CANTERBURY SOCIETY OF ARTS.

Lyttelton Times, Volume LVII, Issue 6505, 2 January 1882, Page 5

CANTERBURY SOCIETY OF ARTS.

Before proceeding to notice the pictures and other works of art exhibited by this Society, it may prove of interest to our readers if wp enter shortly upon uo history, constitution and aims. It was founded in August, 1880, and is, consequently, now en-' tering upon its second year of active life. As set forth in tbe book of the laws and constitution, its avowed object was that of “ Promoting study in the Fine Arts." To this end, periodical exhibitions are to be held in Christchurch for the exposition of original works both by local members and those who should enter the lists from other parts of the Colony. What measure of success has re warded the enterprise of those gentlemen under whose auspices the Society was brought to the birth, may most easily be gleanod,from a few statistics. At the last exhibition there were 97 original works, of which 17 were oil printing. This year there are no less than 145 exhibits of original paintings, and of these 62 are in oils. It will thus be seen that a great stride has been made in the mere numbers, whilst the standard of skill displayed, which of course could not possibly proceed by such leaps and bounds, is undoubtedly higher than before. That the loan collection is this time somewhat smaller than on the first occasion' is a matter for great regret. It affords a means of comparison and education quite invaluable in a country where opportunities of studying a collection of works ,by groat artists are so very few. Of course, in years to obme, when the attractions of the principal Exhibition have become grander, the Society will be able to dispense with the supplement of a loan collection. But that day has by no means dawned. It is therefore to be hoped that no want of liberality and generosity on the part of those who are the fortunate possessors of snob works will prevent them giving the community the benefit of their riches for the short time (hat the Exhibition remains open each year. But to return to the constitution of the Society. Members are riassed as “ ordinary” or “working”; those who may in course of time be elected to membership from other societies ranking as honorary members. Election is by ballot, and the subscription for ordinary members—the drones of the artistic hive—is double that of the producers, which is half a guinea. It is incumbent upon every working member to produce evidence satisfactory to the Council that he or she is possessed of artistic ability, and everyone who succeeds in thus gaining admission to the ranks must exhbit at feast one original work during the season. What the particular pains and penalties are attaching to non-performance in this respect does not appear in the articles of constitution.

Article IX of the above says that the price of their pictures may be communicated by artists to the Secretary, “ which prices can be obtained in the room.” Now, whoever has charge of the making up of the catalogue has put this rule into more practical shape—with a view, presumably, of saving the Secretary trouble —by placing the cost of each picture immediately after the description and number. This is rather an objectionable practice. It gives a mercenary oast to the of the Society, is bad of itself. Neither does the visitor who refers to his list for the title and name of the artist who painted each particular work care to have his reflections interrupted at every turn by obtrusive figures, reminding him that he must pay ten guineas for this canvas, fifteen for that, and thirty for a third. For all purposes a separate list of prices, kept in the room for reference, would be much preferable. As to the pictures themselves. Beginning with the oil paintings, those of Mr J. Gibb, facile prin ceps in the importance and merit of his exhibits, demand, almost of right, our first attention. It is a pleasure to find that the right hand of one so long and well-known among our artists has not lost its early cunning. Few, if any, of the numerous pictures that have come from his prolific easel are more deserving of praise than (83) “ Will she weather itP ” which would win its meed of admiration in any gallery in the world. It will be a great pity if it is allowed, like tome of his other best efforts, to find its way into the hands of some wealthy Australian amateur. It should remain in the country. Born, we believe, on the shores of the Frith of Forth, Mr Gibb understands the sea in all its many moods, and the picture in question shows it. The deeply-laden old coasting yawl, close-hauled, straining and labouring through the sullen seas, the mainsaillightened over the lift of the. boom, the crew peering anxiously over the weather side at the rooks ahead—all bring the scene very forcibly and truthfully before the eye and mind. The heavy clouds rolling up before the wind are very successfully treated. His next most powerful picture is (64) “ In the Gloaming,” a scene in Milford Sound. This would rank far above the first, in our estimation, but for one defect. The artist has essayed the daring task of depicting the double light of the moon rising over the snowy mountain'tops, and the sinking sun, in different parts of his picture. The latter shines through a great rift on the left, lighting up with a delicious sunset glow on the grand mountain mass in the middle distance. It is precisely here that the painter has come to grief, while ho also displays his power. How could the light come round that corner, Mr Gibb P The view, too, is one of utter solitude and intense silence forgive the aesthetic adjectives—but the intrusive heron standing in the faulty patch of sunlit water in the foreground spoils the illusion. That taken away and the whole is a work of great beauty, and has a Dor6-esque charm that will not soon bo forgotten by those who give the piece the study it deserves. The same -amount of praise cannot be given to (8) “A Summer Breeze off Lyttelton Heads.” It is strange that the artist could paint two pictures of such unequal merits as this and the one just mentioned. Apporently ho has done his “possible" to cram as many sails into the canvas as could bo given for the money. There is direct evidence against the force of the wind being sufficient to heel his schooner over so much in the smoko of the steamer on the left. Neither is the sea a Now Zoahnd one in colouring j it resembles more a piece of water in the English Channel. In (78) “ Autumn Showers," Cashmere, Mr Gibo again shows at his beat. Whether in his careful drawing of the trees and meadowland, or in his painting of the storm-clouds big with rain, bo proves himself a true muetor of his subject, and shows that he can venture away from the realm of the sea-king with safety and success. The dull tones of the showery sky are most happily caught. Moonlight soonos are always difficult subjects to handle, and seldom result in Serfeot satisfaction either to artist or critic, lut the moonlit beach at Sumner (57) is very much bettor done than most things of its kind are as a rule. Those who have strolled there, like the lonely lady in Mr Gibb’s picture, at the witching hour, will find many of the features of their walk conjured up anew. The reflection on the waves, and the subdued tints, scarcely more than suggested, on the bold headland, are very good. Stan of the first magnitude seem to have been mere plentiful than usual that night. Otherwise the picture ia moat successful. Though we know that comparisons are odious, it is an almost involuntary act to contrast it with Mr Klmsly’s effort (76) “Shag rook" under similar conditions of time and light. Did aoaoo afford, it would be a Croat measure to

But scant notice of (93) a study on Sumner beach roust suffice. Jho colouring of the dill's and foreground is too English, and withal a trifle hard. But hii soft distances, and the snow-capped rollon tumbling' in to refreshingly upon the sand, are very effective. For the other*, hie No. 48 ie a somewhat idealised view of the well-known Shag rock, near Bumner, under the lurid light of a nor*> west sunset, and is not so successful in its dark shadows and sharp contrasts of lightand shade and atmospheric effects as might have boon expected. Bis other paintings comprise views on Lake Forsyth, off the Pilot Station, Bay of Islands. Treading iu his father’s footsteps, but with the bent of his talent developed in another direction, Mr„W. M. Bibb has sent some noteworthy portraits and crayon studies. A remarkably powerful portrait of Ur G. Morrison (81) is evidence that hi* days of study iu Melbourne have not been thrown away. The head stands out from the canvas, and in pose and expression is full of character. "An old Campaigner" (79) bears traces of ■killed and careful work. Another "Head of a Veteran ” (84), by Mrs Kohn, shows that lady to be possessed of both vigour of manipulation and the patience necessary for Serfect finish. The remainder of the younger lr Gibb’s pictures consist (12, 61, 62,90, 91) of scenes from Melbourne life—the last a newsboy; the others, studies amongst the mud and shipping of the harbour, of which, perhaps, the best is (62) "Women st Sandridge," the reflection* being particularly good. Mr T. S. Cousins is another of our veterans whose brush has been busy during the past year. Of bis five contributions we prefer his water colours to the oil paintings he has sent, though the wistful glances of his " Little Beggar ” (82) appeal very strongly to our feelings; and the soft, helpless limbs of the hungry puppy show evidences of sympathetic study of animal life. But that he is not a born naturalist may be seen from bis representation of a crayfish in (67) " A Surprise’’—almost the only piece of still life in the whole gallery. Upon the opposite side of the room may be seen the loving work of a true naturalist. The painstaking conscientious style of Mr B. W. Pereday tends to better results in (13) his “New Zealand Lepidoptera (which, by the way, have been reproduced in band-book form) than in bis “ Day ton Station ” (26) ; though this contains some good points, notably in the far-off peaks of the mountains.