SAM CAIRNCROSS

New Zealand Listener, Volume 21, Issue 524, 8 July 1949, Page 5

SAM CAIRNCROSS

Sir-It is regrettable that your correspondents who criticise the work of Sam Cairncross should do so on inadequate reproductions instead .of originals?" the camera at the best is a poor medium through which to assess the work of an artist. For instance, judging ftom photographs of Mr. Schoon’s work one gathers that he’is merely an illustrator, whereas if one were to see his canvases he might be considered as a member of the more dignified group of artists, The pontifical judgments of .your correspondents under the circumstances are more distressing than the cheap art that clutters the walls of our academies. The extent to which Cairncross merits our serious attention was, I think, displayed at the recent private exhibition of his work held in Wellington. The composition of "On the Hooks" destroys the superficial resemblance to Rembrandt’s "Flayed Ox," and is an important piece of work, It puts the backbone of New Zealand on canvas for the first time. A more effective production as a work of art, in my opinion, is the "Dead Rabbit," which, for conception, composition and vitality, reaches a standard not previously attained by our artists, That Soutine has handled the same subject in no way detracts from Cairncross’s effort. In fact, observers who have seen the work of the European artist consider Sam’s equally good. I can only say I find it completely satisfying. ake other canvases at the exhibition ow that Sent moved a long way his 1947 a and indicate that he is still developing: One, "Haining Str.," captures all "the ugliness of a disappearing Wellington sore spot. "And he does so without the slick amateuri ness of the local academicians. The second, a still life has much of the solidity. of Cezanne with a control over his technique that makes for convincing work, Important as his work in oils is, it is possible that in his drawings the artist displays the individuality and genius

that will make his work live. The outstanding drawing of the exhibition, in my opinion, was that of a "Chinese Girl." Most of Cairncross’s contemporaries have tried their hand at Chinese subjects; but he has done more than dabble in the exotic. He has succeeded in giving us a personality in which femininity.and strength combine to give an ageless quality to the drawing and make it a completely satisfying experience. That is the quality of "great art." This is characteristic of his best work in crayon; it is also present in his oils, and is a justification for regarding Sam Cairncross as the most promising artist vet to appear in New Zealand.

RODERICK

MACIVOR

(Wellington)