Wieneke Archive Book 4e : Exhibitions and Galleries in Australia - misc Presscuttings

Masterpieces may stagger yo PEOPLE who find le excessive pub - city surrounding Modern Masters: Ianet to Matisse" If -putting are in :ir a pleasant hock. I'he show is very .any as good as "they" v it ie. While some of the luting' (those by Mo- t. Gaupin and Van Ash for Instance) don't casure up to the ex- apies that some of us w in Melbourne in the rrald (19391, French :1531. or Dutch (1961) iiibitions, there are Lough real Masterpieces make a staggering enact. 1:specially on audi- ,ces that for too long e been starved for kind of painting and awing that only the !Me de Paris and Eu- ropean associated move- ments have produced in our time. Among the master- pieces are the superb Braque canvasses en- titled "C aneph or a e" 411-12). in which the oak -leaf colors of flat - pattern cubism are mar- ried to classic Greek art - increasingly Braque's preoccupation as he got older. The drawing in the feet of the caryatids matches that in the head and hands of "Ma- dame Cezanne in a Yel- low Chair" 119), or in the astonishing George Grosz .we wish to know of Max Hermann-Neisse (44). And if, after the Grorz, we wish to know what else portraiture New exhibitions National Gallery of Victoria, 180 St. Kilda Rd., bourne; "Modern Masters: Manet to Matisse." Bishop's Gallery, Davis Av. (off 132 Toorak Rd.), uth Yarra; "New Landscapes from Germany" 'aphicsi. Hawthorn City Art Gallery, 584 Glenferrie Rd., wthorn; Eleanor Hart, graphics and gouaches, Eliza- th Gower, paintings. Stuart Gartsman Galleries, 148 Auburn Rd., Haw- rn; Iris Hirt, paintings. Munster Arms Gallery, 102 Little Bourke St., 'bourne; John Dudley, paintings. AMP Pleas, Cnr. Bourke and William Sts., Mel- urne; "Italia Art Exhibition." can be. we can check with Derahl% fauvist period "Henri Matisse" 4281, with the same ar- tist's later "Francesco de Iturrino" 1311. or with the two portraits of Miro. one by himself 4741. and the other by Balthus (3). And then there Ls the superbly sculptural Mo- digliani "Reclining Nude" 4781 whose con- vex curves restate a Re- naissance principle about form, and whose lustrous eyes and Medi- terranean colors pro- claim the painter's Latin origins. Tile three paintings by Juan Glib 41.43; vindi- cate Picasso's summing up of Gris as the best cubist, of them all, and Picasso himself Is de- monstrably an inventor extraordinaire as evi- denced in "Studio with Plaster Head" and "The Studio" (90-91). Vuillard's intimist in- teriors conceived us in- spired "posters", and of course the joyous line and color that occurs in all the Matisse pictures. are a tonic for Jaded spirits. One of the most fam- ous pictures in the show is Ballas' "Dynamism of a Dog on a Leash." a study in synchronised movement as unexpect- edly subtle in color as It is familiar hi reproduc- tions. Balla's colleague In It- alian futurism, Umberto Boccoini, is represented by a major futurist Painting entitled "The Laugh" in which the so- lidity of the central fig- ure stabilises a style de- voted initially to creat- ing illusions of swift movement. GEORGE Grosz painted his friend Max Herrmann- eisse in 1927. The Nazis confiscated it as an example of "degenerate art." Nearby are a couple of masterly water colors by Rouault - studies of prostitutes in which the pale flesh tones of the volumetric and volup- tuous figures are re- vealed against the blue - black colors as if in a lightning flash. Kandinsky and Klee both show up magnifi- cently - especially Kandinsky with his "visual music" as ex- pressed in the colors and related rhythms of "Little Pleasures" (46). The entire show reads like a potted history of modern painting. from the time Monet reversed the traditional procedure of painting from dark to light and at the same time managed to pro- duce such Velasquez in- spired works as "A Boy With a Sword" 459), through the impression- ist, post -impressionist, cubist, fauvist.s expres- sionist eras to finish up - with Salvadore Deli's somewhat suspect ver- sion of surrealism. II 11 If there is one thing more than another to learned from it, it is that art is a language in which the subjective components of heads, figures, landscapes, in- teriors et al are Ines - hateable in their pos- sible variations and can occupy all the artists in the world until the end of time. The worst picture in the show is Balthus' "The Mountain" 12) which looks like the work of a post-surrealist trying to recreate the Pre-Raphaelite idylls of a Burne Jones. At the press preview. William S. Liberman, of the Museum of Modern Art, New York, gave this as his favorite picture. But since Lieberman put the show together and we wouldn't have had it at all if it hadn't been for him. he can The right combination of performance, economy, equipment and safety. You can't fool the Australian motorist, he knows value for money when he sees it, that's why Datsun 180B is Australia's top -selling 4 -cylinder car (12 months' national registration figures, year to date). The Datsun 180B combines all the essential ingredients that add up to motoring value - pc rformance, economy, equipment and safety. The 1770 cc engine. overhead camshaft, goy wedge head produces 105 bhp. Twin -barrel carburettor. Engin- eered to give you ample reserves of power, high-speed efficiency and lightning acceleration. Power -assisted front disc brakes and 4 -wheel independent susnensinn perhaps be forgiven this minor aberni The National Ga of Victoria is open the purposes of the hibitlon from 10 until 9 p.m. daily June 22. 110W the natural dustrialised, surreal. and imagined landsc of modern German being used to ins modern German gra artists can be seen new exhibition at 131 op's Gallery. And how Austral artists are respondin: current trends in pat lug can be seems in work of Iris Birt (Ge man's) and Eliza', Gower (Hawthorn). Iris Hirt divides long. horizontal cant,: es up with patches related color separt, by diagonal bars other colors. Plaster, crayons, cycled canvas, c' plastic and color pale torn from magazines among the meter) used by Elizabeth G er. As this suggest& approach is ma technological as iii(), is the graphic work a the gouaches of Elm Hart at the same t: lery. Eleanor Hart's wo however, is better cot posed and has the ad,1 advantage of observa, of some pretty demat ing _ .