Some Pictures by B.C. Artists

by A.N. St. John Mildmay

Vancouver News Advertiser, November 21 1911

     The pictures of the year, now on view at Pender Hall, show that there is a continual advance in the quality of work done, and important development since last year in the direction of variety also. Of oil paintings, which are still too few, there were two fine specimens of Mr. de Forrest's art, and a study of interlacing creeks on a rocky and wooded shore, which was noticeable for its fidelity to British Columbian coloring. (No. 77) by Mrs. Daniell, who has also a commendable large study of Capilano Canyon, which was unfortunately hung in an impossible light.
     Mrs. Waterfall deserves next mention, her portrait study of her son in watercolor being not only charming in itself, but alone in the much-neglected and delightful class of life studies. (No. 102), I must not forget, however, Mr. J.C. Hawkins' (sic) bizarre and beautiful elfin picture, entitled, "Dusk."
     Mr. B. McEvoy's Waves Breaking on the Shore in a Full Gale is the only pastel study I have seen in the annual exhibitions so far. (No. 21). It is indescribably grand, and true, with that breadth and freedom which should alwways characterize pastel landscape or seascape work. There are also some fine oil paintings by the same artist, especially the study of woodland gloom and gleam (No. 82), which, though not entirely finished, is entirely satisfactory.
     Of Mr. T.W. Fripp's noble studies of mountain, sea and sunset, Nos. 7 and 35 will be the favorites, the latter shows a freedom in the treatment of the upper air effects which has sometimes been lacking in this great artist's well-known studies of nature at rest.
     Mr. C.L. Chambers has several successful pictures. The high lights in the "Evening Cornfield" (No. 50), and the unearthly effects of a brilliant raven twilight transfiguring a simple English village scene (No. 90), show great originality and the painter commands great variety of technique.
     Mr. S.P. Judge's "Boathouse Scene" (59), Mr. G.S. Kirk's (sic) Brockton Point (60), Mr. Kyle's soft and luminous "Road to the Mill" (5), Mr. S. Tytler's Woodland Studies, especially (23), and Mr. A. Hay's (sic) masterly study of contrasted lights, "Before the Rain" (4), are among the best of the remaining landscapes and sea pieces. Mr. W.J. Rice's (sic) landscapes, like Mr. Tytler's tangled woods, show a remarkable quality of courage, and the coloring of his skies, horizons and middle distances is magnificently imaginative. Mr. Rice appears to see whole realms of "cloud-capped towers and airy palaces" in his middle distances, where another person sees merely a fold in the hills. If his pictures have a fault, however, it is that his foregrounds are left to the imagination, and such detail as he supplies is etched, rather than brought into harmony with the general style of his imaginative technique.
     Mr. Ernest Lloyd's collection of miniatures are in a class by themselves. The portrait of Mr. Henshaw shows that we have in Mr. Lloyd a disciple of the great Engleheart, whose work ought to be known throughout the continent. They are beyond criticism, and will cause considerable excitement with connoisseurs of the grand art of the miniaturist. Mr. Lloyd was the founder of the London Society of Miniaturists.
     The statuette, "Tolstoi on His Last Journey," by Mr. Marega, the only sculptural exhibit, is a work of magnificent feeling.