New Zealand Academy of Fine Arts.

Progress, Volume XV, Issue 2, 1 October 1919, Page 615

New Zealand Academy of Fine Arts.

By “MARCUS ANTONIUS."

It is said that the true value of art does not come out in segregation, but in comparison. We venture to say that this is an anomaly, and whatever meaning is adduced from it, it has its limits.. For instance, it is with pleasure we are able to note that in taking very drastic measures in the rejection of

a large percentage of works sent in for exhibition, the hanging committee, of this society at the exhibition which was opened to the public on October 3rd have done a great service, which should find honest appreciation with the layman and the artist alike. For,, hitherto it has been the practice of the various societies of this Dominion to exhibit almost all and everything that has been offering for exhibition. A procedure which to our way of thinking belies their status. The raison d'etre of an Art Society is fundamentally an educational one. In order to be successful in that respect it is primarily essential that a Hanging Committee should truly appreciate . the responsibility of their duties, be it to the artist or the attending patrons. We have been informed that the number of “rejects” on this occasion total close on

ANNUAL EXHIBITION.

130, We anticipate that there has been much disappointment to would-be aspirants for exhibition honours, not to mention heartburning and, in some cases a feeling of injustice. This weeding out of illegitimates is a step in the right direction. It assists the general public to discern the legitimate attempts in the portrayal of nature as compared with the dilletante, the potboiler and the mere tyro. To the latter it should act as a spur far higher achievement to be attained by deeper and more conscientious study. We make the last statement “advisedly,’! for

amongst such rejects are always to be found signs of talent which only need being led in the right direction. Of all careers, that of a successful artist needs the greatest amount of diligent patience and striving for. We cannot say that the exhibition is entirely free of all that is undesirable. As will be seen by ournotes we have had to condemn exhibits from some of those who in art circles and elsewhere are meritoriously quoted, and who for the sake of such good reputations would have been well advised to have withheld this or that example of their talents from public gaze. The greatest amount of interest will centre airound Mr. A. F. Nicolls’ portrait of the Chief Justice, Sir Robert Stout. This is the most noteworthy portraiture work we have seen from the brush of Mr. Nicolls. It presents an excellent likeness, is

a virulent piece of painting personifying that tranquil dignity which one characteristically associates with the functions of justice. -We are of the opinion that a little livelier colouring of the flesh would have further enhanced the general excellence thereof. Mr. Nicoll also exhibits some excellent landscapes. The two Oriental subjects “Ismalia” (260) and “The Mosque in the Fields” (258) are both very charming, beautiful in quality and, decorative treatment. “Afterglow, Richmond Bridge” (257) extremely picturesque, is striking for boldness in conception and handling. Mr. Harley Griffiths is a portrait painter of very distinctive, qualities. Special attention ( will be drawn to his full length portrait occupying the centre position in the Gallery. The head painted in a very convincing manner is strongly reminiscent of the teachings of Velasquez. The

general impression is somewhat marred by the heavy drawing of the arm and the formless handling of the lower part of the gown,. Of the other exhibits of this artist No. 300 pleases us most, whilst we find in the remainder a rather monotonous treatment in the brown monotone adopted. A self-portrait of the artist is very fluent and facile in its expression. It is to be regretted that we are not afforded the opportunity of seeing more of Mr. Griffith’s landscape work. His “Silverstream” (292) painted in nice subdued effect is very much to be admired for its general treatment. Of the portraits shewn by Mr. W. A. Bowring we cannot express enthusiasm.- We believe this artist to be capable of better work. They may all attain a degree of likeness, but they lack that anatomical delineation which is a sine, qua non of the efficient portrait painter- His best is No. 331, Captain Hall Thompson, R.N. The head is not sufficient- ( . . * . ■ ■ *

ly convincing in character. Apparently an undue amount of attention has been given to the naval uniform. Again the same faults are to be found with No. 328, a portrait of the late Mr. Hamilton Gilmer the painting of the head being almost a secondary phase of the composition. Mr. Bowring would have used wise discretion in withholding No. 327 from exhibition, Notably bad draughtsmanship and the bizarre nature of the colouring irather suggest the cheap colour production. Mrs. E. R. Tripe sho\vs very appreciative and interesting examples, of her art. Of particular interest to patrons of the exhibition is No. 339, “The Guardian of the Gallery,” a very sincere piece of work. No. 340, '“Disenchanted,” shews some good powerful work, but needs further treatment. “Elaine” (341) is a very charming three-quarter portrait of a lady in dainty gown. The light and airy handling with the bright and clear flesh tints make a most effective picture. Mr. E.

Killick shews a couple of landscapes rendered in a flat and uninteresting manner. No. 307 is the better of the two but is as dead in chiaroscuro as its fellow. Mr. A. Bender exhibits two bright pieces of local colour. “Near Island Bay” (323) and “Coastline, Wellington (326). They are accompanied by two or three colour sketches which are too vague to be of any note. The late Mr. E. G. Hood is represented by a large woodland landscape, “A Pastoral,” No. 334. It is in places unfinished which fact, nevertheless, is not so obtrusive as to lessen the pleasant impression to be derived. The atmosphere and planes are very well rendered. A small painting “Sunshine and Shadow” (344) by Dorothy Turner is true to title. The sunlight striking the woodland path is handled in effective manner. Miss D. C. Dobie in No. 347 “Pioneers,” presents an inspiration deserving of better results. - The strong sunlight effect is unrealis-

tically cold and vivid as contrasted with the hehvy tones of the background. The white horse and the sheep dog are stodgy a great extent to the technique adopted, which in places is not consistent. There is a lack of large canvasses on view, but foremost amongst those of important size is “Evening Glow” (366) by Grace Butler. Executed in oil pastels, it is to be highly commended for its effective and harmonious colouring. The lingering shades of a very hot day are defined with great ireality in the misty atmosphere enclosing the setting sun. Four other small paintings by Miss Butler are all of the same very commendable quality., Mr. Menzies Gibb shews two landscapes and a seascape. Though small in dimensions they aire of the usual attractive and pleasing qualities associated with the work of this artist. “The Lower Avon (241) decorative in style lias been handled in a most facile manner. “Evening

—New Brighton,” of a sombre hue and gives a vivid and realistic impression of the last flash of sunlight before the oncoming of night. “Moonlight” (282) is a velry effective study of sea and sky full of movement and painted with studied effect. Mrs. Elizabeth Kelly is not represented by canvasses of her usual good standard. “Childhood” (244) is painted in a sickly flesh tint, and for that reason alone is not pleasant to look upon. We are also unable to find favour with “The Birthday” (245). With the exception of a well painted airm and hand, the general effect is hard and chiselled. Miss Mina Arndt exhibits another of her excellent studies of still life. “The Green Parrot” (251), rich and.decorative in treatment, is a worthy example. Mr. W. S. Wanchop gives us “Evening in the Otira Valley” with good atmospheric effect, “West Coast Road” is smeary and vague in the definition of a road which appar-

ently leads nowhere. Two very appreciable pictures by Mr. F. Sedgwick are “Willow Trees, Evening” (265), and “A Summer Pastoral” (267). His other exhibits, though, do not come up to the good standard otherwise displayed. Mr. J. A. Heginbotham has on view two admirable pictures of the locality around Evans Bay (272 and 815). With the distance effects well handled, they aire true to the bright and breezy conditions they depict. In “A Seascape” by W. Tiller we find one of the gems of the exhibition. Clever and ingenious, it is compelling in attention. The mystic atmosphere of the sea at eventide is here well contained in a harmony of subdued colouring. The water colours are more marked by quantity than quality. A more appreciable display would have been attained by a greater sifting out of “undesirables.” The offerings of Messrs A. Nicoll, Nugent Welch, E. Atkinson and W. R. Johnson in . themselves are all sufficient for a most enjoyable display of the water colour art. They consist of subjects brought back from the Western Front and the North Sea, of which the sixteen sketches by Mr. Nugent Welch, loaned to the Gallery by the New Zealand Government, form the more important part. Amongst,other noteworthy examples, those of M. 0. Stoddart and U. K. Richmond are the most outstanding. A The manner in which the exhibits in the water colour gallery are hung does not tend to assist in the great enjoyment to be derived in discerning and viewing the best it contains. A prolonged visit thereto gives one the impression of a visit to a jumble sale, a. hunt for prizes with a resultant headache.