Wieneke Archive Book 4g : Art in Brisbane Presscuttings

tong cry he Iles ,ICI. )ped hest lion itcy able when this ses ety .ler hog n - Ind tcrt- in uch her her .1) an - TeX the dy. hat sut ich Cal. to of -Os. ial urn ma a ill use iIii- cid an of ice. sins he 1st, vn. re MC Ill- ich et ve Icy C icy s s' ,:f lust of 1, the tad i a ay ;an red ut sins the 1r - on, of ART NEWS AND REVIEW "Art Lies Bleeding" .1 nuts as the pre.anous plight of young painters taday. David Cleghurn Thomson THIS OAs rata rim of an able and revealing book published a number of years ago about the econo- mic position of creative artists in Britain, and I think it is high time the topic was raised once more. We are becoming so self-satisfied and in- different to the matter. While the art colleges arc turning out (almost on conveyor belts) numbers of young men and women better grounded in the his- tory, theory and techniques of art than were before them; while the B.B.C. i man s:rvice disseminating among listen background knowledge, and the standa teaching throughout the schools is stead the position for young painters starting earnest is no better than it was a quarte tury ago. We ought to be breeding a tar of the nation who appreciate art and ar to buy at least one original picture befor a wireless or television set in the new h. a bigger car. In fact, most of us are sm different to the situation. Our Sadler's let is delighting America: our Premier scape hung on the line. All's right with What is happening to the young creative itnaginatio4 who have won th ships to art school, passed out, and are n first fine, careless rapture? They arc livi carefree, bohemian, student existence: shown a picture in "The Young Contem' perhaps they have even sold a picture to uncle, or been paid for a portrait of a re holiday sketch: they may even, after se have got past the gate of one of the m Acadamies and won parental approval tion that they got that teaching diplom a rainy day':). They have row accu number of pictures-perhaps a little rem JJ the style of their dominant teacher or from some post -impressionist source. They face the prospect of a one-man s will find small encouragement in most t the g.illviloc are rot rceeiniv wining, if they arc not already well-bac fluentially sponsored. Far too high a pro them are much more ready to give show tivcly unimportant foreign artists. It is difficult for unknown, unprivileged paint a break --;some of them get a first sh restaurants or clubs and break into a con the public that way. One is aware that these galleries make incomes by picture sales apart from exhibi temporary work, which arc rarely. rem but surely some national or municipal could ensure: That one room in a gall opportunities to brilliant young Europe -at already pronounced promising by their accepted critics - while the picture d agreement among themselves could anal: one-man shows or group showsfor youngsters and regular exhibitions to nt greater stage of maturity. The Art Cou to hold regional auditions for singers a artistes and foster their subsequent apnea ; oratorio or provincial concerts; a si could be laid on for artists. Editors of National Dailies by agreement amongst themselves, allot a 7 ar space for prompt notices of new art cxhib prompt enough to be able to stimulate attenda the present situation results in the critics only stretching themselves for major shows of classical tlrawings or dead masters, while no notice what- ever is given of several one-man shows, of pictures by people whose whole existence depends on some measure of public acceptance. One other snag could surely be circumvented- the framing situation-surely it should not be neces- sary for young tyro painters to spend so much on frames? Couldn't at least some gallery undertake to find frames or share in the cost of framing? All this may be idealistic dreaming, but in these hard times it is especially difficult for painters to make a living and it ought to be worth while plan- ning nationally or municipally to take the Muses' servants by the hand and, at least, facilitate their art ing, real cen- tion ared buy buy d in- Bal. land - odd? s of olar- their airly have es": rout Or a tries, tete ndi- inst a t of tive ow? 'they ; the wet- in - n of /de- nely get in ith ain on- ivc, ing ' vet crs ive ng to Cr in getting a first showing in the most favourable cir- cumstances possible. In this context perhaps men- tion might also be made of the idea of showing pictures in industrial centres - in rest rooms and canteens; in University colleges and common rooms, in addition to clubs and restaurants. Yrs, Art lies bleeding; dependent o,. stunt pub- licity from friendly journalists who see a :Jews story in a hard -luck story-or on capricious patron- age-except in a very few isolated instances. The late Eddie Marsh was a notable exception. There are too many people studying to be actors, dancers and painters ierha s, but when they have Piccadilly Gallery HAYWARD VEAL DAS already an established reputation in Australia, and his first London exhibition was therefore sure to be greeted with interest, but what I at any rate had not expected was that it would reveal an artist of such high achievement and promise. The pictures in this show all fall into one of three groups-namely. views painted in Paris or London, life studies and impressions of figures in the rain. And in each instance we feel that Veal paints wills great assurance and sensitivity, and that he is both a shrewd and humorous observer; add to this a very apparent relish in the handlit.g both of the brush and the palette knife and it is patent that here is an artist whose work makes an immediate appeal. Furthermore, it is clear that while he has an intelligent appreciation of his own present limitations, he is still developing, and I am confident that we are yet to see his best work. Veal's views of London and Paris are particu- larly notable for his ability to convey not only the outward appearance of two great cities but also for his skill in crystallizing and recording that elusive something we call atmosphere. For example, Isis Trentham Green (10) gives a vivid insight into a familiar aspect of London and the Sunday Morning, Paris (17) catches much of the spirit of Paris. These effects arc above all achieved by his subtle use of colour, indeed he knows well how to convey both the drab mono- tones of London in certain of her moods and the effervescent sparkle of Paris. Yet it is here that a danger is apparent. for in one or two of his Parisian views I feel that his love of colour leads him to a certain looseness of design that does not serve any express emotional purpose. Veal's small studies of groups and indi- viduals in the rain are equally effective, pene- trating and satisfying. Everything is really dripping and, much more important, he knows how to convey, as his Eve also makes clear, a real feeling for tactile values and has the rare ability to make a satisfying study Irons what might to some appear unpromising material (18, 22). Here then is an artist who has already achieved much and to whose future develop- ment I for one look forward with confidence. Terence Mulhily. °use, is art abstract painter. who has produced however a vocabulary of form which depends not on visual, but on audi- tory phenomena. In his view from the simple tune of the shepherd has emerged the modern symphony, but though the simple tune gives a pleasure which may well be short-lived, the symphony is often inexhaustible . . the simple abstract of today is the tune of the shepherd. and in the future lie the symphonies of line and colour. It is remarkable indeed that one of his paintings, and their technique seems to owe more to the placid formalism of tempera than to the vague "impressionism" of oil, an arrangement of triangular shapes, is remark- ably close in feeling to the symbols by which a famous cartoon film of the '30's depicted the notes of the piano. Mr. Sturton's quest for a new iconography is clearly conscientious and sincere. tfie 4 _.. Jai THE HAZLITT GALLERY 4, Ryder Street. Si, James's, S.W.I. OLD AND MODERN PAINTINGS DRAWINGS Leicester Galleries Leicester Square. %V.C.2. 5.30 Salt. 10- 1 .1dminion 1/- VAUGHAN Recent Paintings HREY SPENDER New Pictures OUNGMAN Welsh and other Paintings Closes Octiihcr E RENERN GALLERY 20, CORK STREET, W.I. 10-8 Saturdays 10-1 MICHAEL AYRTON Recent Paintings BRYAN WYNTER Recent Paintings RAHAM SUTI 'MILANI) souaches n/ digsrent periods ICHAEL ROTHENS' TF.IN lour .-isiteatints and Painrin,qs Closes October 31 UR TOOTH & SONS, LTD., 31 Bruton Street, W.1 Mayfair 2020 PEINTURES 1925-1953 LANSKOY on.-Fri., 9.30-6 Sets., 9.30-1 TOBER 7th NOVEMBER UX ARTS GALLERY BRUTON PLACE, W.1 .30 Thurs. 10-8 Sats. 10-1 TURE AND PAINTINGS BY RTHUR BERRIDGE PAINTINGS BY JOHN HART toper 15 - November 7 EL FILS GALLERY milli Milton Street, W.1 Saturdays 10-1. Brent Paintings by EORGE FAIRLEY Closes October 24 KP, TON ART GALLERY 15, ary Abbot's Terrace, W,14 .sr5 Thum 10-8 Sat,. 10-1 EILA HAWKINS For 8 to 80 October 12 - October 24 ROLAND, BROWSE & DELBANCO 19, Cork Street, W.I. 10-5.30 Sats. 10-1 Admission Free JOSEF HERMAN Closes (ktober 28 4risvirferolvereffr... ,triTh ,NA 'NM 'I) fl") 4 tl