N.Z. ACADEMY OF FINE ARTS

Dominion, Volume 15, Issue 3, 28 September 1921, Page 9

N.Z. ACADEMY OF FINE ARTS

ANNUAL EXHIBITION FURTHER NOTES ON THE EXHIBITS (By “The Lay Figure.") 11. There is a good number of Christchurch exhibits in 'both the oils and the water colour's. A southern artist whoso work exhibits a very decided advance this year is Mrs. Grace Butler. For her largest picture, "Marshlands of the Lower Avon" (88), I do not care very much. The interest is too scattered; and in another large picture, “On the Beach, New Brighton" 181) the waves aro lather "blocky" and hard. The Simslike figures to the left are cleverly placed and well drawn. It is, however, in her Southern Alps scenes, "Rolleston Glacier” (34) and "Bealey Mountain, Arthur’s Pass" (42) that Mrs. Butler is most impressive. Never has the forest and mountain scenery of New Zealand been more truthfully, successfully painted than in these two pictures, which are hung on either Bide of Mr Nicoll’s masterpiece. Here is no stooping to trickery, no affectation of artistic "smartness" in getting the effect. An impression of absolute sincerity is alono conveyed. The same artist proves her versatility by her well-painted still life study, “A Torso" (10), and her "Mountain Torrent Bed, Arthur's Pass" (128), which has a suggestion of Van Der Welden's work. The style and method hero shown are curiously different from those of Nos. 34 and 42. Mrs. Butler’s smaller pictures are all worthy of attention. Tho veteran Christchurch, artist, Mr. Menzies Gibb, again gives evidence of his thoroughly sound and sure craftsmanship in his marine study (unfairly skied!), "The Silver Sea" (13), and in a large landscape, "The Heart of tho Hills, Cashmere" (120). In this latter picture Mr. Gibb proves once more how ably he can follow the best traditions of tho masters of landscape painting. The fine perspective, the subtly graduated tones, Gio careful but never-nig-gling execution, all bear eloquent testimony to the fact that .Mr. Gibb has full command of hie medium and paints out of a sheer enjoyment of hie art. Another well-known Christchurch artist, Mr. R Wallwork, does not Bend any large canvas this year. His contributions none the less aro all very interesting, perhaps the most successful being "Milking Time" (41) and "Tho Boat Yard" (96). The former is a restful composition, very charming in its colour, and the latter ie a specially clever piece of draughtsmanship. "In the Sun (53) and "The Evening Sun" (59) both testify to tho artist's ability in the suggestion of powerful luminosity. Flower paintings are more numerous than ever this year. Two specially striking examples of this popular form. < art are Miss Richmond’s "Zinnias (46), which, I am glad to see, has been purchased for the permanent collection for it is far and away tho best flower study shown for some years past; and Mrs. Manoy’s brilliantly painted Nasturtiums and "Zinnias” .30). . There m an engaging bravura in the painting of both the flowers—t|ie centre, however, is just a little fluffy/-and the reflections on the brass vessel /n the side. The drawing is not impeccable, but the colour effect ss superb. , Mr. C H. Howarth can always bo depended upon for sound draughtsmanship and attractive colour. Mr. Howarth has a distinct flair for an effective subject, and ho has few superiors in the rendition of mountain and forest scenes. His "Mount Cook-Morning” (2) and his "Sennen Cove, Cornwall" (65) show that his well-praotise,d hand is far from losing its cunning. Tho Cornish subject Is a specially pleasing seascape, with a. particularly well arranged foreground. 1 Miss B. C. Ddbie has wisely modified the rather repellent harshness which characterised some of her work at the sketch exhibition. Her most P°P u * a canvas this year will probably be her "Down Where the Daffodils Grow (58). Despite some trace of that hot colour 'at one time affecting this artists work, this is at once a courageous and successful picture. That Miss P oW «jL n .°‘ afraid to tackle ths figure is shownnu> the picture "Here with a Loaf of Bread etc.” (98). There may be some doubt as to whether the cloth is spread on the turf or a table, but the figures aro clearly drawn and the still llfe ® dJoc l b front are excellently done. Miss Dobie also contributes several small but interesting landscapes. For some years past the name of Mr. W. H. Carter, jun., has been associated with purely imaginative dosigns and Turneresque colour schemes. This year this always painstaking artist departs from his old stylo in his large canvas “Ruapehu, from Raunmu’ (114), and proves that, he can go direct to nature for a subject, In tho interpretation of which he shows a command of draughtsm,unship and a truly artistic sense _ of colour values for which ho has hitherto not been given credit. Tho finely graduated light on the snow shows a delicacy of conception and handling which is most creditable. There is a s«sP>«°n of harshness in the greens but the t ch purple of tho bush in the middle distance and the fine atmospheric effects throughout are most praiseworthy. Ma y visitors to the gallery will join with me in wondering why this plucky, and on tho whole, very successful, effort is put away in a corner.' Assuredly it dosened a better position. Mr Ki-Dick’s “Winter Willows (1) is hung so high that its merits can scarcely be fully b-ppreemted. The ruddy browns of tho willows, the suggestion ) of "tangle” in the weeds which border the pool, and the reflections wate * all testifv to tho artist’s conscientious study from‘nature. Mr..Killiok here shows a distinct advance on his previous work. Mrs. Malcolm Ross contributes sei oral interesting studies, a littlo harsh, perhaps, in colour, but all reflecting a delicate appreciation of natural beauhes. "Heather and Pines, Ascot (103) and "Autumn in Sussex” (63) are worthy f tho visitor’s attention. Mrs. Ross also contributes two New Zealand 9 "Tho Tongariro River (al) and Waihl, Lake Taupo" (a). , To tho disappointment of many admirers of her work as an animal painter, Miss Flora Scales is only represented in this section by one Bn ™ ll P l , ctu 7’ ter" (20). This is the head of a dog, veil drawn and full of lifo. -ia; nr Air J. Weeks, one of tho three .soldier artiste who gave nn BiterMt'ng exhibition here some time .ago sends two small pictures. "River Cliffs. Mangaweka" (32), fairly blazing with hot sunlight, and a delicately painted Autumn, Christchurch” (43). His ex-comrades, Mosers. M'Cracken and Johnson, »re unfortunately not represented this year. Mr. Hounsom Byles is represented by « very flmootlily painted, -rather s ff y presented nude, and some well drawn flcure subjects. "Under the (77) shows a rural cattle sale land. Ono of the figures is a t™ l John Bull with his curly white Mlsz sin./ bition is tho number of new-eomer.. some of whose work is of decided and most agreeable promise. A hearty w eomo is. in particular, due to MissDhona Hnszard. Alike in her Wanganui (36). a scene in tho lower part of the well-known Victoria Avenue, and in her "Grey Day” (to), a river scene at Manga-

nui. Miss Haszard proves herself the possessor of an original and attractive talent. Tho street scone is delightfully, fresh in its handling, reminding me not a littlo of Ludovico’s well-known London scenes. There is a most engaging deftness and eprightliness of touch in this picture, to which some discerning collector quickly attached a ted seal. The river scene, with its pearly silvery greys, is a very charming study. Miss Haszard exhibits a third picture, "Smoko Haze" (50). but my notes on this are unfortunately mislaid. Her future as an artist should be full of promise if wo are to judge by the two pictures to which I have referred in detail. Another new-comer is Mr. Andrew Reed, of Invercargill. Mr. Reed favours, ns a rule, wind-swept spaces, and his canvases, for ths most part small in size, reflect (sound draughtsmanship and a dignity—at times almost an austerity • in their colour. His “Wind-swept Trees" (23) and "Harvest Moon" seem to mo his best contributions. The larger pictures, notably in "The Bridge Mill, near Girvan" (87), aro a little hard but wherever ho places a tree it io well drawn. Also, he can make the. light penetrate through bls foliage, which so manv artists fail to do. Altogether Mr. Reed’s work is full of rich promise. Misses Rata Bird, Ngaio Marsh, and Winnie Ritchie ere also promising newcomers. Miss Bird's "The Ounrrv" (54), Miss Marsh's "A Coastal Road" (55), and Miss Ritchie’s "Old Hut, Christchurch (24) all show decided promise. The broken sunlight in Miss Ritchie’s little picture is particularly pleasing. An old and valued contributor, Dr. Fell, sends a very charming little painting, "Newark Abbey, on the Wey” (93). The grey tones of the ruined abbey and the lush greens of the pasture are in very agreeable harmony. The painting of the meadow land along the river is reminiscent of the delightful work of the late Alfred Parsons. Mr. C. Hay Campbell's two paintings, "A Berkshire Cottage" (79) and "A Corner in Newlyn" (80), are curiously uneven in quality. In the latter the figure at tho head of the steps is well drawn and there is an excellent perspective. Mr. J. F. Scott's contributions, mainly architectural, are worthy of notlcs. "St. Saviour’s, Dlnan" (86), an interior, is a difficult subject courageously, and on the whole successfully, treated. My congratuations to Mies Ethel Richardson upon her greatly Improved work hero shown. Tn "Ruapehu, Grey Day" (130 b and "To Heu Hcu, Ruapehu" (130 c tho artist has been singularly successful. Thera is some good work, too, in her "Storm, Otaki Beach” (130 d

Mr. R, Proctor, formerly of Christchurch, but now an Auckland resident, sends one of his well-known Italian studies, "Blue and Gold, Venice" (113). It has an attractive decorative quality, but is somewhat conventional alike in subject and treatment. Miss B. E. Chapple's work shows a decided advance. "Pines*' (117) is perhaps her most successful effort.

A word of praise is due to Miss A. Pnul for her pleasing flower studies. Space limits preclude detailed mention of the work, some of it of a very interesting character, contributed by I. M. Copeland, R. Drummond Sharpe. E. L. Prince, I. G, Eise, H. Olivant, Harold Anderson. J. W. Ash, Annie Anderson, F. S. Turnbull, and others.