Many who are uninformed are of the opinion that such artists as Matisse and Picasso were unable to depict the human figure realistically. The truth is, both were well trained in academic figure drawing and could render the human figure in traditional modes with any of the best within that convention.

I stress the above, because implied within that belief is the notion that traditional modes of representing the figure are difficult and that the more modern approaches are by comparison, easy and therefore a cop-out. It is true that academic renditions of the figure takes considerable training and practice. It is not an easy accomplishment, but a Fauvist or Cubist depiction of the figure is not easy either and likewise, takes considerable thought and practice. It is probable that these modern expressions of the figure, were accomplished, only because Picasso or Matisse had first of all mastered the art of academic drawing. They had already developed, amongst other things, a sense of the possibilities with traditional drawing materials as well.

It is important to realise that the modern masters choose to do what they did, not because they were unable to do otherwise, but because they found it necessary to find ways of expressing visual truths that tied in with new ways of thinking.

This is a rather round-about way of introducing the current figurative exhibition taking place in the Onions Gallery at the Bermuda Society of Arts, but it is helpful to realize depicting the human figure, be it traditional or modern, is difficult. We humans know our bodies fairly well and often have little tolerance for what may be perceived as mistakes, such as misplaced, distorted or exaggerated limbs or organs. When it comes to drawing, say a tree or a landscape, we easily make allowances for distortions in these forms; indeed, we are often hardly aware of distortions in landscape paintings, but this is not the case with the human figure. The distortions found in Expressionist or Cubist figurative works have to be rendered with considerable authority, in order to be acceptable, even to the those who regularly attend art exhibitions.

The figurative exhibition in the Onions Gallery is a mixture of well-drawn and painted depictions of the figure, as well as some obviously beginning attempts at picturing the human form. Given the difficulty of dealing with this subject, I was surprised to learn that this exhibition is an unjuried, open members show. To place the work of a beginner against those who have been thoroughly trained in art colleges, is placing the beginners in an awkward, disadvantaged position. Their attempts come across as weak against the more accomplished works. All the same, in order to be able to attain the standards reached by the better trained, the beginners must also go through this time-consuming training. One can hardly expect a beginner to draw the figure with any degree of confidence or authority. It might have been better to show their work separately.

The paintings of Vernon Clarke stand out because of the training he has had. His six submissions in this show, are done with skill but also authority. Also highly accomplished, are the two drawings by Vivinne Gardner. Both her submissions are quiet, restrained works, that require close attention.

Chesley Trott's six sculptures are a more abstract representation of the human form. I am often reminded of the work of Henry Moore, when viewing Trott's contributions. This is especially true of his, "The Stroller." All his work in this show are wood carvings in cedar. Chesley Trott is a prime example of an artist, although well trained in traditional ways, has chosen to work in a modern idiom. Often he allows the wood to tell him what the form within should be and like Michelangelo, he facilitates its release.

The only other three-dimensional work in this show, is an assemblage by Will Collieson. It is made up of mannequin body parts, particularly legs and feet that serve as the legs of a table, upon which, rests a small pig. The whole thing is then painted pig-pink. It is a typical work of Collieson humour.

Molley Godet's drawings are notable for strong, bold lines. This is her real strength. Additionally, they are distorted, Mattisse-like expressions of the human form. The drawings of Kok Wan Lee, by contrast, are highly abstracted and reminiscent of the work of Cy Twombly, the contemporary American abstract expressionist. One has to seek out the figures within, for they are not immediately apparent.

There are six works in this show by an artist, new to Bermuda. I am thinking of Martin Rambo. I understand though, that he does not live here in Bermuda, and that the work was submitted to the show by his brother, who does live here. I was told that Rambo is Kenyan. Certainly all the paintings depict Africans, in varying poses and costumes. It is obvious that Rambo is artistically gifted, but at the same time, his work is a fascinating mix of careful, photo-like observations of the subject, along with certain Henri Rousseau-like, naif elements. One suspects that this artist made use of photographs in rendering his varying subjects. I noted that the edges of varying forms in his work are often hard, crisp and rather cut-out looking. This tends to make the form appear flat, but at the same time, the careful modelling otherwise, created a dichotomy between the appearance of flatness and the perception of three-dimensional form.

There is one photograph in the exhibition; a rather low-key, black and white work of a reclining figure, seen from the back. The work itself is fairly conservative in terms of technique and composition, nonetheless, it is a stunning work that makes one want to see more of what this artist does.

The exhibition ends today (August 8), so one needs to hurry to see this show, but it is worth the effort.