Studio: international art (70.1917)

Studio-Talk

EDINBURGH.—Mr. John Duncan’s
Tristan and Isolde, purchased by the
Scottish Modern Arts Association at
the Royal Scottish Academy three
years ago, and exhibited later at the Royal
Academy, is a characteristic example of the
able artist’s method. From the literary aspect
it is imbued with what is known as the Celtic
spirit, which is more reflective than passionate
in its expression. From the painter’s point
of view there is a little reminiscence of the
Pre-Raphaelites in its attention to the signifi-
cance of details, but no detail is allowed to
dominate at the expense of the general scheme,
and there is no detail which is irrelevant. The
colour-scheme would prohibit this, for in all Mr.
Duncan’s sometimes apparently over-elaborate
methods there is always a careful eye on tonal
correctness and unity. This particular picture
is like a beautifully set mosaic without any of
its hardness of line. To avoid any monotony the
waves of the sea are more broadly treated, and
the skill with which Mr. Duncan has blended
two apparently different methods in one
picture is to be noted and recommended.
There is no attempt at so-called realism, the
design is simple and flat or in conventional
decorative design. There is no bold contour—
in fact the “ sculptural ” is never or very
seldom present in any of Mr. Duncan’s work.
One could almost name the
artist as a Celtic primitive.

But he is more of a roman-
ticist than this. In fact it
would be difficult to pigeon-
hole him, so individual is
he. If the Tristan and
Isolde is not one of Mr.

Duncan’s greatest efforts
it has charm and indi-
viduality enough to have
merited its purchase for
a national collection.

A. S. W.

WELLING-
TON, New
Zealand.

Twenty-eighth Annual
Exhibition of the New
Zealand Academy of Fine
Arts was signalized by
92

“A ROCKY COAST, KAIKOURA, NEW ZEALAND” BY CECIL F. KELLY

[New Zealand Academy)

the opening of considerable additions to the
Society’s gallery, which should now provide
ample space for the holding of well-arranged
exhibitions. The fixing of the days for recep-
tion of work too near the date of opening
the exhibition (though unavoidable on this
occasion) as usual resulted in some haste in
the selection and hanging. The general level
of the exhibition would have been considerably
raised had the pruning-knife been more severely
handled, and this would have improved the
appearance of the walls, especially as regards
the oils, by enabling those hung to be displayed
to better advantage.

The feature of the exhibition was a portrait
by Raeburn of Captain James Coutts Craw-
ford, R.N. (one of Nelson’s captains) lent by
Mrs. H. J. Crawford. This is a fine example of
the work of this master of portraiture, simple
and direct in its treatment, faultless in the
treatment of the values, restrained and har-
monious in its colouring, and yet carrying a
feeling of colour far beyond anything else in
the exhibition. The opportunity of being able
to exhibit this picture was a source of great
satisfaction to the Society, whose appreciation
of the loan it is hoped will stimulate other
owners of beautiful and instructive work to give
the public similar opportunities.