N.Z. ACADEMY OF FINE ARTS

Dominion, Volume 15, Issue 1, 26 September 1921, Page 9

N.Z. ACADEMY OF FINE ARTS

ANNUAL EXHIBITION NOTES ON THE EXHIBITS (By "The Lay Figure.") (I.) The general impression, to bo gained by an Inspection of this year's exhibition fo of the marked, advance shown by many of the works. There ore fewer large canvasses, but many of the smaller pictures reflect high credit on their painters. Figtira work is still sadly neglected; to look round the many landscapes shown one might come to the exclusion that New Zealand is almost uninhabited.

Following a very estimable rule, I give first attention to the works of certain Australian artists which are grouped on the northern wall. Although nominally Australian, the artists here ■ repreeented are not all of Australian birth. Mrs. Sherwood, for instance, is a New Zealander, once well known in Wolhngtoa under her maiden name, Mies Maudo Komball, and Mr J. R. Jackson is, I believe, a native of Palmerston North. It is a pity, I think, that most of the artists in this section are of the older Australian school, and that the younger men, some of whose work ia reproduced iu “Art in Australia," are not here represented. The pictures exhibited are, however, for the mest part of djistinotly high rnerih interesting alike in subject and troat-mmt. Mrs. Sherwood » work reflects w.teu.kA impressionism with strongly-marked reflections of latter-day French influences. She handles the two mediums with equal ease, and opinions will differ as to whether she bo more successful in oils or in water colour*. For the present I confine my remarks to the oils. . , Mrs. Sherwood's most interesting canvas is "The Model" (192), .tairabl. alike in drawing and colour. the blue drapery of the graceful girl who is posing on the platform, the crisp and effective draughtsmanship shown in the model and the figures of the, stn^- n * s ’ the beautiful graya and browns of the picture generally, are all factors in a delightfully arranged composition. ft would bo well. I think, were the counc , if funds permit, to add this very charming picture to the permanent gallery. Mrs. Sherwood's water colours will receive attention later on. „ The veteran Sydney painter Signor Datillo Rubbo, sends two coastal scenes, strong in colour and sat isfvin" ns to draughtsmanship Mr"’James R. Jackson's Sydney Ha rb<ur scones will attract much attention •'Middle Harbour” (198) pleases me the m Mr’ JS. Watkins’s girl with a guitar "The Interlude” (Ml) is “ n .? xcel ’ e ” t figure study. The figure is lacking perhaps a little in projection, but it » beautifully posed, and the general qual Hy is delightfully me low. Mr J. Aa «€ joll°y Tittte Picture* and Mr Lister sr» its figuro 6€uuy, * hill-top aro cosfln’AA figures The* 11111 i • xi,® lirrTiffullv decorative fancies. To others of the Australian Pictures I What there m however \v gowring’* standard of quahty. • • p Firth full-length portrait of M \. will be much admired- It is trait Meredith Atkinson (97) is a (106) a completely successful effort The wistful charm'd!' the young lady is delightfully suggested. Mrs liipe has two other figure studies the lar er one “The Yellow Gown” (127), being one of the most truly artistic and wtiMyiito figure studies we have .ever had from this always conscientious and painstaking artist- The diaphanous quality ot the tiillo is very cleverly reflected in t painting of this feature of the drese. I Mr Vivian Smith s portrait, of a, lady (22) is sure to attract the visitor s attention. Painted ,in 'low tones, greys predominating, the op lo " r BC^“ e ■? relieved from monotony by a v lolet rib bon and the strong black of the fur.. The flesh tones are admirably harmonious, and the picture displays firm and strong draughtsmanship. An excellent bit of work. Mr Harold Anderson s portrait ot a well-known Wellingtonian seated reading “The Word of Life” (112). is a little harsh in its flesh painting, but the figure is well posed and the artist has got an excellent likeness. . Mr. AV.' Tiller, a young Wellingtonian whose work is always original and courageous. eends a particularly well-painted "Self Portrait” (60). In pose and treatment this is very satisfactory bit ot painting. In his large Maori mythological subject, with a portentously long Maori name (7), Mr. Tiller presents a very during and dramatic composition based upon an ancient Maori legencl. There is. n Maori legendary lore, a rich field for imaginative pointer to draw upon, and ;t is to be hoped that M.. Tiller will give us further studies of a similar character. Other portraits and figure studies are contributed by E. L. Prince, B. E. Chapple, and I. M. Copeland Mr. Archibald Nicoll, formerly of Wellington, but now of Christchurch, is represented by a dignified, truly noble landscape, “Valley of the Spey Badencch" (3S). » The Council of the Academy has acted wisely in securing this fine example of Mr. Nicoll’s art for the permanent gallery. The picture, which won tho approval of leading Home critics when shown at the Royal Scottish Academy’s exhibition, is instinct with a grave, almost austere, beauty which cannot fail to impress and fascinate. It should be of permanent value to Wellington art students as an example of sincere mid truthful landscape work. Mr. Nicoll also contributes a pleasing Oriental nocturne, "Twilight, Ismailia (39). A previously utilised motif is here repeated; this small picture is replete with a quite poetic beauty. Note, too, his "Little Street. Bruges" (135), a very charming little pictureA Wellington artist whoso work always affords evidence of conscientious study, and who often evinces no small courage in the tackling of difficult problems,’is Mr. Fred. Sedgwick, who deserves hearty congratulation upon his two principal contributions in. this section, “View of Wellington, Autumn" (26), and "A Country Bead” (52). The former was greatly and justly admired at tho private view. It marks ti quite notable advance in Mr. Sedgwicks work, being a well-balanced and most pleasing composition. Tho painting of the trees which frame, ns it were, the harbour view, shows a fine distinction. If the picture has a fault it Is in the lack of differentiation between tho tone of the ground in tho middle distance and that of tho bills in the background. "The Country Road” (52) is a trifle cold In its colour, and the cattle on tho road are perhaps too formally placed. But it is a honest, and, on tho whole, most successful, (trainscript from nature. A smaller picture by tho same artist, hung too high for easy appreciation of its fine quality, but In many ways a most creditable effort, is “The Top of the Hill" (136).

- Mr. Bender has been in his day an artist of considerably varying moods iwid methods, but he now seems to have definitely ‘‘found himself," and his work this year is uniformly interesting, if a little uneven in quality. His most ambitious effort is his important land and seascape, “Lyall Bay” (109). In technique and colour it is an admirable production, but it suffers a little, so I cannot help thinking, from a lack of horizon, and an excess of uninteresting foreground. Tho lighting of the hills in the background, and tho painting of the houses rising from the seafront to tho hillside, are distinctly commendable. Thoro is a fine decorative quality in tho “Silverstream" landscape (72), the maswd trees showing a firm, virile, quite Brangwynesquo touch, and tho aerial perspective being effectively accurate. The “Decorative Landscape" (101) is less successful, but tho smaller pictures, "Oriental Bay" (129), "Boat Harbour" (180). "Houghton Bay" (132), and "Near Island Bay" (137), are four eminently satisfying compositions, any one of which would bo a treasured possession. These small pictures prove Mr. Bender to lie an artist whoso sincere, direct study of i Muro is accompanied by that "power to select" which, as an eminent English critic has said, "is the supreme test of artistic comprehension." Strength is the dominant note in tho work of that promising young Wellington artist, Mr. M. King. His most ambitious contribution, "Evane Ba/' (111), suffers from a suggestion of hardness, but one can almost feel the freshness of the northerly breeze which blows over the firmly painted rooks and water. In his “Morning, Boat Harbour" (25), the sunlight flecks on the water recall Claude Monet’s style, but both hero, and again in “Calm" (33), there is a distressing harshness. The smaller pictures, Nos. 121 to 125, and 133 and 134, leave little to be desired in wisely combined strength and delicacy. "Morning, Lyall Bay” (109) is full of a delightful atmospheric buoyancy. Mr. Nugent Welch’s "Solitude" (14) lives well up to its title. A vast expanse of sand, broken by a winding waterway, a far-away clump of rocks or hummocks, and on the horizon a solitary cloud group—these are the leading features of a picture in which everything is in most harmonious co-ordina-tion. Tho shimmering effect of the sky, and the sunlight gently permeating a thin haze, is consummately artistic. Visitors to tho Academy’s exhibition always extend a hearty welcome to the delicately beautiful little pictures in which Air. H. M. Goto displays an artistically graceful transcription of nature at rest. This year Mr. Gore's contributions are exceptionally charming in their suggestion of a peaceful country side, or a picturesque bit of coast line. "Wairarapu Valley, South" (15), with its ingeniously placed cattle breaking up the middle distance, is a specially attractive composition. Both hero and in "A Glimpse of the Lake” (17), Mr. Gore’s work affords an excellent example of how distance can be cleverly suggested by aerial perspective. "On the Coast” (18) has some well-modelled rocks, and the water is truly liquid. In all three pictures thoro is a convincing effect of rich sunlight. , (To bo continued.)