|BRITISH COLUMBIA ARTISTS|
One of most notable features of the present exhibition
of the British Columbia Society of Fine Arts is the great
vitality of most of the work exhibited. This applies equally to what may be called the
less-informed pictures and to the best work in the rooms. It demonstrates that the
desire to express something and to express it beautifully is very much alive in
Vancouver. Among others of its features this is evidence of prosperity and a greater
opportunity for leisure to study cultural matters.|
There is, as usual, a preponderance of landscape as befits a community so abundantly blessed with this kind of outdoor inspiration, there is good portrait work, the "still lifes" are above the average good, while the etchings and pen drawings merit especial mention.
In the arrangement of the walls the hanging committee has achieved as near an approach to perfection as the diversity of their materials permitted. There is very little room for the occasional complaints of artists that their delicate work has been slaughtered by too close a juxtaposition to stronger or more flamboyand matter.
"Miss L.O. Thompson," from the brush of Dorothy Thompson, is a fine, dignified piece of work. It has restraint, character and that sense of virility that lends so much charm to purely feminine faces where intelligence is added to form.
The animal pictures of Kate A. Smith (Mrs. Frank Hoole) have captivated Vancouver picture-lovers for several years and her contributions to this exhibition serve only to strengthen an achieved reputation.
In subject and composition, as well as in the able handling of light and color, her "Church of St. Germaine l'Auxerrois, Paris," stands out as one of the most real pictures of the year. It is a picture as distinct from a mere painting: while it does not actually tell a story, it presents the setting for many stories. It is historical as well as of the present, its architecture and atmosphere are not merely incident to the horses in the foreground, but rather there is a blending of the whole into a fine moment.
In "A Happy Family" the same artist adheres to her better known style of a purely animal presentation. It is a family of pigs and one appreciates the glow that must come to their owner when he reflects that "them hawgs" will sell well, which is a commercial success, and cure better - which is an artistic one. Everything is painted but the grunt.
Mrs. Stateira Frame again contributes to our knowledge of brilliant color schemes with her usual calisthenic pigmentation. In these excursions into modernity, however, she still clings at times to the outworn fiction that the existence of perspective should be acknowledged, even if it is not actually introduced into the picture.
No. 12 is a good picture; it is by Duncan Davidson and represents a village in North Devon. It is quiet and kindly like its subject; it has a softness of tone and an effect of the cohesion of finely-divided union that usually comes rather with tapestries than with paint.