ACADEMY OF FINE ARTS

Dominion, Volume 10, Issue 2903, 16 October 1916, Page 9

ACADEMY OF FINE ARTS

THE EXHIBITS

(Notes by "The Lay Figure.") 1 I continue my notes on the oils. As ÜBual, some very interesting work comes from Christchurch. Mr. Menzios Gibb (President of the Canterbury Society of Arts) sends some thoroughly conscientious and essentially pleasing work, which displays sound drawing, a wholesomo restraint in colour, and a certain innate delicacy which never degenerates into tho timidly "pretty pretty." His are pictures to live with. His "Autumn in Hagley Park," No. 5, is a charming study in autumnal browns and gold. Of tho others, I like best "At the Foot of the Hill," No. 105, which is delightfully simple, and a pleasantly effective little study, free from all technical "swank," No. 121, "Close of Day, New Brighton." The winter scene, No. 69, is a very successful snow effect, but for some extraordinary reason it te' hung low down, next to a picture with which it must necessarily clash, whilst above it, on tho line, is hung one of Mr. Heginbotham's most daring excursions into flamboyance. "They manage these things better"—in Christchurch, as well as "m France.'-'

That clever, painstaking Christchurch artist, Mr. R. Wallwork, is well represented this year. For his most ambitious canvas, "Tho Wealth of the Bush" (No. 6) I do not care very much, although I applaud the choice of sub-' ject. The background has a sketchy, unfinished effect, which detracts somewhat from ths excellent work in the foreground. . In No. 11, "Feeding Time," and, again, in N0..114, "Feeding the Calves," Mr. Wallwork gives some sound, convincing work, good alike in composition and colour, and eminently pleasant to look on. It. is to be hoped that ono at least of these pictures may remain in Wellington. No. 110, "Mount Alexander," is more a sketch than an exhibition picture, but there is good work in No. 13, a sheep droving scene, and No. 4, "A Tenerifte Islander,," is an effective study of a head. Mr. and Mrs. Kelly, also Christchurch artists, send some interesting contributions. Mrs. Kelly'.s work always possesses a peculiar grace and charm, and she has never dono better work than in her large portrait No. 103, of Miss Millicent Jennings, which in some degree challenges comparison with Mrs. Tripe's big portrait hung close by. The flesh tones are clear and convincing, and the painting of the dress equally effective. This is by far the .best portrait work Mrs. Kelly has yet sent to Wellington. "Tho birl in Brown," No: 123, i 3 another interesting contribution. To appreciate its qualities a certain distance is required when the picturo is robbed of a certain hardnew which ecoms to possess it at closer vision. Mr. Kelly is far quieter in his colouring this year, and his foregrounds are stronger, although in No. ■ 101, "Arthur's Pass," Otira, tho middle distance hardly goes back enough. No. 50, "The Farmer's Cottage," is my favourite. Cool in tone, sound in its values, this is, in ovory way, a most succesful'effort. There is a fine spacious feeling, and an excellent aerial perspective in the large picture, No. 100, 'Evening on the Beach," but somehow tho figures in tho foreground seem overburdened by their costumes. Yet another Ohfistchuroh artist, and ono whose work, promising last year, is now much more so, is Mr. Wauohop. There is a fine poetic feeling and sound, attractive work in No. 46, "A Winter Evening." There is, however, a certain ounous sameness about the work of the Canterbury artists. Compare, for instance, Nos. 115, 70, 59, and 51,-and this, I think, will at onco become apparent! Miss Grace Butler. , ako a Southerner,' is, I think, a newcomer. No. "Across the Estuary," is much her best contribution, but there is interesting work in Nos.' 28, "The Coast Road," and "The Fishing Pool," No. 106, is a promising study, which shows the artist is anxious to get—and keep —as close to nature as she can.

Returning .now to tho Northerners, Mr. Bowringl must bo complimented upon his really admirable landscape work. Deservedly well known as a portrait painter, Mr. Eowring proves his versatility by sending more than one oxcellent effort in another and more different genre. As witness tho Van Der Volden—like No. 109, "Moutain Mists," really a little gem in its own way, and! No. 353, "The Dart Valloy," which, by- some mistake, has been placed amongst the water colours. Mr. H. M. Gore, the president of the Acadomy. contributes some pleasant, if not specially notable, work. Mr. Gore has long ago established his own convention to which he adheres with a consistency worthy of a bettor cause. If ho would hut return to that' broador, more truly naturalistic style of which bo onco gave us such a momorably charming example in his big picture of the Silverstream meadows. But I have expressed this lamont, and, alas, in vain, so often, that renewed insistence is, I fear, futile. Meanwhile, in their own' genre, Mr. Gore's canvases continue to be agreeable little colour, schemes, from which one must not expect any evidences of aught savo an unfailing daintiness. His best contribution is this year, I think, No. 99, "Paekakariki . Beach," ill which there is a fine sense of distance, and good atmospheric effect. No. 89, "Summer," is a charming bit of colour.

Amongst the work of the younger' mon, that of Mr. Ei A. S. _ Killick seems to me to bo full of promise. Tho harshness which at one time was too often characteristic of this painstaking artist's work, is notably absent in No. 33, "Evening on tho Hutt River," which, though painted with, a restrained palette, carries a feeling of colour well. It'is stately in composition, and is painted in ait essentially dignified manner. There is a good sense of perspective, and there is mo doubt that it is an evening sceno which is presented.' In No. 63, "Spring Morning, Silverstream," Mr. Kifiick essays a very difficult task. In his endeavour to get" the desirable tenderness and delicacy a certain thinness has resulted, which is accentuated by tho fact that the picturo is surrounded by no fewer than three sunset pictures. Some sterling, honest work is shown by Mr. W. B. Montgomery. I like best No. 58, "Totara," and next, "Evening Shadows." "Tho Ford," No. 78, has sonio good work in it, but tho colour is rather crude in places, and the picture lacks feeling. Mr. Montgomery should give us some really fine work when further study has had its due effect.

Miss Arndt's work loaves mo somewhat cold. Liko so many lady artists, she strivos hard after virility, but too often achieves a repellant harshness. I much prefer her flower study, "Hydrangeas," No. IG, to any of her figure work. No.-91, a woman with a child, will appeal to many by its sentiment, but hero again there is a hard touch in the handling. Somo small landscapes aro also shown by this artist. Mr.' C. Hay Campbell, a YFangamil artist, sends a large picture of an old courtyard in Dovonshire, No. 23, painted after the approved Nowlyn style, and a small landscape,. "A Berkshire Meadow," No. 31, which is decidedly attractive. His "Old Guard," No.' 112, a figure study in fno Frank Dodd manner, should not be overlooked. Mr. Nugent Welch, who has laid down tho brush to take up the rifle, and is now, I believe, "somewhere in France," hits but one oil this year, No. 106, "Tho Ford, Evening." It is a sincere, and, on tho whole, successful attempt to reproduce tho changing' hues of a landscape under sunset glow,

and is, as is the case with all this artist's work, replete with sincerity'and innate delicacy. The exhibition would be not complete without some- of Miss Flora Scales's always welcome animal studies. She is tho Lucy Kemp Welch of Now Zoaland, and her work is nover negligible This year, however, I seem to detect a little carelessness in the drawing. "After the Midday Meal," No. 119, is her best. The impressionistic study of a han6om cab is, on tho other hand, far from successful. ,

Mr. Howorth has several pictures in tho show-, but with tho oxception of No. 30, a Swiss mountain scene, nothing specialy notable. Few New Zealand artists,are very successful in their studies of the nude, and few attempt such work, the model difficulty standing in the way. Mr. Hounsom Byles shows our local men, in 126, "Idle Moments," how tho thing should bo done. Beautiful drawing and tho flesh tones are charming. Miss Hilda Chapman's "Lady in Black," No. 2, is on ■ ambitious, effort, but is distinctly unpleasing, being so very harsh in tone. The same artist's "Karaka Trees," No. 140 shows painstaking study of nature. I Mr. Walter Wright, of Auckland, sends some attractive studies of New Zealand scenery, Maori life, etc. The Auckland! sunlight, so vivid, may account for n certain apparent; haidness and unreality in the colour of these pictures, but the composition is always good and the drawing excellent. I liko best No.. 62, "The Creek," a very attractive -bit of nature study, and No. 24, "An Idyll," has some distinctly clever touches. Mr. Garnham deserves credit for a conscientious marine study, No. 133, "Trawler Making for Port." A wordl of praise is due to Mr. E. S. Hood's telling little Bketches—they are hardly finished pictures. There is too much insistence upon square brush in No. 108. Mr. W. H. Carter, jnn., contributes somo highly imaginative work. Ho is certainly moGt daring in his search after dramatic effects. Personally I prefer him in quieter mood, as in the little sketeli, full of poetic feeling, No. 128, "Moonrise, Lake Onoko." Mr. Hutchinson, of Ohrietchurch, has a clever little sketoh, No. 48, "Now Brighton Beach," and there is promise, too, in No. 72, "Nor'-wester, New Brighton." Mrs. Spioor'9 No. 67, a study of daffodils, "Beside tho Lake Beneath the Trees," is a very clever and promising effort. It deserved a much better position than tlat accorded by the Hanging Committee. Other work is contributed by Mrs. Crispin (No. 20 is pleasing in its quiet colour), W. Tiller, E. J. Freeman, and others, to whoso pictures I regret I cannot refer in detail.