LANDSCAPE ART IN SOUTH AFRICA 



this I should certainly not have put myself before the two names that 

 follow. I think I may say that the three examples shown (pp. 1 36 and 

 137) represent more or less adequately my ideas in regard to South 

 African landscape. All three are pastels. My chief aim has been to 

 catch, if possible, the effect of the African light and shade. 

 I must now name two artists whose merits deserve a much earlier 

 mention but of whose work I have most unfortunately, owing to the 

 short time at my disposal, been unable to obtain examples. G. S. 

 Smithard, who holds a post as Government instructor of art in the 

 Transvaal, is an artist of true distinction and of wide renown in this 

 country. Some ten years ago he held an exhibition in London which 

 was favourably commented upon, but of late years he has not been so 

 prolific. His most important recent work has been the painting of four 

 decorative landscape panels for the new Pretoria railway station. These 

 are executed in tempera. His work, which is largely in pastel, is marked 

 by fine feeling for colour and decoration. Wallace Paton, who works 

 both in pastel and oil, is our leading painter of the sea. His pictures 

 of the wild African coast show remarkable power and are the product 

 of a striking artisticpersonality. 



I will add finally that this is far from being an exhaustive list, and that 

 if I had the space I could mention other names worthy of consideration; 

 but I think I have said enough to prove that South African art, while 

 not yet a great product of the soil, is at least a genuine and expanding 

 one. What we want here, as indeed is what is always wanted in all art, 

 is vital personality, mingled with almost religious faith in the possibili- 

 ties of the subject. Such is the foundation of a national art, and without 

 it the most accomplished technique is finally vain. 



EDWARD ROWORTH 



