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

From "MAIL" "COURIER MAIL," Brisbane, Old. 53 The Sundag Mail WHETHER IT'S AN ORIGINAL OR A PRINT . . . CARE Pays with And Robert Haines told the Paintings Watch -the -Pennies League why By BETTY PATERSON WHETHER your taste runs to painting by modern artists, reproductions of old masters, or family photographs on the wall, to-day's session of The Sunday Mail Watch - the -Pennies League has hel ful su estions for you. Guest member, Mr. Robert Raines (Director over back of the Queensland Na- tional Art Gallery) gives hints on choosing Pictures, hanging them to their best advantage, caring for them, and saving money on re - framing. "Paintingsi like flowers, add something to a house that nothing else gives," he said. "I don't think peopi' should regard them lust as property-they should give Pleasure." Chairman : How can people choose pictures that Will continue to give them pleasure, and not prove to be a passIrg fancy? Mr. Haines: Be sure that what you are buying is good of its kind, whether you are spending 5 guineas or 500. I think it is better to have a good print than a poor painting, though an original brings you into personal contact with the artist in a way you don't get with a reproduction. Frames depend on the room Clear lacquer "I DEPEND on my first re- actions to a picture," he said, "but a good painting should continue to 'grow' on You. Many people have pre- conceived ideas of what a picture should be, and don't give the actual picture a chance." Mr. Haines said that re- productions of paintings by ell -known European and Australian artists could be ught from the National Gallery of Victoria in Mel- ourne for only 25, ach. Schools could get the for till less, through the Edu- talon Department, he said. vnisata le whose w ay wonkc luwdeads Augustus John. Pissarro, onset, Rovelot, Rupert unny, and Tom Roberta. Lady Cilento: How would [ou suggest framing these reproductions? Mr. Haines: A lot depends on the type of room where they are to hang. I prefer a mount of plain natural ma- terial, like linen, rather than white cardboard, and I like plain wooden frames. Lady Cilento: Linen would be good for this climate, where mounts are apt to get MR. HAINES: Protect plc- tures from moist air and vermin. Put a sheet of 3 -ply or cardboard at the back of the picture, sealed at the edges with gummed brown paper, and then a coat of clear lacquer over the whole back, to seal it. We asked Mr. Haines how to care for oil paintings, which usually are framed without glass. He replied: "It is prefer- able not to have glass on oil paintings, but. don't for- get that paintings are at- tacked by dirt and damp more from the back than the front, so the main thing is to have the back of the frame sealed, as I've described. An oil painting's surface should be protected varnish. Extra coat against the wall, with no, movement in a breeze," he said. Jean Cooper: What about using suction gadgets on plaster walls? Mr. Haines: I prefer the special hooks with one mug that goes into the wall, sold by ironmongers. of wax JEAN COOPER: Is the varnish put there by the artist ? Mr. Haines: Yes. Most artists use a mastic varnish -a clear, hard varnish. He said: "I also like to give the painting a coat of wax, which softens the appearance and provides extra protection. "Commercial galleries could advise you whether or not an oil painting has been given this finish, and could arrange for it. "Then it would be neces- sary only to dust the sur- face occasionally with a piece of soft dry velvet, kept specially for the purpose." The guest member said hat the ideal height to ens a picture was with the entre of it at eye-level. eve it too low, rather than on high." he advised. Mr, Haines likes pictures o be flat against a wall, 'nth no wires showing-but f you use visible wires, he daises having them s ra g , not forming a triangle from a nail. Ile thinks the best plan of all, In Queensland homes, with their wooden wails and breezy rooms, Is to hang a picture with two screw eyes and cup hooks. 'They anchor It. flat Lady Cilento: If you put a cross of Scotch tape on the wall first, and insert the rang right in the middle of the cross, the surface of the plaster wall won't crumble. Mr. Haines: Often re - framing does an enormous amount to adapt a picture to a modern home. Old aintin s that frames can look charming in modern frames. It is easy to re -paint the old frame with a flat paint. I wouldn't choose white for the frame !-I think it is too sudden on a wall. Mr. Haines said that sonic - times, when modernising a 1room, people felt they should put away the family photo- graphs, although they liked to have them on view. "There Is no need to part with them." he said, "but instead of scattering them round the room, put them into a group." Mr. Haines suggested a similar treatment for etch- Brishane. Old. CITY HALL "RICH IN COLOUR" FOR TOUR PROPOSED City Hall illuminations and decors - Roam for the Royal Tour are the conception of the Queensland National Art Gallery director (Mr. Robert Haines). State, and it will contrast with the red, white, and blue decorations which will be on most, buildings. To -day's . City Council meeting will appoint a three- man committee to supervise the work. They are Mr. Haines, who will act in an "It shot.',! look extremely advisory capacity, a council rich with I I. old and red,' electrical engineer (Mr. R. E. Mr. Haines said last night. Brinkley), and a council "The design is to emphe- architect (Mr. E. D, Green else that this is the golden Man). The building will be flood- lit gold and will be decor- ated with flowers in window boxes, golden plastic drop- ings, red lions (taken from the Royal Standard), and batteries of flags. From "COURIER MAIL," Brisbant, QId. Thoughts on our Art Gallery By GERTRUDE LANGER VISITORS to the National Art Gal- lery will find it painted in a new colour scheme and rehung. There are also some new acquisitions in addition to some loan paintings. Pictures will be viewed in greater comfort as there are new comfortable chairs. Things would be better still if there Were some provision for proper ven- tilation. The well -spaced pictures are hung, as much ns feas- ible, in chronological order, and are accompanied by an- notations which will be help- ful guides. Worthwhile The first room, devoted to some older masters tin fact not so old and not so great) makes us only too aware of the Gallery's most obvious shortcoming. The fruit elf - Portrait by Ogle, a still- life by one of the minor Dutch masters, a painfully melodramatic Angelica Kauf- mann arc on display in addi- tion to two interesting loan paintings; a portrait by Raeburn, and a painting by a Rembrandt pupil much in the manner of his master. which is well worth seeing while there is a chance. There is also, newly acquired, a wash drawing, "Grand Canal. Venice" by famous 18th Century city- scape painter Caneletto, Two rooms are devoted to the English School. which, in spite of some important re- cent additions previously re- viewed by mc. is still poorly represented. However, since then, and this is most heart- warming, two works of high mutiny have been added' "Ernie" by Ruskin Spear. a wonderful character -study inalltantly pointed, and the idmirable bronze "Esther" by Jacob Epstein. A work such as this 'alter !noises it alsit to the Gallery worthwhile and I feel that It is only works of such high standard which will eventu- ally put our Gallery on the map. An art gallery is not "Made" by only a comers: hensive collection of national art with the inevitable inclu- sion of mediocrity unuch of which, as things improve, will end up in the store MOM I , but by the few supreme and deeply satisfying works of art. To see only the Self - Portrait of Rembrandt to m? Is worth a visit to Melbourne. From now on I shall always look forward to seeina "Esther." Coming back to the present display, the so-called "Middle Period" of Australian Art is fairly well represented, and a email oil by Condet' has been added. To the collection of Mel - drum and his school-quite adequately represented-an- other painting by C. Milian has been added. The "Markets in Provence" confirms my opinion that his colour sense is not very developed. Also does the eye wander rather aimlessly over this dazzle effect without arriving at the deeper satisfaction which comes from a more searching interpretation of space and of shape relations. Of younger Australian con- temporaries, Dobell's magni- ficent "Cyprien" is still the piece -de -resistance. Newly acquired is a small minor Dobell, "Sleeping Cat," and on loan also by him an in- teresting New Guinea Land- scape. Lately added, ton, is a Sydney Nolan, an eery, bleached -out landscape of an Australia that some prefer to ignore but which nevertheless exists and will continue to haunt some artists. Then, is room for a representative Drysdale. In the water colour room there is now a fine display. Poorly endowed There is an Important point that I should like to make. Au art gallery is, among other things, an educational institu- tion. As things arc, it is impossible to get even the faintest idea of world art in ours, or acquire the standards which c in only be formed by constant comparison. We all know how poorly en- dowed the gallery is finan- cially. Failing originals of all periods of Continental art, and having on little of English art, I feel that a coniprehen- sive collection of reproduc- tions-they nrc so excellent now-should be acquired, and displays of the various periods and schools of world art should he a permanent feature. I feel this is a necessity, " TELEGRAPH," Brisbane, Q'Id. 'Ernie for gallery An oil painting ac- claimed in Britain this year as one of the out- standing portraits seen for yeant has been hung in the Queensland Art Gallery. The painting, called "Ernie," is ([ Ruskin Spear, A.R.A., one of Britain's best younger Painters. It measures 24 in. by 20 in., and is a portrait of the head of a cock- ney man. It was bought for the gallery by the Godfrey Rivers Trust. The gallery director (Mr. Robert Haines) said today the oil had been acclaimed in the Royal Academy last year and later in a special exhibition of portraits in London. The price of the painting was not dis- closed.