Queensland Art Gallery Presscuttings Book 1 : Presscuttings, 1959-1962

National Art Gallery Director Haines ancilyses those French paintings . . . IN painting to-day there is much confusion on the part of the public and a great deal of mis- understanding. This is because in paint- ing to -day Ihere are so many possible approaches to the main problem, and in fact, much doubt as to what the main problem is. So any cross-section of painting to -day is hound to present a confused appear- ance. To -day in the visual arts, salvation does not lie in. any particular duration. The only common factor is the desire to express something in visible terms, for art is not only a means of expression, but the real artist. paints because he has something to say. There are men who Just want to make a decoration. _'here are others who want M portray the outward appear. ance of things, others who take outward appearances as a starting point, and again others who refuse to take ap- pearances even as a starting point, Use of colour THERE are painters, mainly interested in colour, who think form an unfortunate necessity, for areas of colour must stop somewhere and they must have some shape; there are draughtsmen who use colour simply because the linear themes that Interest them need to be filled. Other artists try (heavens help them) only to address themselves to our subcon- scious mind, while others only want one to look at their work with one's conscious IS IT JUST A DAUB 0 eyes, and so it goes on. This is all very stimulating. but It Is hard work for the spectator for he does not only have to ask himself, "Is this good of Its kind?", but also "What is its kind?" That is possibly true of all the arts, but it is more diffi- cult in the arts of painting and sculpture. A play lasts for several hours. a book for many more hours, and a piece of music from say several minutes to h !' an hour. There is ample time to feel the intention be- hind such works. But I doubt if a visitor to the Gallery looks at any pic- ture for an average of more than thirty seconds. An exhibition of the size of "French Painting To -day" needs to be seen many times "COURIER MAIL," Brisbane, QId. ART SEEN BY 5t\,000? It is expected that mere than 50,000 people will have teen the French modern art exhibition when it closes at 9.30 pm en Friday. The Qiimisland NaisiJenl Art Colliery director 'Mr. Robert Reines, toady this estimate last Mcbt. ahrn 47,0e0 people heel already seen the exhibition. The gallery alit he open from 10 am to 5 pm, and for to -day and Friday it will also mien from 7 pm to 530 pm. After Friday the vill^ry will he closed nil it Mac 20 The next exhibition will be of loan paint Tic' final private Brisbane r njlectiniv. "COURIER MAIL," Ctolourfill Implicit music was played at the Frenchnrt exhibition at the Queens- land National Art Gallery last night. Mr. .1ohn nirnsworth Hnll conducted a string ensemble drawn from the Queensland Symphony Orchestrn. The Programme. "Tribute to French Painting." was for members of the National Gallery Society of Queens - hind. Th, progratnnie comprised works by Massenet, Debussy, and Ravel, till of whom died this century and who were thus virtually of the same period ns the artists whose work Is shown. Mr. Hull said he wished In show who, effect the In- fluences behind French art of the lime had had nn Art emotions' Is the lantniave of low - lac proper to a discussion of still-life? Barrie Reid 17 4 '531. It (IVFJPIRIS on what one considers the la na mut e of low -life. and for that mailer what low- l;fe Personally I spree with Mr. Olive's remarks on the French art display. .ind hasten to defend his atilt to criticise whom and whatever he pleases in his own manner. Strom: feelings demand :wing criticism. which is f,ls,n i r eco b tterie sthan well-bred As for private emo- tions heing unscembly when aired in public. I can only remind Mr. Reid that. the artists he de- fends have made just that error. Almost without ex- ception they ' have splashed their neurotic and private emotions across a canvas, and ex- posed them to a largely bewildered and disgusted Public gaze, For proof of that Just move around the gallery and listen to he ill-bred remarks. It's revelation.-JOHN L. A. SAFFIN. va "Exodus-the road is long," by Rouault IT is perhaps as difficult to say why one falls In love with a painting as why anyone falls in love with anyone else. "The Road is Long" arouses first an emotion- al response which cannot be ignored. Herr within the borders of a frame is a work of art with a life of its own. The colour conveys per- fectly the mood of the painting, the figures are magnificently related-not only in the placement on the canvas, but the "feel- ing" relationship is in- tense. Unique form ROUAULT'S painting itself is a unique form of ex- pression. Strictly individual and belonging to no school. His religious work is most moving in Its Inten- sity, and reminds one of mediaeval stained glass, not only because of the tech- nique, but in this very in- tensity. His painting is not de- scriptive or anecdotal, but Rristhans. (11,1 "tese' tit f! Lust AUSTI2A1.1.% is on a "taste test" with the present touring French Art Exhibition- but the exhibition does not contain th" main works of every artist. First prize for full, marks in th. "test of taste" may men n anal heel oxhiltilion in the with the main works in- cluded. 1. That is what NIon,icid Claude Bonin-Pissario. vial [(presentative of the A-- sociat ton Franentse d'Aetioir Artistique. told Th, Mail through an interprino, lyesterilay I Handsome, dark-eved 51 'Ramat-PIs:uo 37, giandson of the tritium. French mi. oressionist painter. Pis:brro,is the exhiltitioasH escort on its 12 -month tilt Australia new. senerally speak - Greys preferred it merely establishes an atmosphere which may or may not be distasteful, but it is certainly haunting. It is the kind of work which people with weak aesthetic digestions call "brutal and. ugly," and which more robust diges- tions call "powerful and passionate"-for like Ep- stein's work it cannot be ig- nored. Note the paint quality of the work-how the light patches are built up with a heavy impasto and the heavy black outlines are depressed. The work is that of a highly accom- plished draughtsman with an innate understanding of form and colour-the whole painting conveys a quite remarkable impression of luminosity like the stained glass with which Rouault's work is so frequently com- pared. This is a painting to con- template for a long Haie- n Is a magnificent paint- ing. laic, the public have itre- '1'he exhibition. he t.)[.. terry(' the painter with gee, Pittill0'1. Is show' .olours. and 1101 SO intieli tendencies of the style- ars' the ninin schools of Paris ",,111+4111." ..But "pry nom is iii M iii111111-Pissarro, bun itpro,,ented by his 11111111 'PI! n Pinter, 111,, don( works because tliev could not .1rawines anti sketches of ,Itt Au,t cotton scene. he brotvallt wa) "Later. pernaps, we rainy send on exhibition with a tow of the main works. it a sort of lest of the taste of the public. Hr thinks 111.- baohrlo stair Ims the MO.:Int:11;r n lo 11e 011 :1111 111-,1(101' 111 paint ing."