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Studio New Zealand Edition April 1948

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Studio New Zealand Edition April 1948 i STUDIO-. , AND QUEENS- Founded in 1893 Vol 135 No &,I FROM HENRY VIII TO April 1948 -'- - RECENT IMPORTANT ' ARTICLES .. PAUL NASH 1889-1946 . Foreword by the Rt. Hon. ~gterFraser, C.H., P.C., M.P., (March) # ' - Prime Minister of New Zealand page IOI THE HERITAGE OF ART W INDl+, Contemporary Art in New Zealand by Roland Hipkins page Ioa by John Irwin I. 11 AND m New Zealand War Artists page 121 .. (~ecember,]anuary and February) - - Maori Art by W. J. Phillipps page 123 ' '-- I, JAMBS BAT- AU Architecture in New Zealand by Cedric Firth page 126 Book Production in New zealand page 130 - I, CITY OF BIRMINGW~~ ART GALLB&Y nb I by Trenchard Cox ..-- COLOUR PLA,"S . [Dctober) -7- SWSCVLPTwRB IN TEE HOME - WAXMANGUby Alice F. Whyte page 102 -- 1, -L by Kmeth Romney Towndrow -7 - STILL LIFE by T. A. McCormack page 103 (&ptember) ODE TO AUTUMN by A. Lois White page 106 NORWCH CASTLE MUSgUM -. AND ART GALLERY - PORTRAIT OF ARTIST'S WEB by M. T. Woollaston page 107 V. - by G. Barnard , ABSTRACT-SOFT'STONE WkTH WORN SHELL AND WOOD - L (August) - - by Eric Lee Johnson page I 17 1 -*, 8 I20 ~wyrightin works rernohcd in - HGURB COMPOSITION by Johtl Weeks page TH~snn,ro is stridty rewed ' 'L PATROL, VBUA LAVBLLA, I OCTOBER, 1943, by J. Bowkett Coe page 121 . m EDITOR is always glad to consfder proposals for SVBSCBIPTION Bdm (post free) 30s. Bound volume d be s&t to ,SmIO in edftorial contrlbutlons, but a letter out&& the (six issues) 17s 61 Caaads. bperlal News Com- tesWme to advertisers' atlllou~cements,but should : nature of the proposal, accompanied, where pos- pany. USA. The Studio Publications Itlc.. 381 be addregKd direct to the advertiser. While em '' '-*' - Bible, by photographs of the illustrations suggested Fourth Avenue. New York City. $6.00. A sub- precautiofl b taken, the PtoWietors of Tan STUDIO ' ' .- h admble in the first btance to avoid urine Scription Ithe best way of ensuring continuity. cannot acf& r6seoflsibility for services or offers *dtseppollar CMghal works bf art should not but my change of addma must be notiBed at least ccmaimd in o ad~&ment ~PP- in the* :;k be seat w&thoua omthe appmval of the four weeks before publicati~~~ columns, or far loss of or damage to atly msteMal - mwr. smtnay ~deffdagh sent &I rdspome to adMtk-' amOUBE+mentb , , For the purpoSes of reproduciion. glossy Poto- newswent or buolmUer tlnou&out the world, or gagbsacepteferable, and contributors are reminded dire* in case of di5ntlW. CONDITIONS OP SALB AND SUPPLY % periodical that tlae appeurance of good objects can be WT A~~TISBM~Mm Advertken are remlnded is sold subject to the follow@? conditloos : That it of t.ldaed by poor photomphy. that the readers Tan Smlo are cultured people shall not, without the written consent of the pub- interested ia products of all kinds which ace of Ushm first given, be lent, resold, Mted out or othn- No respodbllit~of any klnd can be accepted for iesthetic value. mtes for Dglay Advertking may wipe disposed of by way of Trade except at the tall 10s of or dama~eto material of any ddtion. be obtained on application to the Adverfketacnt price of Two Shillings and SWem?; and that nor for loss or damasc to meai%kles. Manager, The Studio Ltd., 66 Chandos Place, it shall not be lent, resold, hlred out or otherraise The sender's name and addma should be clearlJl London. Wca 'Temple Bar 191s). disWxd of in a mutilated condltl~~~or in any marked on the back of each photograph or origiaal MlsecUilll~us advertisements, which must be ullauthorfied cover by way of Trade : or atbed td mbmtt8e.d for nparoval and be acWmparded by prepaid, wt for the Brst 30 words and qd per won3 or as part of any publicatign or advertlstog, literary I THE ART OF NEW ZEALAND FORETWORI, the RT. HON. PETER FRASER, C.H., P.C., M.P., Prime Minister of New Zealand E who said "Where there is no vision the people perish" spoke wisely, for the life of man must not be wholly material. HWe have all, I think, learned in the last decade the great importance of social and political vision, and we have seen how much we owe to the vision of those men we think of as great. Now, in this important time of post-war settlement, we are trying to rebuild our civilization on the basis of United Nations, and that is a vision we must all most earnestly strive to make a reality. There is also the vision and inspiration of the artist, and that is essential to every community. The work of the artist enriches our everyday lives and should inspire us to stand by the ideals of freedom and justice without which our civilization will collapse and crumble away. We in New Zealand have endeavoured to follow a tradition in the political and social sphere which we may claim to be based on a vision of liberty and equality. And now, although New Zealand is a small country, we are beginning to learn the value of the artist's vision. For I doubt whether in the history of this country there has ever been such an intense and lively interest taken in matters of art as in the last few years. Our lives are becoming increasingly'enriched by New Zealand artists working here in our own land. I thank The Studio wholeheartedly for its interest in New Zealand art, and I recommend these articles and pictures to our fellow citizens in the British Commonwealth who feel, as I do, that art, in the pro- foundest sense, is common wealth. Prime Minister The Editor desires to express hisgratitude to the Right Hon. Peter Fraser, C.H., P.C.,M.P.,for his Foreword; to Mr. J. W. Heenan, Under Secretary, and Dr.]. C. Beglehole, ofthe Departwent of Internal Afairs, who were responsihlrfbr collectivlg the marerial: to Mrs. McInmsh .fir her preliminary liaison work in connection with the iswe; to Mr. S. Williams, thartist, whose orwrznl deskn could not, far technical reasnns, be usedfor the cover, but whose ideas have been embodied in it; and to all authors adanists who have contribtrtcd to Ais nurttber. T--,[ - CONTEMPORARY ART IN NEW ZEALAND By Roland Hipkins URING the greater part of New Zealand's hundred certainly, than in the social and economic spheres. The of British settlement, sentiments for the interest and appreciation of the mass are, however, still "Homeland"DYm so dected the heart and mind, and indeed so strongly conservative that aspects of art now considered the physical vision, that painters interpreted the new and "modem" in New Zedand would be regarded as con- strange in the antipodean environment in terms of the old ventional even in the sister Dominions. This is due to some and f& features of the European scene. Few of our extent to the scattered, non-metropolitan nature of a pop- early artists realized the unique possibilities of this new ulation of a million and a half; but even in the four main land. Since the 1914-18 war, however, there has been cities, Auckland and Wellington in the North Island and considerable zesthetic development and a greater awareness Christchurch and Dunedin in the South Island, both of the rich visual stimuli of a country felt as native. To-day, achievement and critics judgment vary so considerably New Zealanders are more conscious than they have been that: what is acceptable in one place often fails to find equal of cultural values. They are displaying a more critical acceptance in another. attitude, and are aware of contemporary trends in art and ~Lforecommenting on the work of pHinters who have art education, though progress has been much slower, captured something of the contemporary spirit, and whose T. A. MCCORMACK. Still LC. Watersolour. (Cotledon of the Hon. F. E. Gumming-Bwe) RITA COOK. CWfdlOtagO 1 work may be little' Emown or appreciated outside their A. P. Nicoll, a more traditional painter, has always had own district, mention may be made of the established his roots firmly set in New Zealand. There is a feeling of artists who receive general recognidon. substantial Bct about all his work The pleasant colour and The most notable of these is Sydney L. Thompson, whose sWd control of tonal values in his landscapes indicate a Me has been entirely devoted to painting. He spent several, more ssthetic approach than is evident in the fiank redim years studying in Lqpdorr and,Paris, and settled m Brit- of his portraits. tany, painting mostly around Concarneau. Impressionism The landscapes and figure subjects of H. Linley Richard- claimed him and dominated his approach to nature. Mer son also depend on tonal qualities bur with greater force of submitti~ghimself to the scientific discipline of the French draughtamanship and colour. He was an accomplished luminks, he gradually developed a personal style, spon- artist in Britain, and a member of the Royal Society of taneously painting in broad masses. Essentially a colourist, British Artists, before senling in New Z4an.d nearly forty he juxtaposes subtle and varying hues to produce errhilarat- pears ago. His most interesting contributiom are his por- ing effects of light and colour. In approaching nature he trait drawings and paintings of Maoris. He lived, at times, seems always to catch it on the wing. He is mainly con- among these people and acknowledges their gracious cerned wid the purely visual aspects of mNre and &re Giendliness in our omday. But he was more interested in is littk evidence of the impact of post-impressionism.
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