GALLERY AND STUDIO.

Sun (Auckland), Volume 1, Issue 50, 21 May 1927, Page 22 (Supplement)

GALLERY AND STUDIO.

THE ARTIST IGNORED.

[Written for The Sun.] f WENT ROUND SYDNEY to see I the decorations devised in honour * of the visit of the Duke and Duchess. There was a lavish display of flags, bunting and festoons, but the scheme as a whole showed a singular lack of invention. Each side of our most spacious thoroughfare, Macquarie Street, was lined with white pillars, imposing in size, but quite* commonplace in design. The same applied to buildings. The electrician and the purveyor of bunting had evidently been asked to do what they had always done before. The one citizen who is never called in for advice on these occasions is the artist. I can imagine the objection that would be raised by the officials in charge, if it were suggested that painters should ha\e some say in the arrangements—“Oh, yes, clever fellows, but quite unmanageable/' But are they? We have always had capable organisers among our artists. The decorations for the mask balls are carried out under the direction of one artist who draws up the scheme of the decorations. It is carried out in sections by groups of painters who work well together to complete what is usually a striking but harmonious scheme. We have a School of Sculpture here; and some imposing reliefs in plaster could have been carried out under 'the direction of the master, G. Rayner Hoff. But not only art, but poetry and music should have some place in these festivals. On the present occasion the words of welcome might have been written by a poet, and the Director of the Conservatorium of Music might have relieved the formalities of some of the functions with the subdued strains of some melodic compositions. An Architect's Theory. We have an artist who occupies a unique position in the Sydney group. This is Hardy Wilson, architect, painter, writer, and a rare judge of art ancient and modern. Every few years he takes a long trip abroad; either to the East or Europe. His main object on these tours is to study at first hand the art of different countries; and to recoup his expenses he picks up antiques and pictures, which are sold after his return'to Sydney. It must not be thought from this that he is a mere collector and traveller. Behind all these enterprises there is always a definite purpose. Some years ago the art of Japan had considerable influence on the art of Europe; it affected the work of Whistler, for instance. Mr Wilson has a theory that the old art.of China will be the next big influenza, but he dreams of an architecture of the future, which will combine the best elements of the Chinese and Greek traditions. On his next trip to Europe he will not only write on the subject, but will exhibit drawings which will bear out the main points of his theory. As an architect, he has already Introduced, to a limited extent, in some structures in Sydney, new features based on his studies in this direction. His contribution to* the art of Australia consists of 100 freehand drawings and 50 measured drawings of the old colonial architecture, of New South Wales and Tasmania. The collection, which was begun in 1912, was not completed till 1922; it represents the most thorough achievement in research ever attempted by an Australian architect. Art Shows. Once upon a time, Arthur Streeton, our leading landscape painter, was glad to get £ 20 for a painting in Sydney; he Is now holding an exhibition in the Macquarie Galleries, and the sales have reached over £2OOO, while those at his exhibition held simultaneously in Melbourne are nearing the same amount. One of the best collections of posters ever seen here is now on view at Parmer’s Gallery. You musn’t say too much in a poster; its appeal should be direct. Yet it is a branch of art which gives the painter plenty of liberty in design and, when necessary, the chance to create bold schemes of colour. What was really thrilling at this show was the great diversity of the compositions and the range of the colour schemes, some delicate harmonies being in strong contrast to those wtiich hit you straight in the eye. At the annual exhibition of the Australian Water Colour Institute, at' the Education Department’s Gallery, the strongest effects in colour were observed in the Italian landscapes sent out by Maud Sherwood, of Wellington. She- is too liberal at times, but where so many are hedging behind the motto, “Safety first,” one admires the courage of an artist who so freely attacks her subjects. Christchurch Artist. Another New Zealand artist represented in this exhibition was Cedric Savage, who showed one Dominion subject, a snow scene, and two impressions of Sydney Harbour. He has a good sense of colour and a forced mqthod of painting which at once attracts your attention, and his future development will be watched with much interest. Born in Christchurch 26 years ago, he was educated at the Waltham School, and studied at the Canterbury College School of Art, under Archibald P. Nicoll, for about five years. During this period he was appointed to carry out the modelling required for the new Houses of Parliament, Wellington, and for a time he occupied a small hut up in the Otira Gorge, where he painted a number of subjects. Coming to Sydney not long ago, he was fortunate enough to secure a good position as a modeller with a well-known firm, and in his spare time he has painted a good deal along the harbour, at the Blue Mountains, and in the old town of Cobbity. He has exhibited with the Younger Group of Australian Painters, the Royal Art Society, and the Society of Artists. A good record for a young artist. Historical and Scientific. The majority of the early paintings in Australia have little artistic interest, but as topographical pictures they have considerable value as historical records. Where should such works be placed? Wherever hung, they should be kept separate from genuine works of art. The trustees of the Art Gallery and Public Library, Melbourne, have decided to adopt the wise course of forming an historical collection, which will consist of the majority of the early views of Melbourne, which have hitherto been hung in the Art Gallery. The collection will eventually occupy a room in the Public Library. Then there a-e the drawings and paintings of the flora

an*d fauna of a country. In some instances these have mainly a scientific interest, and their place is in a museum. On Captain Cook’s vessels there were usually two artists, the pictorial painter and the scientific draughtsman. Here the distinction between the two was clearly marked. The drawings of the latter are of great importance to scientists; but when it comes to pictures of animals and flowers, which have to be considered from the artistic point of view, one prefers the impressions of cattle by Troyon and the wonderful studies of flowers by Fantin-Latour. Canadian Art.

There is no doubt that tfie art of the Canadians at the British Empire Exhibition made a greater impression than that of any of the Dominions. The recognition received abroad has now prompted Canadians to take much more interest in the work of their own artists. In the latest report of the Trustees of the National Gallery of Canada, it is remarked that; “As hitherto a very large proportion of all works of art acquired by Canadians have been foreign, and the bulk of all commercial designs has also come from abroad, with a vigour that is worthy of all possible encouragement, Canadian artists have set themselves to combat this anomaly and already great inroads have been made on the conditions, which were a credit to no one. The more enlight ened of the Canadian art dealers are beginning to hold more exhibitions by Canadian artists and to succeed ir. popularising their works. So we can see a most wholesome and vigorous Canadian art development taking place, which is of the utmost value to the country, and which, if further encouraged, will permeate and in spire the whole national artistic utter ance, painting, sculpture, poetry, and music.” WILLIAM MOORE. Sydney.