Wieneke Archive Book 3 : Moreton Galleries 1960-61 Presscuttings

es-cdf,), Oils and water colours in a joint exhibition ... L. scow min. and Nitrite fierlo combine in a unity of mood and treat - joint r x1611'1114111 at the 69 Moreton Galleries. Pendlehory's oils of city- water colours. In her land- Norne Clude's medium is scapes and seascapes she scopes and landscapes in runs through a series of Italy and England lad to strong, sparkling cool and evoke a definite response, warns colours. her brush which is explained by their keeps moving with a pulse', lack of a unified structure. ing rhythm, and at times. Here and there we glimpse With a fine turbulence. areas that appeal in isola- tion, but the paintings do not have the life of fully Loose touch integrated wholes. The louse, spontaneous touch la controlled by ' Eye jumps wise management of movement and In "London Landscape," movement in the main counter - the interest of the main, masses and in the smaller vertically accentuated mass units. la weakened by its sur- rounds. "Windswept Sky,""Road to In "Italian Landscape" the Hills" and "Cornwall" and "The' Temple of are fine. and In "Venice. Romulus" the eye jumps in Grand Canal." with Turner disorderly fashion. in mind, she attains In the vigorously handled poetry of space. light and "Sorrento," the powerful are limpid atmosphere. SHORE'S PAINTINGS ARNOLD SHORE'S paintings at the Moreton Galleries are all of landscape, especially the bush. Shore's impressionism, which, in a few paintings verges on abstract impres- sionism, is rather more per- sonal than the usual popu- lar brand. His flat colours, plus white, suggest hard light and soft light and he rarely ij permits the eye to penetrate into space. However, while this con- ception yields more interest- ing results in some cases, this show contains too many paintings in which Shore takes the most dissatisfying aspect from impressionism, namely its lack of construc- tion. At times, we are not even rewarded by sufficient modulation of contrast of colour. Some paintings are more descriptive than others, and some among these are rather commonplace, but In 2, 24, and 8 colour, tone, I linear rhythm, or rhythm of brush stroke can speak for themselves. In the abstractionist No. 18 there are more open' spaces and more feeling of space than in the rest. ART REVIEW by Dr. Gertrude LANGER on the Hills," and "Storm." where the realisation of the atmosphere guarantees ART DISPLAY BY COUPLE 'NEL% 11.1.1: II AI Sfill The exhibition of paintings at the More- ton Galleries, A.M.P. Building, Edward Street, consists of the works of Scott Pendle- bury and his wife Nonie Gude. They were students at the National Gallery Schools, Melbourne, where Not*. Gude won the Travelling Scholar- ship in 1941. Scott Pen- diebury then was serving with the 4th Australian Infantry Brigade. A.I.F. They were married before his embarkation for New Guinea in 1943, After the war they both built up reputa- tions by winning major awards, including two Wynne Prizes and two Crouch Prizes. They have studied and travelled extensively in England and the Conti- nent. Fine brushwork in watercolors Pendlebury is senior master at the Swinbourne Technical College Art School, a Fellow of the Royal Society of Arts, and a council member of the Victorian Artists Society. His wife is a member of the Australian. Water Color Institute and the Victorian Artists Society. The watercolors of Nonie Goode are marked by dancing brushwork and color arrangements which. in some cases, are reminiscent of Turner. de This is Particularly / Grand Canal. It is one noticeable in Venicet/heeTiuk of the attractive pieces in the show. Also pleasing is the fresh and broadly painted The Road Through The;',. Snow, Cornwell Evening deserve atten-0, tion. In the: oil section, Pendlebury, using rather large canvases, seems unsettled in his approach and uses color which at times appears somewhat raw, Paintings for con- sideration ale: Italian Landscape, London Landscape, Old Houses, Assisi, The New Settle- ment, Cottage in Surrey. Reflections, The Inlet and Shadows on the Hills. ld ay i/Ere BOLD ATTACK IN ART SHOW MELVILLE II Velflii A Melbourne painter, Arnold Shore, is exhibiting his first one -man -show in Bris- bane at the Moreton Galleries, AMP Building, Edward Street. Mr. 1iliare, in writing' Messinate, Eden Park, the foie, ord to his cata- Gums, Clonbinan e, logue, endeavors to ex- Candlebarks, Seaside plain his particular up- Gums, and Rain, Clots- proach in self-expression. binane. To those who are familiar with the story of art in Australia. Mr. Shore's work needs no ex- planation. To a great ex- tent what Mr. Shore has to say in paint has been done before by that almost forgotten, but nevertheless brilliant ex- ponent of poetic render- ing of the Australian bush, Frederick Mc- Cubbin. With bold attack, and smaetimes using heavy impasto, the artist gives snippets of the bush scene ,with due regard to color and lyrical interpretation. He succeeds well in such paintings as Summer, Side Road, Flinders. The Black Stump and Bush Ab- stract. Airey's Inlet (con- ditioned by the local sand). Christmos Hills, Buss Strait and Road- side, Kinglake, form an attractive panel. Other paintings to be considered are Bacchus Marsh, Stringys and 4 formed by rocks, hills and buildings runs out to the left with no effective closure of the field. "Old Houses. Assisi." the 'liner hest painting, seems to need a more em- phatic alma\ tin the church on the Min to the interesthie pattern of the leading -up street. One cannot help feeling what Cezanne would have done with such a motif ! The most unified paint- ings are a rather small, spontaneous one "Shadows :TALKING POINT Our life frittered away; hu detail. Simplify.: !Simplify. ilailablialibilidollabiliM1101101011111114 YOU ARE CORDIALLY INVITED TO AN EXHIBITION OF PAINTINGS BY L. SCOTT PENDLEBURY and NORNIE GUDE 16th to 28th MAY 1960 ARNOLD SHORE 30th MAY TO 10th JUNE 1960 MORETON GALLERIES A.M.P. BUILDING EDWARD STREET BRISBANE e.