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At Sydney Ga eriesinn of spring rought with ew burst of ona in Syd-id of these, •at approprl-far as the concerned a»h the Spring nor Galleries, painting can of place and Tal and dull lere's a fairrletle.M here.I of lt;»lt;*orge •es predoml-of the luiBh Arthur Boyd Hal Mtssing-jleaaant side dng with the -lt;* the flower I’reHton und dr inn Feint'sor old photos f a past eiu for Cedric 11- .Marquurlc kal.s does he t v subjects— retain the . and a wild t. In thr last d of eye andngs could Invert' not for •Ird imagina-a loneliness Edwardian; ibatance and rtiHt broods s down upon its n pair oflike Cheese and Comic lower levels.being little more than witty observations on life. But Mr. Flower goes further In “Dogs after a Rabbit, a beautiful watercolour which is a gem of wit and colour.The exhibition doses on 25th September.IJO Years of Australian ArtALTHOUGH Australia ha* nor been a nation long enough to have built up a large body of Indigenous art. there have been enough individual artists and schools since the middle of the last century to warrant something like the exhibition now being held at Farmer's Biaxland Galleries.The earliest painter* were undoubtedly European in outlook and, although the later artists have shown that they can he truly Australian, the debt to France, and the Continent generally, Is very plain In many paint-ingB. The directions taken since the Lindsays and men like Hilder and Gruner are so diversified that they could not all possibly be Included in an exhibition of this size, hut despite the obvious restrictions of space, the show is an excellent, short, historical survey.The times of Rupert bunny and Torn Roberts are far off Indeed, refill ting as they do an age of quietness and sureness In art. In Roberts (see The Glade, No. 28) the calm beauty of the bush Is transported entire to the canvas without any flourishes of style—a beauty that I* clear to all. A modern counterpart. I^ance Solomon (represented here by the Young Iron-barks”), has absorbed the modern spirit and yet he can express the same basic delight In our land.In the realm of pure imagination, it is a different matter. Norman Lindsay is a master of this type of painting (see here No. 59—Unknown Seas). He paints an Olympus that no other artist has imagined, peopled with gods of seemingly tremendous intellectual power. His Unknown Seas In of the same type, with the longing of people who are deprived ofcontact with their fellow humans and who nee the end of some other Odyssey. Imaginative work to-day Is in the hands of a Gleeson. manipulating the symbols of psychology, probing the mind in other ways.The absence of E. Phillips Fox's paintings is noticeable, although wo must remember, again, that space and relative availability were most likely the reasons for this.looking back to the In-glnnlngH of painting here, the Sydney Harbour of Conrad Martens (1801-1876) and S. T. Gill’s Stockman are mellowed pictures, which, upmi from artistic qualities, afford iih u glimpse of the Australia that was. From these painters to the present day artists, one receives the impression that Australian painting has not exactly matured; it has shared In the uncertainties of the last half-century, like that of most countries. In any case, tha maturity of Individual artists Is more important, and when we see the paintings of William Dobell or Mar Meldrum or Gruner. we can feel reasonably certain of the future of Auitralian art.The Exhibition is open through September.Balzac and French BooksrFHE Balzac centenary has provided an opportunity for the Mitchell Library to assemble some Interesting books and documents by or about Balzac and to place on show in the same Gallery, books published In France on many aspects of the cultural life.The works of Balzac are displayed In several editions of the Oeuvres completes and separate volumes like those from the Editions Jacques Vau-traln : La Peau de Chagrin (illustrated by Colette Pettier. 1947) and he Pire Goriot (Illustrated by J. M. Curutcbet. 1946). The printing of the colour illustrations Is excellent.Important studies include Andr£-Billy’s Vie de Balzac lt;1944), RomalnGulgnard’a Balzac el Issoudin lt;i.-and Bernard Quyon’s Immense pvn. politique et sociale de Balzac (194Photographs give us a r£sumlt; 0.Balaac’s life and surroundings. Ti, art title pages of the early novels „ wrote before the beginning of ComMle Humatne—two of theseLe Vicaire den Ardennes (1822 Jean Louis ou La Ftlle Tombtc. R. , too. are pictures of the women hi- k or who Influenced his life, the far,, Madame de Hanska, the Duch D’Abrantes and Zulma Carraud. U-can glance also at photos of th.- i. lous coffee-pot and the table at w. Balzac was accustomed to write, s „page proofs with his corrections this summary of the objects illustr.i the teeming life of Honors de BaThe exhibition was opened by H. V. Bvatt, MH.R-, on behalf or Trustees of the Mitchell Library the presence of the French Amb.i dor, M. Padova nl. and will nr open until 26th September.• • •Other French books for Inspect, the Mitchell Gallery Include eoni. mlrable examples of French I. production, a* well as ordinary edit, of ihe greatest interest. Many of t .ire on loan from Dr. WoodwardSeveral notable books there «r Print ure Franqatse de Baudclan. Bonnard (Albert Skira. Genf-ve, 1* two volumes of IAttdrature Fmm;lt; (Larousse). an historical survey mirably Illustrated; a lovely edition the complete works of Saint-Exui-In one volume; Jean Mariotti's Coal- * du Poindi. Illustrated with woodcut.' I . Van Rompaey and printed In g« and brown; a critical edition of Rat lain; and L'Qeuvre gravdc de Vutllm,/ by Claude Roger-Marx.There are too many volumen iscience, history, literature and crltlu-ai to be enumerated here, and finulbmention must be made of the children'* books, including the charming Jf. /«•mollet A Paris by 8amlvel, in sr. «*•quislte edition on tinted paper.—Donald R. WONSON
Newspaper Details
Sydney Le Courrier Australien
Sydney, New South Wales, AU
Fri, Sep 22, 1950
Page 6
Full Page
Clipped by
David C.
AU 16 Jul 2022
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