The thirty-third exhibition of the B.C.
Society of Fine Arts opened recently at the Art Gallery, assumes unusual
importance since, for the first time, both the large rooms on the main floor are
devoted to the display.
An even more significant element is the revelation of a strong creative spirit
animating many of the exhibits. This year the society's exhibition, generally
considered as perhaps the major event in Vancouver's art calendar, reaches a new
high of excellence.
A lively exhibition reveals variety and fresh departures by established B.C.
painters, not content to rest complacently on past laurels. In brief, it is
possible to state without exaggeration and in the words of a noted visiting critic,
that the present show has attained a standard comparable to certain prominent
exhibitions in eastern centres.
Creative Effort
These creative and experimental efforts, with stupid and palpably academic work
notably absent, indicate new notes of mature achievements resulting from experience.
The works have been displayed to advantage by careful hanging, in which the well-known
Ontario curator and art authority Captain Ross Hamilton lent his valuable experience.
Large and unusual canvases which are certain to attract attention and cause discussion
include: "When the Creative Force Rules Man," and "Toward the Creative Renewal" by
Sybil Cianci, both strong and well-painted decorations based
on B.C. Indian motifs; "The Prodigal Son" by R.W. Major,
another highly individual and symbolic canvas; and Helen West's
"Figure Composition," very decorative in a more conventional style.
Rich Interpretation
New phases appear in the exhibits by W.P. Weston, A.R.C.A.,
especially in the color, simplicity and subtle rhythm running through his "Devil's Club"
and "Abandoned Gravel Pit."
Charles H. Scott, A.R.C.A., likewise renders a new, rich and
personal interpretation of western life and landscape in "Church in the Cariboo."
"Quiet Glory," by the same artist reflects majestic feeling for mountains and sunset sky.
On the wall occupied by abstract paintings the large canvas by Lawren
Harris reveals him as a master of non-representational symphonic organization.
"Modality Spring Awakening," by J.W.G. Macdonald, stands out
in its lovely quality, sensitive rhythm and sequence of interesting forms.
Gem of Beauty
Emily Carr's "Cordova Bay" is an especially fine example of
her recent style; Jane Billaux's "Portrait of a Farmer" shows
her customary talent for fine texture treatment, vibrating color and construction;
B.C. Binning's "Gabriel" is admirable in its design and
seeking for expressive form and color.
Mildred Valley Thornton exhibits a dramatic and impressive
"Right of Way, Sask." and Irene Hoffar Reid's small "Cariboo
Landscape" is a gem of beautiful tapestry-like color.
Eulogies of visitors are finding practical expression. On the opening day
Paul Rand's vigorous and decorative "Indian Island, Pender
Harbour," was acquired by the famous Metropolitan Opera singer, Alexander Kipnis.
The painting indicates the constant progress of this courageous painter.
Among other exhibits are Harry Hood's rugged mountain
landscape, Maisie Robertson's study of horses, splendidly
alive, Gerald H. Tyler's "Thetis Lake, Victoria,"
Leon W. Manuel's effective design in "Golden Hills"
and Nan Lawson Cheney's "Relics of the Sea," beautiful
in textures and composition.
More than one visit to the gallery is necessary to examine other notable oil
paintings and some outstanding exhibits among the watercolors, graphic art and sculpture.
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