Summer exhibition of watercolours from the Queensland National Art Gallery and private collections in Queensland

35 . M I S T Y MO R N I N G A N D F LOWER S K i n d l y l e n t b y E. S. Co : nwa11 , Esq. Mur i e l Medworth 4 0 . ABOR I G I NAL G I RL B. E. Minus Delicacy in almost a p r i n t style. On e senses an I f the great contribution o f Heysen has been the oriental touch in the composition and appreciates the deification o f the g um tree, then Mi n n s mu s t be artistry a nd skill used. regarded as the "apostle o f the Australian Aborigine.' 36 . T H E F I SH I NG SMACK G. C . Chambe r s His ma n y studies o f the Aborigine have b r o u g h t him fame, and this s t udy o f an "Aborigine Gi r l " is rich Ea r l y watercolour treatment, b u t none the less effec- in artistic treatment. tive in charactericing the scene. On e sees the value of careful observation o n the artist's part. K i n d l y l en t b y E. S. C o r nw a l l , Esq. 37. ' N O O N D A Y S HA DOWS V i d a Lahey Into- the-light subjects have always been popular. 4 1 . W A N N O N BR I DGE M a x Ragless J u s t l y so, as this superb piece o f wo r k by Vida Lahey I n the steps o f the masters of Australian watercolour exemplifies. T h e artist uses brevity in treatment, walks Ma x Ragless. Perhaps n o painter has h a d as w i t h a ma x i mum of expression. ma n y bouquets f r om the critics in recent years for his wo r k as Ragless. His design is bold; his colour sense K i n d l y lent b y E . S. C o r nw a l l , Es q . sure; his wo r k produces t h a t result sought b y a l l a wo r k o f art." 38. S HE E P Han s Heysen " T h e great contribution o f Heysen t o our landscape is draftsmanship and masterful watercolour, in wh i ch K i n d l y l en t b y D r . H . 8 , McLelland the g um tree figures as god o f the machine. His 4 2 . I N T E R I OR En i d Cambridge passion for the tree has been untiring. He has painted T o her wo r k En i d Cambridge brings a n ew approach i t in every light and season, f r om delicate sapling t o and a feeling o f atmosphere. " I n t e r i o r " is a n essay in the twisted t r unk s of the desert, and always w i t h watercolour, which, seen at a glance, is as expressive research of r h y t hm, g r owt h , weight and light. He as it is pleasing t o the eye and intellect. has excelled in ma ny genres, w i t h the flower piece as w i t h the life of the farm, b u t his peculiar distinction lies in the mastery of the g um . " (Sir Lionel Lindsay) Ki nd l y l en t b y D r . C . Taylor 43 . T H E POOL J . J . Hilder K i n d l y l e n t b y E. S. C o r nw a l l , Esq. T h i s Queensland painter lacked the opportunities that 39 . C L O U D A N D R A I N M . J . Ma c n a l l y are at the doo r o f students in Britain and the Con- I n watercolour painting in Australia, M. J . Macnally tinent, b u t his wo r k reveals t h a t he f ound a path has played an impo r t an t part. Early in his career he t h r ough the forests o f d o u b t and difficulty t h a t beset became a master in the expression o f mood in paint, h i m in his short life. Hilder has carved a niche for Hi s subtle handling o f colour and his b r ush skill were himself in the public a nd private art galleries o f our passed o n b y h im to ma n y young painte;s, and Aus- land, and this wo r k , ' ' T h e Pool,'' permits us to tralian watercolour aft was enriched thereby. appreciate once more his subtle art. - 8 9