Wieneke Archive Book 3 : Moreton Galleries 1960-61 Presscuttings

VW*. .. .. .141,01IVW4WWWWWW,%**VWW144,6%. Harbour painting is id vvvy,b)-ta poetry in colour ... I N a more or less conservative exhibition of oils and water colours at the Moreton Galleries one is chiefly attracted by Roland Wakelin's "Across the Harbour." This small painting distills an evening mood into poetry. The mellow harmonies have a glow. and earth and sky are pulled into a closed unity based on an upward - slanting lozenge shape. Wakelin's "Farm at Mori - pin" too, deserves more than a passing glance. Thin stain.... Flat colour impression- ism, whereby colour is no more than a thin stain on the canvas, Is summed up in brief, but also superficial, statements, by Hayward Veal. However, his "Gatehouse - Tower, London" is more in- teresting than his "Girl WINTER DISPLAY OF ART MELVILLE HAYSOM A number of well -knows Austria lino artists are represeeted is the winter exhibition of paintings at the Moreton Galleries. The works are small but up to the standai. expected of the painters. Robert Johnston's Sea Piece and Coastal Bush please, as does Mornin Newport and Town svilleg by James Jackson. Vida Lahey presents a well painted Larkspur and Daisies, and John Rowell a happy Children at Play, Landscape by Alfred Cook, has good reces- sional qualities, and Roland Waklin shows sound work in Across the Harbor and Farm. Kenneth Macqueen and Rubery Bennett offer typical works. Oraeme Inson, Hay- ward Veal, Sir Lionel Lindsay also exhibit. ART REVIEW by Dr. Gertrude Langer Washing." which has no de- sign qualities. The approach of Graeme Inson is related to that of the school from which Veal emerged. moon's "Still Life" is not without subtlety in the handling of greys and In the play of warm and cool dulled colours, but it does not rise to the poetical quality which all the great still life painters have-a quality arising partly from the intensity in the realisa- tion of tne object and partly from the mute, but eloquent, dialogue in which they are engaged. In one word, Inson's painting lacks mystery. One may say the same about other paintings here, such as tin competent fac- Mal landscapes by Robert Johnson. James Jackson, and John Rowell. "Dry Summer," by Ken- neth Macqueen, surprises rather by its poorly related main masses. Overpowers In Vida Lahey's "Lark- spurs and Daisies" the in- terestingly handled back- ground rather overpowers the vest with its expansive, intense hue. In Alfred Cook's tersely handled landscape the ninny small units seem rather scattered. Others represented are Sir Lionel Lindsay, Max Ragless, and G. K. Towns - bend. W. G. GRANT 4th TO 15th JULY 1960 MORETON GALLERIES A.M.P. BUILDING EDWARD STREET BRISBANE apsaftasarmaiiifillEillitapscianspislanamanil PAINTERL PAINTER THE late W. G. Grant of Brisbane had neither a stereotyped ear a photographic vision. He was Indeed, a pain- specimens, and there Is terly painter, unafraid no stereotyped backcloth; of using strong colour. but the flowers are part Ills colours and his of quite intricate paint - loose, vivacious brush Ings, vibrant throughout calligraphy transcend In the doh Interplay of mere description and can warns and cool colours, speak for themselves, with no empty or unin- His fresh, luminous (cresting areas; the water colours at the whole surface Indeed. Moreton Galleries (not has "bloom." all are of the same stand- ard, and one gaciers that the less confident ones are of earlier vint- age) are of land and seascape, still life, and genre. Each kind Is handled Among other pleasant without a sentimental offerings are "Girl and story -telling approach or Gnat," "Green Sea." monotonous technical "Coolum Beach," and slickness, even a hackneyed sub - There are two still Inge Jed like Rustle Gates" (Noe. 21 and 71, in whips t may stand as,- ap. *dr- the flowers are bok, rldual and spOntstineeius treated as painting. 111.11110 111111,1111a,11g9111141111411101 -t; W4 I "Donkey serenade,. too, owes Its charm to the handling and bears closer examination as to its unobtrusive form re- lations, Freshness in ort exhibition Melville 'layman" The impact of an invigorating fresh sea breeze is experienced at the current exhibition of watercolors by W. G. Grant at. the Moreton Galleries, AMP Build- ing, Edward Street. Here is no attempt to delve into the deep Sig- nificance of things, nor is there a dim, dark view- ing of life. Spontaneous, joyous and brilliantly - handled sketches reveal the sym- pathetic and appreciative mind of one who knew life and men, but desired to give relief by depicting the pleasure to be found in the simple contacts made in just living, W, G. Grant was born at Brisbane In 1876. He was educated at the Bris- bane Grammar School and began Ills art studlfa under Godfrey Rivers, For many years he 'Was a trustee and advisor of the Queensland National Art Gallery, In 1954 he trustees of the Gallery paid tribute to him by ar- ranging a memorial ex- hibition of his work at the Queensland Gallery. He was certainly an historic figure in the story of art in Queens- land. Seen at his hest ... He is seen at his best in Stumers Creek, Coolum, Blue Vase, Boats (in which the people also are important), CasuarinaS, Rustic, in which one sees sound composition, a finality to be found also in Ink and Color. Coolum Beach, Grazing PerrY deserve at- tetsclob. talle of the .71t1St.tt.dry:.11111%or peeps 141.4.4!1 Donkey Serenade, LoOz.1S7`-bile Sea and -:ottlitter'S Daughter.- Yialah tqz, ;