N.Z. ACADEMY OF FINE ARTS
ANNUAL EXHIBITION
NOTES ON THE EXHIBITS (By "Tho Lay Figure.") lII.—THE WATER-COLOURS, ETC. . Tho water-colours are exceptionally numerous this year, and much of the work shown is on a higher plane than last year. But there is still a surplusage of mere pictorinL banality, weak bits of purely "pretty-pretty" landscape being all too plentiful. No doubt a few splashes of colour, more or less tastefully arranged, and framed in a large white mount with a narrow black or gold moulding make an effective ornament, which, when sold for three or four guineas, is satisfactory aliko to the purchaser and artist. I would like, however, to enter a mild protest ' against too much of this somewhat "ladylike" achievement and remind our artists that good water-colour painting requires just as much painstaking study and care a* oil painting, and is capable of depicting' ■objects ju6t as truthfully and artistically. Another noticeable, feature which is to bo deprecated is tho exaggerated size of some water-colouTs.' The medium being capable of great, delicacy should, liko etching, bo used within reasonable limits, and not flapped over areas for which oil paint would be more seemly. Whistler wrote and said much in respect to tho size of etchings, holding that an artist who etched excessively large plates showed a lack of good taste in going beyond the befitting use of his medium.. An artist who is out to paint a water-colour on a space of more than, say, 12 inches, imposes a very difficult task upon himself and one which too often ends in a thin and splashy result. On first entering the water-colour gallery one is pleasantly impressed by the clean, bright appearance • of the walls. The impression, however, is not confirmed and deepened, as it should bo, by a closer inspection of the individual pictures, although there are many which well repay inspection. I shall not in this article attempt any exhaustive mention and criticism, but enlarge rather upon thoso works which are of a certain outstanding importance. A noticeablo advance in the way of stronger drawing is displayed in Mr. Nugent Welch's work, which, with that of his fellow soldier artist, Mr. A. B. Nicoll, is so prominent a feature in this section. Mr. Welch has now clearly grasped _ tho true tradition of -water-col-our which, in a 'reference to" 11. W. Allan's work in this medium, is defined by the well-kno'vn English art critic, Mr. T. Martin Wood, as seeing "colour carried over the paper in a vehicle of water, strong, or merely stained, as. desired; but pre-eminently expressing-tho artist's pleasure in controlling this, floating accidental and delicato means of obtaining an effect." The same tradition is followed by Mr, Nicoll, by Mr. F. Sedgwick, and,.in a less marked degree, by Mrs. Hughes (especially in her two smaller drawings). Mr. Welch's pictures of Ypres, or rather the ruins thereof, Nos. 76 and 77, aro full of a pathetic, austere beauty all their own. Two beautiful English scenes, "The Village of Shipton" (74) and "The Pathway Through the Woods" (80), also compel admiration, and a special note" of praise is due to a vigorously painted seascape of tjuita Hen 17 Moore-like' quality, "An Incident ill tho Atlantic" (78). Merle F. Nicoll's • water-colours show the artist's fine perception of pearly and_ luminous cloud effects. In his largest' .drawing,. ''Summer Time," 88/ Hie green of the water strikes me as a, little cold, but there is n\fine transparency in tho shadows, and in fhn'snhd 'dunes with tho scrub to the right of the foregrounds there is evidence perfone.l impression unswervingly In "A Grey Day, Dowrecht," 87, there is a charming-sug-gestion of. mist, and the slightly but. carefully graduated tones of the red roof reflections are very skilfully placed. Another very pleasing Dutch study !>v Hie same artist is "The Lighthouse, Schevingen," 89..' ' -.-Close to Mr. Nicoll's drawings is hung some ,'modest but .very..promising work (to some extent infl';°necd bv Mr. Nicoll's tuition artist) by Mr. T. A.- M'Corinack. '"1 .ie White House." 97. the largest drawing of the series, suffers from a suggestion of flatness in the hill., The house itself is an obtrusive feature in what would otherwise have been a well-balanced • picture. Some of ■the smaller drawings distinctly promising. When, Mr. M'Cormack gets a little more definition' into-his 'work ho should come'well u? into "tlie front rank of our local amateur water-colourists. Four delicately beautiful drawings by the late Mr. E. G. Hood are to be found on this'wall. They all exhibit a fine sense of colour and are graceful in feeling without being in the least "filinicky." Miss D. K. Richmond contributes a quite notable drawing iii No. 67, "Pears and Chrysanthemums." Both fruit and flowers aro firmly "handled, the gradations of the colouring on the fruit and the fresh, "crisp" ' appearance of ;the blooms showing excellent technique.. "Dessert," 69, is a delightful little study of still life, imbued, with delicate grace and charm. Of tlie several interesting studies of shipping shown by this always conscientious artist I-prefer No. 63, "S.S. Himitangi Coaling," and 62, "H.M.S. New Zealand." , In "Southern Clouds," 55, Mr. Frcil. Sedswick, has produced ope of the best water-colours in the exhibition. It is a clean; fresh, essentially spontaneous work. The rocks are well modelled, and both cloud and'water effects are clearly the product of honest, direct studv of nature. In his "Low Tide, _Nelson,' 54. Mr. Sedgwick shows a • dignified but graceful drawing which, in its method, would suggest that the artist has been influenced by the simplv direct stylo DopulaTised at Home by Mr. A. W. Rich, whoso recently published book on "Water Colour Painting" may-here, by the way, be commcnded to our younger artists who work in this medium. Mrs. E:-Hughes contributes four watercolours. I cannot help thinking that tho larire drawing "IMieusrh under Snow,' 2<H. would more legitimately come under the definition of an "oils subject." Tho .study of "Black Thorn in Bloom," 201. is, it is truo. of equally la-rge dimensions, but somehow in this instance the medium employed does- not. seem inappropriate to tho subject. . Mr. Hughes's best drawing is No. 205. simply titled "The View." 111 this the best traditions of the old Cot-nian-Do Windt • English water-colour school aro faithfully and;most successfully followed. ■ Young artists should noto the evident care shown in the modelling of the buildings in the foreground. Tho same quality is observable in Mrs. Hughes's "Penberth Valley," 202. Miss E. T. Barker,' of Christchurch, contributes some very striking work. Tho objection to water-colours being of an unduly large sizo, set forth in my preliminary remarks, is- specially applicable to "In the Italian Hills," 212, and "A Breton Washing Day," 214. By employing body colour very liberally tho artist gets an oils olfect, but the question arises, why not paint in oiCs? "in the Italian Hills" is excollcnt in composition, sound in drawing, and altogether an exceedingly attractive picture. But would it not have been even moro effective in oils? In "Tho Saw Mill," 208, _ Miss Barker has attempted a rather difficult subject, and achieved a decided success. "Marsh Lands. Brittany," 210, is another meritorious effort. • On the south wall aro hung several interesting drawings which display a quite noticeali'.o versatility in tho artist, Mrs. Beatrice Harvey, a Napior resident, I bolieve. "My Lady's Garden," 127. with its suggestion of tho intense elaboration of detail to bo found in tho illustrations to 'medieval missals, its wealth of decorativo detail—in placcs heightened by gold leaf—is- ciuito a new departure in the, work of n New Zealand artist. The. central figure will', remind many of the strangely beautiful women whom Rossetti loved to paint. From such a pictorial excursion into tho 'medieval world to the intense modernity of "Shearing at Siberia." 131—a difficult figure subject., powerfully, and convincingly treated, or the fine little w« teredo' study, "Tho Iron Pot, Napier," is indeed n striking transposition.. All Mrs. Harvey's work is most interesting. Tlie shearing scene merits a- far better' position than that which the Hanging Committee has thought fit to accord it. Mr. Bowring's sole contribution to this Bection i? a pastel "Tho Tease," 109, in which nn ingeniously conceived, if fantastic, subject is worked out in a bold and effeotive schoino of colour. The
drawing possesses a marked decorative 6 M°i'.' and Mrs. Kelly, of Christchurch contribute somo interesting work in tins section. Of Mrs. Kelly's wveral smn 1 drawings, I prefer A Grey Dnj, New Brighton," 37, with its freshness 01, vision and treatment of a by this time lie worn theme. There is too, an agreeabb fresh and direct touch in Mrs. Ivell,s Lake Brunnor studies. In Mr. t. I. Kelly's "A Silver Sea," 51 (reproduced in the catalogue), there is some slight confusion in tho values of the scrub, but the general effect is one of rcstiul beauty 1 like, too, tho cloud effect in Nor -West Sky," 18, and another slight but essentially. tasteful little drawing is the marine study, "Tho Blue Sea." Also from Christchurch come drawings by Messrs. Men/ics Gibb, A. E. Baxter, W. S. Wauchope, Miss M. E. Stoddart, and Miss L. Scott. "Springtime- on tlie Avon, Christchurch," 126 (promptly and' wisely annexed by a discerning pmo winner), is delightful in its well restrained colour, its sound drawing and harmonious composition. "Tha Old Boat, Redeliffe," 197, and "Sand Dunes, Sumner, 198, by the same artist, should both 'bear a red seal beforo the exhibition closes. Mr. A. E. Baxter's studies in southern alpine scenory show a decided advance over tlie work this artist hes sent to previous Wellington exhibitions. "Mount Cook, Morning," 108, is, 'in particular, a very happy effort. The cleverly con--1 veyed suggestion of distance in tho snowclad peaks, with rising mist at foot, and the rich browns of tho bu/ih to the left of the foreground, make this quite a notable production. Mr. Wauchope's work in this class is just a little disappointing. There is a wooliness in his water, and a "muddy suggestion 'in the colouring which detracts from the general quality of the work. Mr. Wauchope is, I Ijeliove, a very busy man in many directions, but art is an exacting, mistress and demands an almost undivided attention if she is to grant her votaries a fibU measure of success. Miss Stoddart's strongly personal point of view and equally personal methods are by this time well known. She has a keen sense of natural beauty, and few artists give a more pleasing rendering of tho delicate charm of fruit trees in flower. Of her contribution this year, two or three suffer in effect through being unsuitably framed. This is, however, a defect which buyers can easily remedy. My own vote 'must go to "The Old llomeBtead," 23-1, but '"Springtime, Akaroa Orchard," 228; and "Spring," 233, aro sure to find many enthusiastic admirers. . ■Some work shown by Miss L. Scott—a pupil of Miss Stodart's, so I would haz'ard the guess—shows good promise. Tho little drawing, "The Farmyard," is a specially pleasing effort. What shall I say of Mr. Worsley's work that has not been said "maintes fois;" as the old French expression goes? It is 6lick, facile, clever work, ' nearly but not always sound in- drawing and plensant in colour, but—and I cannot refrain froiii saying so—it conveys the impression of havijig been "done" as so much pack work: there is 60 littlo evidence of personal feeling in it. Having said all this I cannot help entering a mild protest against tho action of tho Hanging Committee in relegating Mr. Worsley'6 drawings to the comparative obscurity of the staircase wall. After all, although Mr. Worsley may too faithfully and unbrokenly follow his own old conventions, may err, nt times in the way of too deliberate "prettiness," still his work is greatly nnd rightly esteemed by a largo section of (the public for its general soundness. Assuredly it cannot bo denied that it is greatly superior to not a. few of the drawings, by locr.l artists, to which far better- positions have been given. Such pictures ns Mr. Worsley's "Cornish Cliffs," 141, or his, in many ways, finn drawing, "A Monmouthshire Farm," merited,-1 contend, better positions than those allotted to them in the exhibition. A group of drawings by Mr. Esmond Atkinson, ono of our soldier-artists who have been so cordially welcomed home by their fellow-artists in the Dominion", will no doubt provoke considerable difference of opinion aft to tho methods employed. Sir. Atkinson's largest drawing, "The Surrender' of the Germnn FleeV 13, is a grimly expressive picture. The forbidding greyness of the 6cene is strikingly conveyed. l . Of "(the smaller drawings tho larger Grasinere subject seems to me to bo the most successful effort. But I must honestly admit that I cannot quite understand Mr. Atkinson's conceptions of Nature, and without understanding there cannot be sympathy. Frankly, Mr. Atkinson's work puzzlw me sadly. I <lo not underrate it for ono moment, and to me it i? more or less of- an unsolvable problem. Two verv interesting loan drawings aro '-'The-White Cloud" by Mr. W. Russell -Flint, 1 an English artist, who has come well to tho' front of late years. and "Tho Aqueduct," by the late Alfred East, R.A. Mr. Flint's picture is a long way, ahead of its companion, in which the intensely blue wnter- running through the foreground is by no means well done. In the Russell Flint drawing there is a delightful quality of har-monised-tones. A lucky man is vlie fortunate > possessor, _ Mr. Nugent Welch, who "picked up this "rich spoil" in far away London town. I should like ,to make detailed reference to other work, to Mrs. E. K. Robison's charming figure studies—her "Columbine" and "Tho Toy Shop" in particular ; to Mrs. Sawtell's ixcellent landscape, "The Cantffrbni'y Plains"; to Mr. Barton's modest but clever little drawings, of Christchurch street scenes, and to other interesting items. Suaco limits, however forbid this, and also prevent detailed description of the two series of war scenes by Messrs. Nugent Welch and R. Johnston, which are phown in th 9 main gallery. BLACK AND WHITE. There is less black and white work .than in former years, and I am sorry to see that tliero is'no evidence .of any etching being done. Threo fine Brangwyn etchings," however, have been lent bv Mr. G. W. Hunt, and are delightful examples of the well-known British artist's virile work in this branch of the graver's art. Miss Helen Gray Young contributes an interesting pencil drawing, and some delicate little pencil drawings by the late Mr. Van Der Velden, lent by Mr., J. P. Andrew, will well repay tho closo ■ and careEul inspection they demand. Mr, fine crayon portrait of Mr. Bernard F. Page proves once again how successful the nrtist can be in securing a Speaking likeness. Some interesting architectural drawings ore' contributed by jreesrti. Clere Williams. F. de J. Clere, Stanley W. Fearn, and W. Gray Young. PLASTIC ART. ' The examples of pl/istic art might have been more numerous, but the lack of quantity is compensated for in the fine quality of the work shown. Of Mr. Ellis's two portrait busts, that of Mr. Gilbertson appears to bo the more successful, so far as a dual portraiture is concerned. The bust o; Mr. Bernard Pago is somewhat unconvincing ns a likeness, but the firm and yet sensitive handling makes it nn attractive exhibit. Mr. Ellis's broiizo por.trai'; bust of Mr. H. M. Gore, ex-president nnd presentdav secretary of tho academy, is nn admirable likeness, • and will bo. much valued as an addition to tho permanent ' collection to which it has been donated ! bv Mrs. Gore, to whom it was presented ; bv members of tho academy on his retirement from office as president. Some clever work in modelling is contributed bv Miss Ethel Gyles and Miss Margaret Butler.
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Dominion, Volume 13, Issue 14, 11 October 1919, Page 3
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2,637N.Z. ACADEMY OF FINE ARTS Dominion, Volume 13, Issue 14, 11 October 1919, Page 3
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