PUBLIC OPINION AND MODERN ART

New Zealand Listener, Volume 15, Issue 386, 15 November 1946, Page 5

PUBLIC OPINION AND MODERN ART

Sir,-The article by Arthur C. Hipwell in a recent issue on the Exhibition of the Rutland Group, and his contention that sales at exhibitions are largely of the wrong type of picture has led me to write this letter. The public in buying pictures take those which they like and no one can blame them for purchasing those which they will have most, pleasure in beholding day after day on their walls, The pictures painted by. artists for their own satisfaction cannot necessarily be expected to be to the satisfaction of the average purchaser. Here the artist must choose between the chance of sales and the pursuit of his own ideals and expression in art. The pictures. illustrated in The Listener are in themselves the ° answer to their supposed (drawing an

assumption from Mr. Hipwell’s opening paragraph) lack of salability. The modern style of broad washes boldly painted does not lend itself to the modern dwelling. Such paintings require, to be seen at their best, a distance perspective of around 20 feet. The modern dwelling, especially the State. house, allows of only one of ten feet with one’s back against the far wall. Hence the popularity of the small etching in the modern home, Large masses of colour may be very well in a gallery, but New Zealand’s few galleries cannot supply a large market. If sales are wanted some scaling-down in the size of the paint blobs is indicated. Far too many presentday artists strip their subject matter to the bare bones, bones often distorted by the crooked turnings of their subconscious mind or whatever else it is which‘ dictates their approach to their art. Such efforts may be triumphs for

the artist and tragedies for the purchaser. Our public may lack apprfeciation in the finer points and in its approach to art appreciation, but it will be a sad day when we accept present-day offerings as the ultimate. Photography allows of artistic expression in composition and lighting arrangements, but painting through individual brushwork, inspired by mental attitude, allows of greater expression of personality. In the subtle expression of the feeling or the subconscious outlook holding him at the moment the artist expresses and imprints his own personality on a picture. Here lies his advantage over the photographer. It is in abuse of this factor that the modern school of art falls foul of public taste, Like the modern novelist, they leave nothing to the imagination and their presentation savours too much of the fiesh, insufficiently of the spirit, Here in New Zealand we have every chance to, and should, develop an art expression characteristic of our people and country, free from the cankers of older expressions, perverted in modern times. There is much room for development in art expression, but little room for exploration in lower or decadent forms. Art forms demand beauty and the expression of the spirit if they are to retain the description of art. So if our artists must imitate foreign folly let their success or lack therein be their reward or punishment.

BROWN SABLE

(Ohakune

(This letter has been abridged-Ed.) _