In response to numerous requests it has been arranged that the
exhibition at the School Board offices,
Hamilton Street, will remain open to the public all next week from 10 a.m. to 9 p.m.
In "Boothanie Valley, Indian Reserve," Miss H.B. Bruce presents
a small picture whose light and pleasing foreground is somewhat overshadowed by the grim
strength of her mountains. "Summer Morning, Grantham's," by W.P. Weston
offers a laughing view of the bay through lightly timbered uplands. It is a refreshing and
invigorating piece of painting whose appeal is in notable contrast to that of "Laguna Grove"
by Mrs. Schooley in which a tired and overworked looking road
disappears into a comfortable mass of trees to rest. The color masses are in the soft tones
and line of the elder Crome. "Laguna Hills" is a companion picture in similar effects, but with
distant hills for aspiration rather than trees for rest.
Mr. Stanley Tytler brings a breezy picture full of life and merging
the color and poetry of industry with the quite majesty of nature in white mountains, - nearer
the sheltering hills and inlet in the foreground. It is called "The Golden Ears from New
Westminster." In "Waiting for the Tide" Mr. S.P. Judge shows us
the pathos of sandy flats and an idle boat looking as stoical as the Indians it accommodates.
There is the total absence of motion that comes to dead tidewater.
A very striking picture is "The Asulkan Glacier" of K.S. Brydone-Jack.
At first glance the glacier appears to derive its frigidity rather from the many colored ices
of the confectioner than from any effort of nature. A prolonged examination might modify this
impression. In any case the work is interesting as an experiment. "The Old Wharf, Victoria," by
Will Menelaws, is a restful picture. It is a faithful delineation of
a mood obviously reminiscent, an evening mood shared by the piles of the wharf and the sleepy
boats tied up to it.
"The Old Landing, Valdez Island," by Grace Judge, is a fine, bold
piece of work true to nature and yet touched mysteriously with the magic of the conventional
decorative artist. Therefore it is a triumph. "Snap," by Mary I. Stoddard,
shows a very-much alive little dog in a basket, his one visible eye full of interested speculation
about something too far off to get in the picture. It is a very able animal study.
Mrs. Lois Gilpin has a portrait head of a pleasant old gentleman full
of humor and gentle kindliness that is an interesting piece of work.
Among the still lifes is a rather unusual one from the brush of
Mrs. Garnham-Harvey compounded of ivy, cut tulips and a broken
flower pot. The painting makes this strange juxtaposition seem natural.
In "The River Swayle, Yorkshire," Mrs. Marion Ogden offers a rich
piece of water and woodland painting with figures showing something of the Constable inspiration
and much of the atmosphere of the northern country it depicts.
No exhibition of paintings is complete without its Venetian sketches and in a view of
"Isola San Giorgio, Venice," H.T. Rutherford supplies this
traditional feature. It is a pleasing handling of a subject that is as usual among
European artists as the Lions of Vancouver art to those of British Columbia.
Not least among the fine exhibits may be noted a collection of five clever miniatures from
the delicate brush of Mrs. H. Bulwer, who shows a great genius for
this almost lost branch of the art of portraiture. There are also several good examples of
the miniature work of Mrs. A.G. Hodgins.
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