The Rutland Group

New Zealand Listener, Volume 15, Issue 379, 27 September 1946, Page 8

The Rutland Group

|| Written for "The Listener’ ||

by

ARTHUR

C.

HIPWELL |

HAVE observed that the little red spots which denote sales at our art exhibitions usually break out in the wrong places and have come to the conclusion that public support. of art in this country is in inverse ratio to the real ability of the artist. New Zealand painting includes a large number of popular performers who have applied themselves closely to the development of technical devices. They succeed only in impressing one as having laboured for years to be able to do the trick. Nevertheless, they have acquired for themselves a recognition withheld from a number of our more gifted painters. This misjudged patronage has stimulated the growth of a species of little parochialisms in paint which are sponsored and maintained for apparently no other reason than to preserve an established market. These clichés are of no importance to the art of this Dominion. There is @ great difference between pictures. painted for exhibition and paintings by artists who are expressing themselves with perception and feeling. It is refreshing, therefore, fo see the work of painters who are inspired by sincere purpose and who fearlessly pursue their aspirations without affectation or pretence, It is this spirit which animates a flumber of Auckland painters known as the Rutland Group. I would not hesitate to say that it is the most vital art group in the Dominion. It is’ alive with the exuberance of painters who delight to use their brushes for frank and personal statement, but never at the expense of sound and enduring qualities. The work at the Group’s annual exhibition, showing at the ,rooms of the Auckland Society of Arts, is particularly good. I have seen few exhibitions attain such a uniformly high Pe: Re 3 eo level. Eee ome

[tT is a point strongly in favour of smaller art groups that, with the painters working in close association, they are able to adopt methods not applicable to larger societies. Practically all the exhibits in this show had been through the mill of open criticism at studio gatherings of the Group, a procedure which disperses false values, stimulates selfcriticism and inspires confidence in the ultimate choice of work submitted for public exhibition. The present exhibition consists of over 100 works-oils, watercolours and an interesting collection of drawings. I was glad to see the drawings. Nothing so clearly reveals an artist's abilities. A rule made by the Rutland Group stipulates that each member

must submit drawings for exhibition. The value of this wise condition is reflected in sound draughtsmanship throughout the show, It puzzles me why distinctions are made between mediums, A curious_assumption is abroad that an oil painting possesses some inherent superiority over a water-colour and that a drawing is inferior to them both-a kind of preliminary canter as it were-quite unworthy to exist in its own right.:I can subscribe to no such class-distinction. A good drawing may exercise an appeal and have a value in excess of many ambitious essays in colour. The drawings considerably enhance interest in the Rutland Group’s show, especially the sensitive yet solidly-constructed figure study, "Girl Reclining," by H. E. Read, the head studies in pencil by Margaret Thompson, and "Cat and Three Kittens," an expressive drawing by Joan Lillicrap. Bs % % HE strength, directness and: individuality of the water-colours is impressive. Here there are no caressed and purring landscapes, but bold, broad impressions swept’ in with a powerful brush; no summer vacationist views, but subjects which have caught and held the artists’ imagination. Helen Brown’s group of dilapidated buildings, "Deserted Corner," conveys all the feeling of decay and neglect in these old wooden struc(continued on next page) oS ee ae SP reas La (-f el

(continued from previous page) tures. "Trees in Autumn" by the same artist shows to the full her admirable sensitivity and ability to combine fine tone with fine colour. It is an excellent painting possessing high aesthetic merit. "Stone Crusher, Milford," by Bessie Christie, is a work of unusual power. Rendered in deep reds and browns it is a massive "building-up" of intriguing shapes painted with a force which reveals unexpected possibilities in the handling of water-colour without straining the medium. Miss Christie has introduced a topical note in her picture, "Fire Behind Sawmill, Te Whaiti." The heavy smoke billows up in terrifying manner against a red glow behind the hills; the mill in the foreground is obviously in danger; small figures stand by in helpless apprehension. However, the main appeal in this painting lies not in its literary reference, but in the manner in which subject-matter has been welded into well-balanced composition, pleasing distribution of shapes and well-organised colour masses. The painting has depth, feeling, and spontaneity. Alison Pickmere shows a very sincere approach in a scene on the Taupo road, "Pumice Country." Drawing, colour and tone are unified in a most expressive manner. Other painters who have made outstanding contributions to this section are Joan Edwards, Jocelyn Harrison-Smith, Olivia Spencer-Bower and May Gilbert. They show the same respect for sound qualities: good draughtsmanship, firm design, correct tone and colour relationships, and a pleasing freedom of execution. % % * N the oil paintings the main emphasis is on the development of design and compositional balance, allied with rich tonal values and fine colour. The unity achieved in these paintings is an important aspect. Subject-matter has been chosen which holds an aesthetic appeal, or’ maybe there is not so great a difference in subject-matter, but it looks different because it has been viewed aesthetically. The artistic conscience dominates these works. A vitality of individual expression helps to overcome the one prevailing note; the paintings are mainly keyed to the lower end of the tonal scale. Although this gives scope for the exercise of gloriously rich colour, it imparts an air of similarity to the work. Closer observation soon dispels this impression, but some gayer or more sparkling colour would have brightened up the main wall. _ Alison Pickmere’s work in oils is outstanding. Her "Head of Girl" is a sensitive painting, delicately and expressively modelled. In "Painters at Windows" she has successfuliy overcome a very difficult problem. The painting depicts the interior of a city office undergoing renovations. Two workmen are shown against the light. Through the windows is seen portion of a large building across the street. The transition in tone from the dimmer light of the interior to the sunlit building opposite is remarkably well done. By accurate tone. painting the illusion of looking through glass. is perfectly represented. Jean Farquhar, who, recently returned from several years’ study overseas, exhibits a portrait head, "Miss Passmore," which shows the influence of French

neo-impressionist painting. It has appealing colour, Dorothy Morton has made excellent advances and scores a distinct success with a still life, "Fruit and Flowers Study," a very pleasing arrangement in warm grey tones. I liked the solid quality of painting in all sher exhihits. "Rimini, Italy," by Jack Crippen is a strongly designed composition. From battered buildings in this warravaged town he found a motive for the interplay of rich colour harmonies. Vida. Steinert, Joan Lillicrap, and Margaret Thompson possess strongly individual styles expressed mainly in broad, simplified treatment, rhythmic pattern and distinctive colour. A unique exhibit is the painting of a figure group by Joan Edwards in the form of a design for a stained glass window. The pattern is reduced to very simple terms and mist effective use is made of heavy black lines in. building up the basic design. * * * HE above indicates the main characteristics of the work of the Rutland Group. They are a younger group of painters who have considerable resources of the craft at their command and are searching for an art language most appropriate to contemporary conditions. Their achievements should not be underestimated. These painters have already set a standard and a direction of importance to the art of this country.