"...in Untitled [Pink Tree, Village and Bay] [BC015] (1931), conventional scale has been abandoned: the dominant tree of the title is rendered in loose, rapid brushstrokes, while the clutter of small houses jostle for attention, like scattered children’s building blocks."
[Pink Tree, Village and Bay]
Landscape view over village. Left foreground tree with pink shapes indicating foliage. Midground three rural buildings and a second tree. Background hills and trees, possibly water.
LL F Scales (date illegible)
Alternative title, Pink Tree and Village, taken from the exhibition Flora Scales at The Suter Te Aratoi o Whakatū, Nelson, New Zealand, 2018.
Originally owned by Betty Gordon from Havelock North, New Zealand, who was a friend of Flora Scales's.
Landscape with planes of colour, cubistic architecture and atmospheric perspective.
Possibly painted in 1931 or 1932 when E.D. Kinzinger was teaching in St Tropez, France, and before Scales left France to briefly visit New Zealand. Scales had arrived in Christchurch, New Zealand, by June 1932 and may have brought this painting on the voyage with her. By mid-October 1932 Scales was in Munich, Germany, at the Hans Hofmann School of Fine Art. Reports suggest that Scales knew of Kinzinger and may have heard of his teaching theories before arriving to study at the School in October 1932 where he was the Director.
Scales described the delight of travelling south to St Tropez by train in the 1930s to Linda Gill, 27.08.1976, “...through the most wonderful landscape – the houses are pink and they rise straight out of the grapevines which are sometimes quite yellow.”
A few years earlier the English painter Vanessa Bell had also described the dramatic contrast between Northern Europe and the South of France, and the joy of living and working in the "Midi", in a letter to her sister, Virginia Woolf, 05.02.1927, “Painting is a different thing here from what it can be in the winter in England. It’s never dark even when the sky is grey. The light...is perfect and even now one could often work out of doors, if one wanted to. It makes such a difference to be sure one won’t be suddenly held up in the middle of something by fog or darkness. Also the beauty is a constant delight. The people are very friendly and helpful and living is very cheap...it seems more and more ridiculous for painters to spend half their lives in the dark.” – excerpt from Spalding, Frances, Vanessa Bell: Portrait of the Bloomsbury Artist, Tauris Parke Paperbacks, London, England, 2016, pg 216