soapy," and there is a vagueness in the drawing of tho ungloved hand, which gives the effect of a stump. But the painting of th' 6 furs is capital, and the natural "hang" of the bluish purplo, well-painted dress, adds greatly to the general rhythm of tho picture. ,Of Mr. Wallwork's other contributions, I liko best a gaily audacious littlo bit of bright colour, "Hie Mermaid" (169). The sparkling, gently riotous waves, with their crystallino bluo, and the lace-liko white spray effects serve as a fitting accompaniment to tho dainty —almost too dainty—little figuro of the mermaid. This is a most charming littlo picture, but a suggestion of the supernatural, of a weirder style of beauty, would have been preferable in the facethere is just a trifle too much of tho "baby-faced beauty" about it. Two small figuro sketches, "The Buocancer (131), and "An Old-timo Watchman" (187), ara agreeable if not specially not-' ablo littlo pictures. Somß Local Men. Some exceptionally interesting work is shown thisyear by Mr. W. A. Bo.WTing, formerly, of Christchurch and Napier, but now residing in Wellington, Mr. K. M. Ballantyno,: and Mr. Norman Welch. •Mr. Bowring's large picture. "The Arrival of H.M. Now Zealand" (115), is a Bomewhat ambitious production, which, as a pictorial memento of a notable event on tho history of the Dominion, possesses a special interest. Tho warship and the surrounding mosquito. fleet aro well drawn, but tho artist has 'not been so successful with his study of tho water, which is stiff and' hard,. and lacks buoyancy. Mr. Bowring's best contribution is the portrait, study of an old Maori, "Parora Ttuigi" (161), which is a really noteworthy and oxeellent bit of work, justly admired by visitors on Saturday. Mr. Bowring's for,to is portraiture and figuro studies, and he is here at his very best. Tho portrait of the; late Mr. E. J. Riddifora (136) is another eminently .successful contribution. Tho likeness is life>liko. "Stormy Weather, Napier" (152), is a bold and on the whole successful effort," the storm-laden sky, grimly, violently v threatening, the scurrying figures, tho big cliffs looming bigger still through the driving rain, and tho aotual "feeling" of the hurricane, all combine to mako a composition of quito dramatio force. Mr. Bowring must bo complimented upon his courageous grappling with a subject, presenting many difficulties. Mr. Ballantyne's work has always •boon interesting. This year ho emerges as an artist who' must be taken very seriously. In two at least of his contributions lio shows a quite remarkable advance. His large landscape, "Winter at Silverstream" (176), is clearly a conscientious effort, full of evidences of direct study of nature, of a clover perception in the choice of tho subject, and ah all-present desiro to bo true to reality and to avoid any mere studio trickiiess in elaboration. I question, however,- the accuracy of the foreground, which, to me at least, seems to drop away all too suddenly. The picturo would have been all the better for tho lopping off of some five or seven inches along the bottom. But tho painting of tho bush-clad background, and, even better still, the bold and effective treatment of tho left bank of the stream —tho left in the picture— are surely deserving of warmest praise. Mr. Ballantyno is again to be .complimented upon his figure-study, "A Ladv in Grey" (183), to my mind ono of. the very best things in the wholo show. Tho composition schemo is distinctly clever—noto tho effect of reposo given by the cunning placing, of tho lady's muff—and in tho drawing and colour alike there ds a restraint and quiot dignity whioh reflects a true feeling of refinement. Mr. Ballantyno is also represented by a fino portrait study, "Four Score and Seventeen" (201), a clever decorative design, "Scherzo" (153), and a distinct ablo rendering of varying planes of light, "Mid-day Sun" (173).. His figure study, _ "On the Hills" (149), is on tho other. hand .a wilfully bizarre, and to mo quito unintelligible, product. AYhat is meant, I suppose, for tho sky, might bo wallpaper, or any-' thing, and the .grass (?) a Turkish carpot. This picturo should not have been hung. Mr. Norman Welch i§ at his best. I think, in his water-colours, but his oils, notably iflio finely-painted "Sinclair Head," (164), a little gem, and the vigorous, effective "Wind-swept Manukas" (170) should not bo Everything this painstaking . young artist puts his hand to shows signs of conscientious, direct nature study. (To be continued.)