LANDSCAPE ART IX SOUTH AFRICA 



demic as a natural desire to express something of the glory of South 

 Africa. 



Pieter Wenning is a Hollander who has resided in this country for the 

 past fifteen years. He is probably the most original, delicate, and sug- 

 gestive of all our artists, though, like all temperamental painters, it must 

 be admitted that his work varies greatly in quality. He has never ex- 

 hibited in public, and his fame is growing almost in spite of himself; 

 but the people of South Africa are slowly beginning to realize that they 

 have in him a master of rare charm and ability. The example of his 

 work shown here (p. 141), gives a glimpse of a street in the Malay 

 quarter of Cape Town, and reveals very clearly Wenning's distinguished 

 and highly personal style. 



Gwelo Goodman, who, although born in South Africa, was trained in 

 Europe and whose work is well known in England, has travelled all 

 over the continent, from the sea to the Falls, and has painted South 

 Africa in various moods. His work is marked by a vital style and a 

 considerable personality, and his landscapes have found an appreciative 

 public in South Africa. His finished technique has been well applied to 

 the creations of atmospheric effects. He has held many successful ex- 

 hibitions in the larger towns, and these have done much to encourage 

 an interest in South African landscape art. He is represented here by 

 a coloured plate and four half-tones (pp. 121 to 126). The coloured 

 plate is of a water-colour drawing of the gorge below the Victoria Falls, 

 and in both technique and style is a fine achievement. The others illus- 

 trate respectively The Victoria Falls (oil), Usakos, South-West Africa 

 (pastel), The Drakensberg and Stellenberg (etchings), and they are all 

 indicative of the artist's later manner. 



Hugo Naude claims special attention in that he was not only born in 

 South Africa, like Gwelo Goodman and several of our artists, but he has 

 also lived here all his life ; consequently he may be termed our one 

 absolutely national landscape painter. His work is marked by a genuine 

 feeling for atmosphere and by sincerity of aim ; although his technique 

 is not perfect, still it is without any form of affectation, and his mind is 

 plastic to new impressions. Kogmans Kloof (p. 1 29) gives a good idea of 

 the mountainous scenery of the Cape towards evening. The other exam- 

 ples of his work (pp. 1 30 and 1 3 1) represent domestic scenes of farm life, 

 and one is an impression of the last of the winter's snow on the mountains. 

 Miss Nita Spilhaus has lived in South Africa over ten years and has 

 painted the scenery around Cape Town with much vivid intensity. Her 

 colour is notable for its luminosity and daring, and she is one of our few 

 artists who has tackled fully the very difficult subject of trees. She is 

 represented here by a glowing impressionistic oil of Table Bay (p. 1 38), 

 as seen above the trees of Sea Point ; a sunset view in oil of the moun- 

 tains of Riebeek Casteel in the Cape Colony (p. 1 39), a striking attempt 



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