ACADEMY OF FINE ARTS

Dominion, Volume 13, Issue 7, 3 October 1919, Page 8

ACADEMY OF FINE ARTS

ANNUAL EXHIBITION NOTES BY "THE LfiY FIGURE." iNo. 1. ) THJS OILS. 'i'he annual exhibition of the New Zealand Academy of Fine Arts will be opened this evening by a private view, open to all artists and subscribing members of the Aeadcmy. The oils aro somewhat less in number this year, but the watercolour section, on tho other hand, his made such demands upon tlie available space that tho exhibits have overflowed from the upstairs gallery to tho walls uf tho main staircasiv It is satisfactory to record that a noticeably higher slauuard has been reached in tlie general quality of ( the work shown in tlie two mediums. The Selection Committee, whilst not to be .accused of an .undue severity, liavo evidently "weeded out" very freely, for there is far less'purely trivial and negligible work than was tho case last year. A now departure, .which, if not carried out with unfailing strictness, has nevertheless been responsible for decided improvement in the arrangement of the exhibits, has been instituted by the Hanging Committee, the works of each artist having been grouped. By this means, although, perhaps, the general decorative effect of the exhibition may have suffered in some slight degree, there is more regard for harmony, quiet, restful pictures not suffering, as heretofore was often tho case, from juxtaposition ' with stronger, more flamboyant efforts. On the whole, the new departure, in which the committee.have followed a now longestablished, Australian precedent, must be voted a success. A littlo more regard for symmetry might'have been shown in certain instances, but 011 the whole the innovation should be appreciated alike by artists and visitors to tho exhibition. In the oils section, to a portion of which my notes to-day must be confined, a special and quite notable attraction is tho highly original and interest-compell-ing work contributed by Mr. Ilariey Griffiths, an Australian painter of established reputation in the art world of the Commonwealth, and now n permanent resident of Wellington. These works aro hung 011 the southern wall of the main gallery. Mr." Griffiths dates, I understand, his art. training proper from the time lie entered the studio of Mr. Max Meldrum, the well-known Melbourne portrait painter, for although he had been through the gallery schools in the Victorian capital, and had been a regular exhibitor both, at -Sydney and Melbourne, ho considers that the conventions he had acquircd-up till then had done,his work more harm than good. He is represented both in the Federal Portrait Collection and the Sydney and Adelaide National Galleries. In each of the pictures hero shown it will be noticed by. tho careful observer that the artist has aimed solely to represent correctly, in proper perspective, the'persons or objects before, him. Too often in the local work aerial perspective has been absent or inadequately rendered. Here it is a quite impressive feature of the works. As a result the figures stand away from their backgrounds, and still remain "inside" their frames. There is a fine sense ~of air and space in Mr. Griffith's pictures.. Technically, tho brushwork shows, an-, unconsciousness which is all too rare today. In too much" lntter-day painting, brushwork has been more thought of than tho effect to be rendered. Here, in these pictures of Mr. Griffiths, the opposite is apparent. This is particularly noticeable in tho small sketch of Emerald Hill, Melbourne, and in that masterly effort the life mask of Beethoven. The latter might : almost be considered from the same standpoint as a piece of actual. plastic modelling, so sure and d(' finit'o is tlie understanding of the planes.It is a painting which shows that clear ami close relationship which, after .nil, must exist between the painter and tlrsculptor. It should bo.borne in mind, however, that while the modeller has to deal with actual "roundness" the painter has' to .convey an impression" of that roundness-on'a flat surface. .'The true observance of the tones which create this illusion was held by Whistler and other great artists to bo of such vital importance as to constitute their art a pure science. Kodin - has declared that the scienco of planes is common to all great, art epochs. The Beethoven mask deserves to bo carefully studied bv our younger artists; there is so much to be learnt from it. I now come to what is Mr. Griffiths's most important contribution, a six-foot canvas representing n tall and handsomo girl in a flashing white evening dress; The figure stands in a strong light against 1 a dully-lit background. ' tendered practically without detail, the portrait nevertheless carries with it a sense of completeness, and the graceful and natural pose of the figuro has. been excellently appreciated. This rich- and happily-inspired canvas, freo from all trivialities of detail, and conveying,, asit does, a sense, of restraint and dignity, should prove a valuable oxaniple to our rising painters, and the "Lav Figure" cannot too strongly recommend its purchase by the council for the permanent'collection of tho Academy. The same earnestness, hut in n lighter vein, is displayed in an excellent seminude figure study, a boy boxing. Here Mr. Griffiths has allowed himself a certain degree of freedom w'hicli line produced a.-particularly effective result. Tho artist's portrait of himself shows a strong and thoughtful face, the . impression of strength being accentuated perhaps by tho subject's disregard for convention in what tho present-day 'haberdasher calls "neck-wear." The portrait of Sir. Poland Powell is a quiet and convincing piece of work.. Tho feeling that tho sitter is well within the frame is very noticeable here. In a 6inall portrait sketch of a -boy's head it may be thought by somo that the sketch might have been carried a little further, but it probably expresses all tho effect tho artist desired to convey. Yet another portrait from Mr. Griffiths's brush is a female head, painted in'subdued colour and imbued ivith an air of wistfulnoss w'hicli is almost pathetic. Other contributions by £.is artist are nn interesting flower study and a landscape. Tho popular Pumpkin Cottage at Silverstreum, so intimately associated with the name of the late Sir "Jimmy" Nairn, is a.prominent feature in a sound and soberly painted landscape. The quiet evening effect, with its feeling of simple repose, is faithfully and sincerely portrayed. 1 h.ive dealtli with Mr. Griffiths's work at some length, .but such detailed and special attention is, I have felt, rightly duo to paintings which, so all visitors to the exhibition must agree, constitute a contribution of unusual importance and interest. > Sir. A. B. Nieoll, whose work has como to bo so highly and deservedly esteemed by local art lovers, is exceptionally well represented in this section. An excellent portrait of His Honour tlie Chief Justice is not only a speaking likeness of Sir liobert Stout, but proves that the artist is able to 1 Tender tho psychology of his subject with eloquence and insight. Sir. Nicoll also sends • two Egyptian st'cnes, both nocturnes. Quo is a scene at Ismailio, the [mysterious witchery of the Oriental atmosphere being reproduced 'with fascinating effect. The impressive quality of the massed purplish black tones of tho trees to the right of tho foreground is very noticeable. In a second Eastern subject, "The Stosquo in the Field," thero is perhaps an excess of | "sweetness" in the general effect; the harmony of colour is almost musical. The Braiigwyn-like trees to the left are in effective contrast to tho pervading atmosphere of deep and dull violet haze. This picture carries with it a most charming decorative effect. The picture of "Richmond Bridge," eo fumiliar a .scene to aU who aro lanky enough to. know the upper Thames, suffers from not being "canted" out a little moro from the wall. It is a picturo pleasing in composition, and gravely dignified, almost austere, in tone, ' Tho treatment generally is reminiscent of the best features of the landscape art >f tlie Itiilinii Old Slasters. Sir. NichoH also contributes an impressionistic sketch "Slarket Day in Concarncau," in which tho picturesque Breton costumes worn by tho broadlypainted peasant bargainers lend a very agreeable air of virile colour. The well-known local artist, Sir. Bow-

ring, scores heavily this year. His most ambitious and successful contribution, "Idyll," caniiot fail to bo greatly admired, as, indeed, it well deserves to 1)0. Mr. Bowring has essayed one of the most difficult of subjects, a nude figure paint-, ed in strong sunlight in the open air, and emerges from the ordeal with quite striking success. With its harmonious composition, its sound draughtsmanship, and its quite delightful l colour, this is in every way a very notable production, upon which the artist 'should, and will be, warmly congratulated. The panther (or is it a leopard?—" The Lay Figure" confesses that his strong - point is not zoology!) is full of sinuous, indolent feline grace; the flesh tones of the nude woman fairly vibrate with .life and light; whilst tho graceful floral environment adds greatly to the' general cliarn of tho picture. Mr. Bowring also shows three excellent portrait studies. He is an adept at catching a likeness, and- both in his portrait of Commander Ilnll-Thompsou\ and that of tlie late .Mr. Hamilton Gilmer repeats all his old successes in this j direction. The third portrait studythat of three very charming little gil'ls, daughters of a well-known Wellington doctor—should easily win -.he admiration of every lady visitor to the Gallery. In this picture the irtist has kept his background in proper consonance of tone with his figures. In the portrait of Commander Hall-Thompson, the background strikes me as being a trifle flamboyant, and indeed almost obtrusive. Mr, Bowring also contributes two email landscapes, in one of which, "Cattle in a •Wood," he achieves an Avmsby Brown effect, which is decidedly attractive.'This picture suffers not a. little from being hung too. high. A pathetic interest attaches to tho large canvas—the largest in this year's show—entitled "Pastoral," tho work of that clover and, by his comrades of the brush, much-belov-'d young artist, tho late Mr. E. .G. Hoad. Tho picturo. would have been improved by a few of those finali touches it would probably have received had the artist still.been, amongst us. As it is, it must stand as a* well-con-, ceivcd effort, eminently successful in tho treatment of 'the foreground, especially as regards the light breaking through the. .trees to the right, and in the fine suggestion of ever receding distance. , Its' weakest foaturei is to be found in tho cloud effects ivliich, so I cannot help thinking, Mr. Hood would have altered not a little had he been spared to subject his work to that revision which painters often consider necessary. Some smaller and more characteristic picture from the late Mr. Hood's ibrush aro hung close to the more ambitious effort, and serve to accentuate the re-, gret .which all art lovers must feel over the drtist's sadly prematura decease. All are imbued with a natural compelling' grace. My own vote would go to "Overlooking the City," a veritable little gem, effective in composition, ' and almost sparkling with sunlight; and colour. t Miss B. C. Dobie's work, which will he eagerly inspected by all who remember this artist's clever studies of swans, 'exhibited at the main, Academy show last year, has been somewhat scattered by the . Hanging Committee. Her two most ambitious contributions will bo found on the western wall,.to tho left on entering tho main gallery, .and consist of a large study of n tethered horse, with an attendant dog ("Partners"), and a : wat study. "The German Retreat." The second picture, showing some war-worn, wearied German gunners urging on their' equally jaded horses, whilst behind them aro reflected the luried flames of active conflict, has a convincingly dramatic efi feet, without,, however, displaying any of that meretricious • theatricality -which. i transforms too/many paintings of warscenes' into mere pictorial journalism. Mi6s Dobie is also represented, on the opposito or eastern ■ wall, by some brilliant little oil sketches of scenes at Bellisle, that picturesoue end historically 'famous little .island on the Biscayan const of France. Of these, I prefer "Morning Mist," -with its suggestion of /Silvery haze; and "Blue and Silver," the ; latter, in my opinion, far -the best - thing Miss Dobie has sent in this year. It is imbued with a combined spirit of delicacy and restrained strength, which is productive of a very charming general effect. , , ■ Another small canvas is On the Bay of ■'Biscay," a strongly painted ( marine study. In " "The Goat Herd; Bellisle,' the' figure in the foreground is skilfullyplaced, adding' to rather than detracting from tlie sense of eerio storminess which is conveyed hy tho powerfully painted- sky and tho picturo as a whole.

(To be Continued.)