The Wakefield Collection

The Wakefield Collection is specially welcomed by many people, including myself, who have not had many opportunities to examine original prints, drawings, and water-colours by British artists. It is the most representative and one of the most important exhibitions of its kind to be shown in New Zealand.

There were two extremes represented on opening night in the D.I.C. Gallery. One lady was thoroughly enjoying herself, examining the prints through a magnifying glass—another was standing many feet away peering through a lorgnette. These two people more or less personify the reaction this exhibition will receive during its itinerary. The print lovers and those people interested in draughts-manship will be very happy to look at the exhibits for hours and hours and I can only pity those people whose religion of art begins and ends with painting.

Throughout the exhibition there is a variety of technique and subject-matter to suit all tastes. The craftsmanship is outstandingly high and is based on sound draughtsmanship, a tradition long held in honour by British artists. It was interesting to me to note that where the work was inclined to be experimental the artist had mastered his craft before-hand. There was no fumbling or any attempt to take shortcuts.

It is hoped that many New Zealand artists will “learn” from this show that after all there is something in good, sound draughtsmanship. In comparing the standard of work being done here with that of the British artists on exhibition it is obvious that generally speaking we are lacking in craftsmanship and in imagination. In criticizing our own standards I am not overlooking that there are some dull spots in the Wakefield Collection, and in some cases the limitations of the various mediums have been stretched and trickery in dulged in, particularly among the etchings.

Of course I have my own favourites among the exhibits but I would not attempt to foist my standards on other people, but there is one name that I must mention and that is Robert Austin, for to me in his small copper engravings is represented about the highest skill to which a craftsman can aspire. Size does not count in this exhibition and some

Continued on page 9

– –