HE FIGHT IS ON!—MODERN ART WHIG DUE RECOGNITION

Sun (Auckland), Volume I, Issue 188, 29 October 1927, Page 24 (Supplement)

HE FIGHT IS ON!—MODERN ART WHIG DUE RECOGNITION

('Written for THE SIT iSSvSTcS'J Dui'ing tlie last few years, modern works i lave been creeping in at tlle annual exhibi- ‘ tions of the Society of Artists, ancl this year the number was nearly a third of the collection. This increase represents the most definite breakaway since Streeton Roberts and Conder held the first impressionist exhibition in Melbourne in ISB9. Although no one slit a canvas with a pen-knife, the change in the appearance of the exhibition roused considerable discussion. The show will be remembered as the most adversely criticised that has been held in Sydney for some years. Yet there were a few who remarked on the originality and vitality of the modern works and observed that they had helped to lift Australian art out of the rut of monotony. “It makes the other stuff look quite tame,” said a Melbourne visitor who saw the modern work for the first time. Influence of Cezanne The word “modern” covers all the ramifications that have followed the movement of the post impressionists. The brand in Sydney is really but moderately modern, and is connected with one branch of modern art which has already become traditional. It is not anarchistic, neither is it quite new. Its influence comes from an artist who died 20 years ago. I refer to Cezanne, who remains the strongest influence on art on the Continent to-day. Now Cezanne, who made a close study of the art of the past, never attempted to break away entirely from the old tradition. His aim was thus expressed in his own words: “I wish to make of impressionism something solid and durable like the art of the old masters.” He was revolutionary to this extent, that he made a bridge, so to speak, between the old and the new.

There is not a single original work by Cezanne in Australia, but the way he is abused by those who have never seen his pait .ings, is amazing. Among the stud ,nts at the Royal Art Society’s School in 1912 was a group which became interested in reproductions of Cezanne’s work. Two, Roland Wakelin and Roi de Mestre, subsequently went to Europe and saw the original paintings’. Another artist, Elioth Gruner, also went abroad and made a study of Cezanne’s compositions. John D. Moore and Kenneth Macqueen got in touch with the modern movement after serving in the Great War, and Margaret Preston and Vida Lahey, who were engaged in war service, had opportunities of seeing the works of different schools. All these artists, together with George W. Lambert, A.R.A., and Thea Proctor, first exhibited as a group of modern painters at the Grosvenor Galleries, Sydney, last November. Four more,

WILLIA3I MOORE) Cossington Smith. Aletta Lewis, Marjorie Smyth and Adelaide Perry, were represented with the others in the Society of Artists’ exhibition. The group is not a large one, but in Lambert, Gruner, Moore, Proctor and Preston, it includes five of the most prominent artists in the State. Now what has prompted this group to adopt a new method? Impressionism was introduced into Australia by Tom Roberts in ISSS, so it has dominated landscape painting in this country for over forty years. It has been a great period, having produced a line of painters like Streeton. Heysen. Gruner, Meldrum and Hilder. The last named died in 1916, and no one with an original outlook commensurate with his, has arisen to give a fresh impetus to the old tradition. The work by the pen of the younger men has a personal expression which gives it a certain charm, but that of the majority is tinged with the influence of one or other of the five artists I have mentioned. The result is that the long repetition of the method shows signs of wear. Subject and Treatment The conventional painter contends that the work of the modern painter is not true to nature, and the latter replies that the former has often no higher ambition than to reproduce what lies before him. Our modern life may be summed up in such words as phone, plane, radio, motor and shingle. Our way of living is altering rapidly. Has there been anything more revolutionary than

women's dress? If our mode of life is changing, is it surprising that our art should change? Some people are really alarmed. I don’t see why. The best of each school will survive all changes. One would like to see impressionism continue. Streeton and

Heysen. however, have reached h age when their work has become or less static. Meldrum has in France and no younger man hi' arisen to give the old tradition a lease of life. Gruner is in a enrim, position. He began with the old is continuing with the new; his is still fresh and original and henrl be regarded as the most distinguish*artist painting landscapes i n V* country to-day.

A Serious Profession But the painter with the stronc* influence is Lambert, whose work, mainly confined to portraits and gr 4 subjects. He has made students tv artists realise that art is a serimT profession, that slovenly painting « drawing are unpardonable. "As seas you use the accidents of watc colour to supply what you ought •• create yourself, you fail,” he 0 - told a group of students. “A godrawing tinted,” he added, ‘‘is fc more essential than a sloppy wancolour. Among students there shotlie no such words as ‘artist’ or ‘genb —do what you are told. After vou har. been through the mill, what is left ‘ you will be good ”

Of the younger men in the modegroup. the one who shows the grei est originality is Kenneth Macqaee He studied at the Slade School aftithe Armistice and now paints durin the intervals of managing his on farm at Mount Emlyn, QueensW While he is carrying out his da& duties he has ample opportunities 5' observing the light, colour and fort of earth and sky.

I think out of the conflic t over modern art definite progress will bemafr We had reached a state of comply ance when it appeared tnat there n; nothing more to be done than ton mutual admiration societies v« branches in all the suburbs. As 1* marked before, the fight is on. li there will be further commotion wka the Modern Group holds its seconds nual exhibition next November.