THE FINE ARTS IN OTAGO.

Lyttelton Times, Volume LVI, Issue 6494, 20 December 1881, Page 5

THE FINE ARTS IN OTAGO.

[from oub owk cohbespondknt,] DUKEDICT, Dbg. 17. Knowing the circumstances attendant on the settlement of the different centres of the Colony, and the people from whose ranks the bulk of the early settlors were drawn, if a stronger wore asked to name, the district in which the fine arts were most likely to have njade the greatest progress, nine out of ten would be sure to reply Canterbury. The attempt to compare the Pilgrims of Cantor* bury to those who flr*t gained the title of Pilgrim Fathers in America has often been made with more or less success, but no

greater disparity could exist on any other point whore semblance is sought than that o£ the fine arts. TUe Filgnm Fathers of America left Old England's shores when art was at a much lower ebb limn when they of Canterbury left. The Americans were a stern Puritanical set of mm, much more likely to set their faces against pictures, &0., as works of the evil one, and not of a nature to which the thoughts of goodly men should be turned, even if they did not have on instinctive dread of them as being works which the Homan Catholic Church used largely as symbols in religious rites. The i.'anicrbury Pilgrims, on the other hand, came from a stock in whose home* art was su:o to have been largely represented, and as most of them are said to have been members of the High Church there would be no religion* scruples to stand in the way of its being fostered to the utmost. Now, whether Canterbury takes the position which might be expected when compered with Presbyterian Otago, 1 am not in a position to say, but I hope to give such an idea of the progress made in Otago that Canterbury men can make the comparison, and draw their own inference. It is quite possible there are patrons in and around Christchurch who have done much to foster art, and a love for it, and who miy be the possessors of works that anyone might bo proud to own, but what I am referring to particularly are these who, by every means in their power, have helped to cultivate a love for the beautiful among the masses. In a newly settled country it would bo unreasonable to expect that much can bo done. The • tru <sfil e t 0 make a homo of any sort, and subdue the wilderness into the waving fields of grain, which are now fast ripening, are sufficient employment, as a rule, without the indulgence of the imagination, which is the soul of art. Erecting houses and bridges, tilling the soil, and building up a state on a basis of liberty aud Justice, are noble works, but they are practical, and have little in common with the fine arts, which are commonly regarded as the accompaniments of luxurious vanity very unfitting the pioneers of civilisation. If, therefore, not much has been done in Now Zealand,, it is a point on which we need not fear reproach, so long as substantial progress has been made in other directions. >

With the development of tho resources A the Colony, and the consequent freedom attained by many from the harassing cares so common in its early career, one form of luxury after another has crept upon us, and surrounded as we are on every hand by landscapes planned in Nature’s most lavish mood, there is little wonder at ambitious artists springing up in our midst, anxious to transfer to canvas these scenes, and thus allow others a glimpse of the enjoyment they have so often obtained from their contemplation. The time has notyet arrived when we'can boost of having reared an artist capable of making a name for himself in competition with thore of older countries, but we are on the way to attain it, and art has begun to make its influence felt at a much earlier stage in the Colony’s history than was the case with America, although that country can how boast of having a roll of names so well known, as Paul Severe, John Singleton Capley, Benjamin West, Gilbert Stuart, Col, John Trumbull, Alex. Anderson, Bembrandt Peale, Washington Alston, Sully, Morse, Inman, Cole, Qreenough, Powers, Johnson, White, Beard, and others—all artists of more than ordinary excellence in their various departments. We, with our limited population, and our greater distance from Europe, need not expect such a long list of painters and sculptors as our American cousins can boast of, but with ordinary facilities it may not be as extravagant hope if we are able to rear and support an artist of genins every generation. To do this, it is quite evident there will have to be galleries and museums at several centres where works may be studied, and schools whore much of the technique can be learned. At present even, we may have growing up embryo Titians and Saphaels, who may not discover the bent of their geniue until too late ; but we must console ourselves with the reflection that we could not at present support them, and thongh the world may be the poorer by a great work of art, still the practical, everyday work moat be attended to before we enter on the ambitious career of attempting to vie with older countries, where art has found a home for generations. To begin at the lowest rung of the ladder, let us note the Dunedin School of Art, out of which it is expected Otago may educate some one capable of displaying to the the magnificent scenery which aboundr in elaaosfe every nook and corner of the district). The school is carried on by Mr D. 0. Hutton and assistants, there being a ladies’ afternoon class and an evening class, attended by all who may have an ambition to learn drawing, and largely availed of by those whose future career in life will necessitate a familiarity with it, such as engineers, architects, £3. Besides carrying on this school, Mr Hutton and bis assistants are fully occupied in attending the District and High schools, where drawing lessons are given to the attending pupils. With the Christmas vacation comes an exhibition of tho work done daring the year by the pupils, and this exhibition is largely takes advantage of by parents, friends, and the general public, to inspect, and generally to admire, the works on view. This year tho exhibition was of a high order, and though there was perhaps an absence of special excellence, the work all round was very even, and reflected credit upon the worthy master. Tho exhibits were of a very varied description, ranging from an ambitious painting of Lake Wakatipu to sepia, and crayon drawings and sketches, outline drawings, drawings from models, mechanical drawings, and specimens of shading. There were even one or two sketches from life on view. Some of the outline drawings, and those from models, wore possessed of much merit, and displayed great care both upon tho part of the master and of his pupils. It is needless to describe the subjects, as they were of the usual character to be found at such schools, and it will be as well to dismiss the subject by hoping the authorities will increase tho models, and continue the good work being carried on by tho school, which is sure to repay itself hereafter a hundredfold, end certain to exercise a beneficial effect upon the position of the district in many ways in its future development and progress. Next comes the Otago Art Society, composed of a few ladies and gentlemen, lovers and followers of art, who have formed this Society with tho object of encouraging it by annual exhibitions, and also “promote the fine arts by affording, upon the principle of distribution adopted in London, Edinburgh, and other places, an opportunity for Colonial artists to dispose of such of their works ns may be exhibited at tho annual exhibition; and providing an inexpensive method for the acquisition of such works by tue public generally”—the principle of this distribution being by art union. The Art Society has now been in existence for six years, and the Council in their last yearly report are “ glad to bo able to sav that tho Society is making steady progress. 1 ’ The accounts for tho past year show that the sum of £44 odd is at the credit of the Society, and it has been decided to apply a portion of tho funds to the purchase of publications connected with art for circulation among members, such as The Art Journal, Magazine of Art, The Artist , The South Kensington, and The Great Historic Galleries of 'England, To increase the interest it is believed is felt in the progress of the Society by many persons who cannot otherwise join in the work, it is under consideration to extend tho membership of tho Society. The Society this year offers a premium of ten guineas for the best sketch or drawing from nature—landscape, figures, or still life. The selected picture is to bo the property of the Council, and will, if possible, bo copied for distribution among the members of tho Art Union. This year an attempt has been made to increase the usefulness of the Society, and the interest taken in the annual Exhibition, by inviting those who practise tile and panel painting, and photography to join. This is tho brief history of the Society, whose sixth annual Exhibition was opened ibis afternoon. To attempt to give an idea of the works on view would extend to undue limits the present article, and by deferring writing a brief ■ketch, the object will be gained of having another look at them, as a quiet study was impossible on the first day.