THE ART EXHIBITION.

Evening Star, Issue 4271, 3 November 1876, Page 2

THE ART EXHIBITION.

We yesterday referred to the opening of the first exhibition of pictures by the Otago Art Society, and in general terms expressed surprise that in so short a period as the Society has been in existence so many contributions worthy of a place in any gallery could be shewn. When, however, we name some of the artists, it will be observed that the Society must of necessity assume an important position in the world of art. For instance, among the exhibits are paintings by Messrs Barraud, Chevalier, Gully, Hoyt, Hodgkins, Hutton, Perigal, and others who have established a reputation beyond the boundaries of New Zealand. The exhibition affords subjects, not only for admiration, but study. For the art student, therefore, 1 ho o-nety fulfils it* object in presenting iubjects treated by various masters for his eweful examination; while it must be gratifying to the public to find that Dunedin, at so early a stage in iti history, is capable of taking so high an artistic stand. When wall space is required for so large a number of paintings some mustnecessarily suffer through being placed in comparatively unsuitable lights. This, although galling to an artist, is unavoidable. All cannot enjoy the same privilege in that respect; bnt we think the committee have taken as much care as it was possible for them to exercise. The room is well adapted for the purpose, and those who are able to judge of the merits of a picture are not likely to be misled by an accident of that description. It would be impossible to dwell upon the merits of each painting. In fact, to do so requires more time than we have yet been able to give to the examination of them. There are, however, some that commend themselves to the judgment at once, and, without undervaluing others of undoubted merit, we will briefly name a few. No. 2, '"Mount Aspiring," by F. BarrauO, is a very ably-treated sketch of a striking scene. Its immediate neighbor, (No. 3) is a painting of "Holy Loch, Argyleshire," by J. Holmes. The sky effects are well introduced, and the effect is good. Immediately underneath this picture is No. 147J by Mr M'George. It is a small sketch of very high merit, and is well worthy of careful study on account of the skilful use made of the very few colors employed. No. 4 is one of Mr rloyt's clever pictures Head, Martin's Bay." It is a good subject, well treated. Nos. 5 and 22 are two very magnificent oil paintings by M. Chevalier. These pictures are worthy of very careful study. There is nothing strained about them, no beating about for effects. All is quiet and natural. The drawing, coloring, and aerial effects are most skilful. Each picture is somewhat singular through embracing a far wider area than usual in the field of vision. As a rule, artists prefer more concentrated subjects, but M. Chevalier has lost nothing by extending the

range. Although moje difficult to deal with, greater variety:is introduced. No. 6 is a very pretty sketch of "Lake Wakatip," by.Mr Hodgkins. He is always happy as a colorist, and has succeeded in this instance in representing a sky effect .not often so successfully \t-tempfcerl-the sky clearing after a showor. There ~ the debate bright greenish Mue half revealing and half hiding the bright yellow rays that seem strangling for the mastery, and the effect is heightened by a well-managed foreground and distance. No L? ano^P by A. Perigal Portincross, with Arran Si the distente. It ™, a well-chosen subject by one capable of using its beauties skilfully. The foam of tK waves dashing and rolling into the little bay js natural-wdd and free as foam should he. j?here is no stiffness in the treatment; they are wmd-driven waves-not bamps of water speckled with soap suds. No. 143, underneath, is a very nice sketch oisoener/in the Bay, by Mr O'Brien. Asa draughtsman Mr O'Brien is not to be excelled, but he sometimes fails to secure the -besteftectsmcolormg. In this instance it may be he ha* too faithfully followed nature • but, « io, she must have been in a bad humor, and have withdrawn brilliancy from the water. The picture is a pleasing one, however. Mr O'Brien has several 'other gketebw m the exhibition, some of them being In light and shadow only; but they are of surpassing beauty in that style of art. feeldom is so great excellence attained in the use of the black-lead pencil. They will bear the closest inspection and most rigid oritioism. No. 8, "The Waimea Plainß, near Nelson," by Mr Gully. It is not often an artist can clothe a s3ene with unmistakeable evidenoe of heat or cold, apart from its effeot upon man or animals. Mr Gully has contrived to do bo in this picture. Ail is lone and still; there is nothing strained, but the scene on which a spectator gazes would irresistibly lead to the remark, " It must have been a hot day when Gully painted that." Nos, 12 and 14 are two pictures by Mr Hutton, of the Dunedin School of Art. Mr Hutton excels in truthful coloring and careful foreground detail. No. 14 especially we commend to our local artists as worthy of careful study. Mr Hutton has another picture, No. 41, a portrait of a lady. The same remark regarding strict attention to details, is equally, and, in fact, more absolutely, pertinent co this ably executed painting. The dress of the lady is especially well executed, if we except a little stiffness in the foldings of the scarf, which might have been thrown around her more flowinjily. No. 15, " Sunset on Mount Earnshaw," and No. 30, are by Mr Raworth. We have frequently, and with pleasure, drawn attention to the very able pictures Mr Raworth produces. These are equal to any of his that we have seen, and are excellent illustrations of his general style of treatment. No. 23, "ConistonLake,"by J. G. Phelp, is one of the finest water-color pictures in the room for judicious treatment and general attention to harmony of coloring. No. 26, " Sunset effect on Mount Egmont," by Mr Gully, is a very ably-executed painting of a very beautiful scene. It has lest nothing through being recorded by Mr Gully. No. 31, "A Shady Lane," by P. Williams, an English artist, is a very faithful drawing of a scene, a counterpart to which almost every colonist can recal to mind. It is one of the "Green Lanes of England," the remembrance of which is dear to everyone who has enjoyed their shade. No. 35, a composition picture—a "Scene on the Medway" —is remarkable for its faithful drawing and fruthful local coloring. It is simply but ably treated, and is a most effective picture No. 43, "Norham Castle, on the Tweed," by Perigal, a very able oil painting, depicting scenery which will be familiar to many residents of Otago, and who will, therefore, be prepared to appreciate the artist's skill. No. 46 is an excellent picture of Mount Totoko, Martin's Bay, by G. H. Chapman. Its only drawback is a slight defect in the perspective. Had this not occurred it would have been very effective. No. 50 is a very pleasing little picture, in oil, by Mr Irving. It is quite a domestic scene, in which we are introduced to Dr Johnson, Mrs Thrnle, and their humble, adoring toady, Boswell, who is represented as very busy recording in his book the sayuigs of the literary Ursus Major aud his fair companion, the latter of whom is engaged in administering to their creature comforts "the cup that cheers but not inebriates." No. 51 is another product of Mr Irving's brush. It may be named "The Promenade," as it represents a lady in fitting costume, who in the flesh had undoubted claims to considerable personal attractions. No. 65, by Neville, is a very striking sketch of a street scene in Cairo. It commends itself at once to the mind as a truthful representation, All is Eastern—the sky, the glare of lUfht, the costumes, the style of architecture, are in keeping. No. 52, "In the Pores*," is a masterpiece of sylvan scenery, jno. 53 is a veritable gem. It represents a morning effect on Lake Coleridge, by C. D. Barraud. No. 77, a large centre picture, by J. C. Hoyt, is a drawing of scene*y on Lake Wakatip, including Bob's Cave. It needs no description nor commendation, as it will commend itself to every spectator. No. 80, " The Snow Storm/' by Mr Raworth, is not excelled by any picture in the exhibition. It is a bold and successful effort to depict wildnoss, danger, and desolation. Of course such a scene would not fill the mind with a sense of all its horrors were it merely to be olothing the rocks and mountain sides with a winding sheet of snow. Mr Raworth has therefore introduced a party striving to make for shelter, unable to face the driving tempest. It gives a faithful idea of "flying for life"—a not uncommon necessity in Alpine regions. The pictures deserving special notice cannot, with justice, be dealt with in a single article. Neither time nor space will Eermit us to dispose of so deserving an exibition summarily; we must, therefore, as opportunity occurs, again return to the subject. It must bo exceedingly gratifying to every.colonist to see so many high-class pictures shown by an infant sooiety at tbeir first exhibition; but, as a necessity, some have been admitted that cannot be pronounced as worthy of having a place in a picture gallery. Some are defective in drawing, some faulty in coloring; but we believe the committee felt they would not be justified in excluding thorn so long as there was sufficient artistic merit in them to reedeem their authors from ridicule. Those that would not bear being placed side by side with the finished productions which so abundantly ornament the walls of the room have, very wisely, on the part of the committee, been refused admission. We have examined some of those rejected, and think that, on studying the exhibits for themselves, the artists wiß feel that they have been kindly dealt with. The chief defect our local artists display is in drawing. To this, and in the term we of course include aoourate attention j to perspective, we recommend them to give earnest attention. It lies at the very root of the art, and no brilliancy or truth* fulness of coloring can compensate for defects in this respect. Although the committee have been wisely lenient on this first exhibition, a more severe censorship must be enforced in future, if the Society is to acquire the reputation of encouraging what is really good in art and discouraging carelessness in execution and ignorance of prinei*

pies. There is every reason why the modern school should excel painters in all K£sm • <* art are now thoroughly investigated and understood. In past ages excellence was an accident—in these days it is attainable with certainty by those who add industry and intelligence to imagination and perception of the beautiful