Argus (Melbourne, Vic. : 1848 - 1957), Tuesday 3 May 1932, page 10


ART EXHIBITIONS.

MISS JESSIE TRAILL'S WORKS.

By ARTHUR STREETON.

Melbourne should be proud of that fine draughtswoman and etcher Miss Jessie Traill. By incessant labour and obser-vation she has won for herself a high posi-tion by her fine sense of design and her most capable rendering of very difficult sub-jects. She dares to do a large drawing composed of enormous curves and angles and she does it successfully. There is no other artist in Australia to-day who can compare with her in the fine and varied exhibition of Sydney Bridge and other de-signs which will open today at the Athe-næum Gallery. Her drawings of the Har-bour Bridge from 1927 to 1931 form a

triumphant and original record of that mighty masterpiece of steel, and it would be well if the finest of them were acquired and housed as a national collec-tion and an artistic record of the struc-

ture.

Attention may be directed to such etch-ings of the bridge as No. 34 "Ants Progress, 1929," No. 36, "Under North Side, 1931,"

No. 38, "The Red Light, 1931," No. 31

"Beginning South Side, 1927," and the splendid No. 37, " The Great Arch, 1930." All are impressive and well drawn. The drawings of the bridge in water-colour are equally beautiful and simple in execution notably No. 24, "Hydraulic Riveter' and No. 4, 'Workshops," which are powerfully expressed. No. 13, "Going Up," No. 10, "Creeper Crane South Side."

No. 17, "The Man with the Ladder."

No. 9, "The Cables." No. 1, "Side of Curve."

No. 3, "Blue and White," and especially No. 2, "The Great Pylon," provides an ex-cellent lesson for water colourists in large-ness and simplicity of design and delicate washes of colour.

No. 60, "Berwick Bridge, Northumber-

land," is a grand example of this famous bridge in shows its character beautifully.

No. 48, "Port Neuf, Toulouse, 1614," is

good; and No. 62, "Haddington Brig," is a romantic rendering. No. 64, "Liverpool Cathedral, 1926," is a dignified drawing of what is considered the finest cathedral of

modern times. No. 51, "Albi Cathedral and Viaduct," suggests a grand elevation and substantial expression. No. 52, "Frosty Morning, Albi." is delightfully fresh and simple in its technical rendering. There are several studies of Mount St. Michel.

There are many other fine works, including No. 68, "The Moorhouse Tower, Melbourne, 1932," and No.86. "The Striped Tower,

Genoa."

The visitor will need to return again to this exhibition of daring original and successful work which remains open till May 14.

Mr. Edward Kimpton's Landscapes.

The Aleldrum Gallery, 203 Little Collins street will open to-day with an exhibition of small seascapes and landscapes by Ed-ward Kimpton. One wishes that artifical lighting could be dispensed with for all work shows its best quality in a flood of cool day light. There is sincerity and a deal of out-of-door freshness expressed on the walls of this little gallery. No. 3.

"The Fisherman," is a simple design and harmony of pale green sea with a grey tree bending across it. No. 11, "Atornille,"

is similar in colour arrangement and full

of the same out-of-door freshness and free-dom from black. No. 16, "The Murrum-bidgee is extraordinary slight. There is almost nothing in it. At a few paces it reveals in its excellent frame the sug-gestion of two large tree trunks on a river bank, and background. It has a rare quality of greyness like dusk and it may bere-gar led is the most artistic expression on the walls-i beautnul impression No 7 Quiet Corner is refined in coloui md ilso i vert simple impicesión of natuic In N >

6 Bush Paddocl we hive the reticence of the subject on i gie} c1 it Bul like No 13 Vcioss the Creek it could be helped b} some definition of fumncss and Kolidit} in the 1ore,»iound the tice trunks mil the stumps in the ground

lins exhibition will rcliiun on tictt until Ali} 11

Mr. F. G. Eeynolds's Still life

Thirti exhibit", bv 1 ledcnck G llevnold-. will he on view at the _x ewin in Gallen 2S9 Collins street, fiom to din His best punting is revealed in his studies of flint and floweis Xo 12, 'Purple and Gieen bpviev," ib the onlv landscape of lnteiest -a truthful mipieshion of eoloui out of doors Xo 29. 'Red Punce Giapes," and No G "hruit Piece," ure peihips his finest paintiugs ol fruit ihev are good in colour and souudlj drawn and punted Xo 2, "Gripes, Quince., and Peaches," and No 23, Melon and Gi.ipes," ne of fan average, but the. need t iirijing further to ward completion îvo «!0, 'Pmsies" md Xo 7, ' Pink Roses," ne among the best How cr studlea Xo 15, "Cécile Briinnei Roses " Xo !), ' Pink Camelia," Xo

"Rhododendrons ' and other cum lies show a good colour sense and general har-mony of arrangement. All they need is further intense study of the texture of petals, leaves, and other delightful parts of a "still life" to produce the varied and exquisite surfaces of Nature.

Mr Renolds is wise to work so much with still life. It is one of the quickest ways of learning how to paint well. One looks forward to his next studies with in-terest. This exhibition, which also may be seen at a slight disadvantage owing to artifical lighting, will remain open till

May 14.