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

22 . F I SH I NG B O A T S BR I S BANE R I V E R J . Wi eneke 28 . WE S T E R L Y W I N D S O V E R M O N A VALE A typical scene b y the Brisbane fish market. T h o u - Ru f u s Morris sands o f Brisbane-ites daily pass this po i n t on their Watercolour lends itself readily t o the registering of w a y across Victoria Bridge. T h e artist has a lower impressions. Wi n d swe p t clouds, cool hues, with vantage point, a nd this makes the most o f its interest- superimposed staccato touches justify the title. ing perspective a n d reflection patterns. 29 . P E A C H BLOS SOM Gwe n d o l y n Grant A character sketch of still-life. Broad a nd colourful, 2 3 . T H E C O A S T O F T E R R I GA L R o y Parkinson one mu s t stand back t o full focal distance to Mo s t careful in the arrangement o f the components appreciate the quality o f arrangement and colour. o f his picture, Parkinson justifies his close study of clouds a n d rock forms. A simple subject, b u t most 30 . W E T D A Y — . W Y N Y A R D Rob e r t Campbell pleasing. A monochromatic treatment b y a me t hod involving a complete mastery o f values. On e can easily be 24. T H E R I V A V E N I C E S i r L i one l L i nd s ay deceived b y the apparently careless brush stroke T h i s large and colourful piece o f wo r k conveys a n handling. impression o f the gaiety and life o f the city of the 31 . N E V A D A B A D L A N D S R . Ma l c o lm Warner waterways. Cleanly handled, the sense o f animation Brilliantly conceived—boldly executed. T h e artist is obtained t h r ough the use of fresh colour, strong uses few colours, b u t achieves a most dramatic effect contrasts a n d the staccato touches o f its populace. b y the force and ruggedness o f the design. 2 5 . C O T T A G E S O N A CL I FF Do u g l a s An n a n d 32 . W E S T E R N Mc DONNE L L S Al be r t Namatjira T h e Australian Aborigine paints his o w n country, Bold a n d brilliant is the impression gained o n first O r t h o d o x in treatment, conviction w i t h delightful viewing this watercolour. T h e elevated position of colour is impressed o n the eye of the beholder. the spectator emphasises the " b u i l d u p " feeling of the design. 33 . F LOWER S A N D V A S E W . G. Grant A poem in colour. Ap a r t f r om its good drawing, 2 6 . M O U N T S T U R G E O N M a x Rag l e s s the effectiveness of the wo r k lies in the balanced A most spectacular treatment o n a large scale. T h e arrangement o f broad colour areas and strong values artist has direct approach, handles his washes cleanly, o f tones. On e loses the impression t h a t watercolour and in a very definite manner. Th e r e is n o "niggling" is o n l y for delicate effects. in the w a y Ragless characterises his subject. 34. ME L B O U R N E—B R OK E N SKYLINES 2 7 . A C O U N T R Y R O A D J o h n S. L o x t o n T h o m a s H. Bone A n architectural subject atmospherically treated. A limpid sky, g um trees and a quiet road mean much P r opo r t i oned in an unusual way, the picture could t o the lover o f the countryside. L o x t o n portrays this n o t fail t o impress a visitor o f the city's contribution w i t h facility, t o architectural progress.