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

Cur director 01 the Queensland Art Gallery (Mr. Robert Haynes) makes a selection today of work of Queensland artists to be sent south for final judging in the 1954 Dunlop Art Contest. The Painting in the photograph is Junipin Pin, Queensland, by artist John Thomas Rigby. THE first painting bought by the Queensland National Art Gallery in 1855-is now on show n The Courier -Stall art panel. "Evicted", by Blandford Fletcher, cost the gallery wgui00 neas in the year been as founded. It had exhibited at the London Royal Academy. "Evicted" toured Queens- land country towns in 1909 and again in 1938, to be- come one of the i best- known paintings n the State. For 14 days Illandford Fletcher was born In MN. and studied at the Royal Academy of Arts. Antwerp, under Charles Verlat - a cele- brated Belgian painter. Typical of the Victorian era, when sentiment was mare Important than technical qualities, the picture appeals more for Its descriptive or slot, - telling powers and re- sultant emotional response, than as a work of art. The painting. loaned by the Queensland National Art Gallery, will he ex- hibited In the panel for a fortnight. ..111111.111111/0101111i111iii.motill 111111111111.11. " TELEGRAPH," ART CONTEST JUDGE The Judge selecting Queensland entries for final Judging in the Aus- tralia -wide 1954 Dunlop art contest, entries for which close on Saturday, will be Mr. R. Haines, director of the National Gallery of Queensland. An exhibition of all Queensland entries is to be held in Finney Isles' gallery from April 5 to 10. SELECTION FOR ART PANEL FRANK W A LD 0 POT'l'S h a s painted the new picture for the art panel of the "Brisbane 'Telegraph." It has been lent by courtesy of the Queen land National Art Gal- lery. and is a write; colour en t led "The Valley of MaroochY." Born at Sanclgute Queensland. the artist studied at the Central Technical College andel the late Godfrey Rivets. He is ti mem- ber of the Royal Queensland Art Soe,ety and the Brisbane Group Grant display shows artist's AMEMORIAL Exhibt-. thin In honour of the late W. G. Grant has optimism, courage been arranged by the Hy GERTRUDE LANGMt trustees and tile director of the Queensland National Art Gallery, It is on view nt the gallery until May S. Thirty-four water colours and 10 oils me displayed to best advantage. It Is hoped that the pub- lic will avail Itself of the op- portunity of seeing what Is, In my opinion, the work of an outstanding Queensland artist. The teeter colour paint. hogs are best. Here - heaven be thanked-there is no stereotyped convert. glottal approach. There is also neither this chilling slickness and clever- ness nor the anaemic weakly manner which we see all too often in the local shows. As soon as we enter the bay where Grant's water colours grace the walls, an, exhilarat- ing feeling of freedom and Joie de vivre is imparted us, An artist's hand -writing, his choice of colour, unmis- takably reveal his character. Grant's bold and large brush- work, the rich colour harmon- ies reveal life -enhancing opti- " TELEGRAPH," I paint hip,* i4111' Ga Her, .?sera 11:e Jahn-luta. li. . s, ins oaf hto non II Ir all 'Iv 44..,t Mini it.. 1111 k 1111,,li 1, 131111(1, .111( 'I la Sail st. 1; l/t1 It 1110(1 paituct of the Not tmilt' Clattery Art exhibition A memorial exhibition ; 1111,i( than 30 and oils In' the Intl w Groat wo, 01/1...1 by Mr. Melville Itilysma hi the QIIN`n1111111d National Art 1,i 11114111. co Sage, and generoe- ity. Nature is not onxicouly routed, but joyously ex. perienced be a most al such temperament. We can sense how the whole arm was brought into play when he swept the paper with large brushes. There are no pencil lines. The brush is used for the washes as well ns for linear emphasis, which latter plays an Important role In his de- sign. Grant's approach to colour was modern as well as per- sonal. He concerned himself little with the natural colour of objects and the more-as it should be-with the kind of hues which might enhance the decorative beauty of his pictorial patterns and contri- bute to their poetic charm. His favourite harmony Is bright yellow -green and lush blue, spelling serenity and Joy. "Cut Flowers," "Woman With Goats," "Horses In Landscape" tuncataloguedi. "Venetian Blinds," "Eminanuel College." "Still Life" are some of the loveliest work on show. More could be quoted. The Ill oils included in the exhibition show Grant's development front more conventional early work. such as "Slue and Green" and "Roses." to his bold late nark. In the latter, n course can- vas Is used as a bnckgroun and the pigments are ofte heavily laid on to form crusty surface. A tapestry -like effect I. achieved by a short brush. stroke technique as well as by a regard for tile flat surfnc of the picture. Grant liked painting against strong sunlight no that lb flattened -out foreground oh sects are silhouetted agalns dazzlin bri ht hues.