ART IN WESTLAND
Sir,-There are several points in your article "Art in Westland" which I would like to take up with Mr. Woollaston. First, he states that "Nature is not something to be used in place of vision." If he means that one should refrain from reproducing faithfully every blade of grass or rusty garbage tin in a scene taken from Nature, then I am in complete agreement. If, however, he means that the presence of the garbage tin justifies the deliberate distortion of natural ob-
jects, then I am, most emphatically, not with him. If good drawing, as well as good painting, is unnecessary in a work of art, it would be much better to ignore form completely. As a case in _ point, the reproduction of "Greymouth with Tower" is suggestive of nothing but the results of a major earthquake. While the colour treatment may be admirable, the giving of "a local habitation and a name" to such a work causes. such distraction and annoyance to those familiar with the subject that the possible virtues are overlooked : The explanation of his "construction of space" also calls for some amplification. The meaning of the phrase, "movement and tension relations between ' planes and volumes" is, to put it mildly, obscure. If an explanation: is thought to be necessary, then at least some attempt should be made to give it in simple language. As it is, one is left wondering if Mr. Woollaston knows what he means. If Mr. Woollaston can be persuaded to clarify some of the points mentioned above, for the benefit of Philistines and laymen, I am sure that his remarks will be read with interest, jndigey >
A. G.
RICHARDS
(Wellington).
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New Zealand Listener, Volume 30, Issue 764, 12 March 1954, Page 5
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282ART IN WESTLAND New Zealand Listener, Volume 30, Issue 764, 12 March 1954, Page 5
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