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

T h i s Exh i b i t i on is a combined effort o n the pa r t of the 1. R I V E R M E A D OW Blamire Young National Gallery a n d private collections t o enable the public T h i s self-taught artist never fails t o hold the interest t o see wo r t h y Australian watercolours, o f the picture-lover. O l d wo r l d figures set in mystic O u r t hank s are extended t o those public-spirited citizens surroundings, all cleverly blended b y wet methods (whose names appear in the catalogue) wh o , very kindly, have o f painting, combine t o give us usual full fare. Permitted their wo r k s o f a r t t o be seen a n d enjoyed b y all. W e 2. F A N O N S I LK T h e a Proctor trust t h a t the reception accorded this Exh i b i t i on will be such T h e name o f T h e a P r oc t o r is sufficient t o guarantee t h a t other loan Exh i b i t i on s will be arranged i n the near future. excellence of design a n d colour in her well-known E. A. F E R GU S ON , f a n designs. Its overall cool treatment is relieved by well-spaced touches o f complementary red. Ch a i rma n o f Trustees, 3. T H E E S P L ANAD E , D O V E R Chas. S. Cheston QUEENSLAND NAT IONAL A R T GALLERY (A.R.W.S.) T h e artist here preserves the delicacy o f the medium for wh i c h watercolour is so justly admired. Almost monochromatic in hue, its colour scheme is sub- ordinated t o the close value treatment of its architec- tural type o f subject. 4 , MA R T I G U E S P R O V I N C E Pu r v i s Flint Vivacity in arrangement characterises the hand l i ng of the picture. T h e colour scheme is n o t strong, b u t it will be noted t h a t a s u r r ound o f blue f o rms an interesting contrast w i t h a n almost centrally-placed area distinctly w a r m i n hue. 5. P I A Z Z A C A V O U R , G E N O A H. Rushberry (A.R.A.) A very interesting arrangement of buildings w i t h a powerful h uma n interest. T h i s picture could be classified as a watercolour drawing. Its colour scheme is restrained, b u t made brilliant b y the p l ay o f light a n d shade. 6. S I D L AW HI LLS Sir Charles Holmes A lmo s t sombre b y reason o f its dep t h o f tone, and lack o f colour, a feeling o f breadth a nd fulness of landscape is achieved t h r o u g h the artist's knowledge o f f o rm and sureness o f touch. One senses the decisiveness w i t h wh i ch the artist moulded his forms, 2 3