Colour Symbolism

To anyone who is either superficially or sincerely interested in art, there will be pictures or interest among the collection of oils and water colours now on exhibition at the Art Gallery. Whether it is representative of Canadian contemporary art we cannot judge, but at least an analysis of the technique, emotion and subject of a few of the outstanding paintings will reveal a little of Canada's outlook and level of development.

Most impressive is the quality of outdoors—the cold, the stark austerity, the clear colour, that so many of the pictures convey effectively. In none of them is the snow white. "Snowfall" suggests the dirt and dreariness of winter rather than the stimulating excitement in "River Driver," or the spontaneous joy of "Skating in the Park." In all of them the snow reflects not only the colour of the trees and sky or river and hills but suggests the mood of the artist and something of his personal attitude. This is particularly striking in "Grey Ghosts of Algonquin" and "Doc Snider's House."

Protrait Originality.

Among the portraits are two superbly "different" and forceful. One is an oil by Marian Dale Scott moulded in tones of purple to represent a strong piquant face, heavy lidded and chisel boned. No "lace curtain background" mark the effect of clear precision, there are just three leaves, strangely congruous. This portrait is arresting because of its technique and its subject. From a woman painter it is remarkable. Most of the water colours are more descriptive than interpretive but one is worth going up to the Gallery to see. It is a portrait. The subject is a man with a violin. In treatment only the subject becomes new. The face and bands are moulded in shades of black, the evening coat is stark black, the violin is in warm tonings and the background a flamboyant riot of pattern in a symbolised picturization of church and trees and women and flowers. Whether it is "artistically" good I do not know, but it does provoke thought and it does demand attention.

It is noticeable that a large percent, of the most competent and illuminating work is done by women artists. But the most significant feature of this observation is that the point of view may bo a woman's but in most cases the technique is comparable to a man's. For strength, economy and precision, these Canadian women rank as high as their leading men.

Is it significant that none of the exhibits have symbolism except in colour and in very few is there any abstract or imaginative quality. "Dharana" is one of the few. In tones of blue, it is in my opinion, a lovely thing. I heard a fat lady with many rings denounce it as "ghastly" so you see, reactions are varied.

—E.M.B.