[Colin McCahon, Beginnings Landfall 80 p.363-64 December 1966] FREE ADMISSION: OPEN 10AM-5PM DAILY P. +64 3 474 3240 E. dpagmail@dcc.govt.nz 30 The Octagon Dunedin 9016 A department of the Dunedin City Council www.dunedin.art.museum 7 MARCH - 18 OCT 2020 A LAND OF GRANITE: McCAHON AND OTAGO COLIN McCAHON OTAGO PENINSULA 1946 … Avec Toss Woollaston et Rita Angus, il est crédité d'avoir introduit le modernisme dans l'art de la Nouvelle-Zélande au début du XX e siècle. His first great task is to defeat the south-easterly winds roaring along the side of the wreck. Born at Riccarton House, Christchurch in 1915, he grew up on the family farm near Sheffield in North Canterbury (and near Kowai, the subject of this 1952 painting). The colonial woman bent over, occupied with her task of work, has echoes of his earlier Dutch paintings, which focused on Dutch peasants at work. In short, he’s a true artist, and I’d like to get to know him for I would trust him and I’m sure I would learn from him. After travelling, he returned to New Zealand in 1933, settling in Christchurch where he became vice-president of the New Zealand Society of Artists. Parts of the vast Canterbury Plains, including the reclaimed swampland that Christchurch was built on, were literally ripped apart, while many of the volcanic outcrops and cliff faces on Banks Peninsula shattered and fell. Lovell-Smith was one of the Canterbury School of artists whose members focused on the unique aspects of the Canterbury landscape, particularly the hard, sharp light of the region. Peter is the lead author of the Gallery's new book on van der Velden, and talks here of his fascination with the artist's Otira works. The people of Ngāi Tūāhuriri would go inland into the McKenzie [just below where this location is painted] for hunting high country weka [native woodhen] with dogs. Last weekend the University of Canterbury Biology Department celebrated the 100th anniversary of the field station at Cass with a symposium on Cass followed up with a field trip to the station. The exhibition takes a focused look at McCahon’s time in and relationship to Dunedin and the wider region as well as showing how that legacy is documented in various … Henderson, who had arrived from Paris in 1925 and taught at Canterbury College School of Art from 1927, was one. I am only now, and slowly, becoming able to paint in the morning. Tomorrow was an unfortunate painting, said McCahon, ‘in that it wouldn’t go right, and I got madder and madder. Confirmed by his appreciation of Professor Cotton’s technical line drawings of the distinctive faulting and folding of our land, McCahon imagined it stripped of vegetation and signs of habitation, denuded botanically and culturally; a place waiting to be claimed, named, settled; a place waiting for a culture—‘a landscape with too … 'The Māori name for Kaikōura is Te Ahi Kaikōura o Tama Ki Te Raki, the place where Tama Ki Te Raki [a mythical exploring ancestor] cooked his crayfish. He produced this suite of lithographs based on several poems about the troubled Dutch artist written by his close friend John Caselberg. (As Time Unfolds, 5 December 2020 – 7 March 2021). With the foothills and Southern Alps as a backdrop, the scene has a distinct sense of place. Vincent van Gogh was an artist with whom McCahon strongly identified. McCahon acquisitions have been few and far between in the last thirty years, so it’s a significant purchase for us. I paint with the season and paint best during the long hot summers. I had the power & courage to paint Cass.”, 'Tu-Te-Raki-Whanoa, the son of Aoraki, is the atua [demi-god] who shapes the wrecked waka to ready it for people. Without haloes, thrones or attending angels, their identity is alluded to only through their grave sense of purpose and the work’s uncompromising title. There was no Colin McCahon Canterbury landscape in the collection, which was a pretty big gap really. Posted by Colin McCahon’s combination of sky, sea and land is the simplest of landscapes, but by using powerful red and black, he has created a painting filled with mystery and weight. Private collection. I would say this is a semi digital drawing, and I could say this is one of the perks of having a hand-me-down Iphone 7. Born in Christchurch, Lovell-Smith studied at the Canterbury College School of Art then worked for his father’s printing business. Saved by TRUST Art and Design. After a stint at the Wigram Air Force Base in Christchurch with the Royal New Zealand Air Force during World War II, Douglas MacDiarmid found the need to get away to the country for a well-earned sketching holiday. Colin McCahon Canterbury Landscape 1952. Christ was the greatest artist. McCahon House TrustPO Box 60 165L1 Lopdell House418 Titirangi Road, Titirangi(09) 817 6148, The Governor-General, The Rt Hon Dame Patsy Reddy, Young Old Girls (Christchurch Girls’ High), Landscape theme and variations (series B), As there is a constant flow of light we are born into the pure land, Landscape theme and variations (series A), AS THERE IS A CONSTANT FLOW OF LIGHT WE ARE BORN INTO THE PURE LAND, As there is a constant flow of light we are born into the pure land, Tomorrow will be the same but not as this is, CONNECTING CULTURAL LEGACY WITH CONTEMPORARY PRACTICE. The landscapes are unpopulated, almost prehistoric (McCahon would describe the Otago landscape as ‘Egyptian’), the weather brooding. Landscape, 1965, sawdust, synthetic polymer paint on hardboard, 600 x 602 mm. On his return, his works increased in scale while economising in gesture: the landscape elements of Tomorrow have been reduced to a horizon and lowering sky, with the land bisected by a grey river. In 1982, after the death of his wife, Alison, Moffitt began the series that this work is from. (Turn, Turn, Turn: A Year in Art, 27 July 2019 – 8 March 2020). In others you look at the forest from outside, as it rises like a wall before you, built up of cylinders and cubes of lighter and darker colour, with its wild jagged outlines against the sky.' Auction Closed . Aug 12, 2013 - This Pin was discovered by HH. I felt like I recognised the landscape depicted from what I saw around me growing up, but I hadn’t seen it reduced to something so stark and primal before. That’s got nothing much to do with its location – although that obviously commands cultural attention – but mainly because of its centrality in the Te Waipounamu creation story. Drop in Mon-Fri 10am-5pm, 10am-4pm Weekends. Savage’s eyes were injured during World War II and for the rest of his life he could only paint outdoors. 'Now, the original name of Okains Bay is Kā Awatea. Leo Bensemann (1912–1986) was a pivotal figure bridging the worlds of literature and visual arts – a go-between like no other. […] The aim of our existence is nothing else than to study nature and with so doing to understand more and more how grand and pure nature is and gives evidence Some of the paintings are explorations, evocations, of the kauri forest of the Waitakeres. Browse upcoming and past auction lots by Colin McCahon. The mountains seem to wedge into the landscape, their softness suggests a misty or rainy wind and emphasises the intense silvery light breaking the dauntingly overcast sky. ‘I’ve curated one of the Gallery’s re-opening exhibitions of twentieth century Canterbury landscape paintings from the collection titled In the Vast Emptiness. I was reminded of the character of Felix Holt [the main character in George Eliot's novel Felix Holt, The Radical, who favoured a life of working class poverty over the comforts afforded through the wealth within his reach]. Kowai Bush is a farming area in the foothills of Central Canterbury, where typically the summers are very hot and dry. During this time, a notable portrait of McCahon … The colours, shapes and texture caught my attention, so I have tried to make a reflection of this artwork. McCahon’s painting is an abstracted landscape, that I like to think of as a moonscape. This article first appeared as 'Mighty kauris inspired McCahon' in The Press on 10 February 2015. Which would you choose? After a lifetime of working – farming, factories, gardening, teaching, the years at the Auckland City Art Gallery – I prefer to paint at night or more especially in the late summer afternoons when, as the light fades, tonal relationships become terrifyingly clear. Spontaneously drawn outdoors directly before the subject, this small study shows Van der Velden’s interest in depicting dramatic, stormy atmospheric conditions with strong contrasts of light and dark. Henderson produced this landscape on a ten-day painting trip to the railway settlement of Cass in the Southern Alps, with her friends Rita Angus and Julia Scarvell. SOFIA MINSON - MYTHS AND TRADITION Then he moved to Titirangi in 1953 and went totally cubist up there, painting kauri trees and the Waitakeres. These records can be browsed by title, date, collection and … The light now is clear and hard, the colours are in flat planes, and the effect is of seeing the country through a gem-like atmosphere. A short road trip to the Otira Gorge was the scene for a conversation between Gallery curator Peter Vangioni and two of the artists included in Van der Velden: Otira, Jason Greig and the Torlesse Supergroup's Roy Montgomery. He was essentially a plein air (outdoors) artist concerned with painting directly from nature but in Summer, Kowai he has worked in a careful manner, keeping control over the application of paint. They'd carry their empty packs of pōhā [kelp bags to hold preserved birds] with them to the hunting area, catch the weka and process the birds up there. —Sir Tipene O’Regan. Ref: WA-49562-F. Alexander Turnbull Library, Wellington, New Zealand http://natlib.govt.nz/records/22701550. It was brought to New Zealand by Gerritt van Asch, the pioneering educator for the hearing impaired, who had purchased it from van der Velden in Holland sometime before 1879. 'These Auckland paintings seem an entirely new departure. In 1958 poet and arts patron Charles Brasch, a great supporter of McCahon, said of the Titirangi works: Born in Timaru, he studied art in Dunedin. (Beneath the ranges 18 February – 23 October 2017). They were very good friends. A man who evidently doesn’t seek civilization in outward things but is much further inwardly, much, much further than most people. McCahon’s style was highly personal and distinctive. in gold. Contrasting juxtaposed elements here – dry foothills and green valley, or foreground pines and distant morning haze – are combined to become a generous, contemplative whole. […] The best thing I could do was go off on the weekend and paint the river. Although set beside a small riverbed close to the main road, the painting focuses on the steep eroded slopes of the Craigieburn Range. A local radio station even invited people to paint McCahon look-a-likes and planned an exhibition of them. American Figurative Expressionism .. Like Angus, Henderson used a simplified modernist treatment of form to represent the modernising landscape, depicting its utilitarian buildings and rickety telegraph poles. It was here that Hills from Annat was completed. Arthur … The family lived in Ōamaru in 1930–31, and Colin’s interest in art was encouraged at Waitaki Junior High School. ‘The work is interesting because the Canterbury landscape has been cut up into sections and fragmented by these black lines which could represent shelter belts. Auction Closed. Photos: Hocken Collections Uare Taoka O Hakena, University of Otago. The studio was gloomy – there was only one small side window for light when the garage door was closed – but it precipitated dozens of new works. ‘Canterbury landscapeby Colin McCahon is the first of his Canterbury landscapes from the period from the late forties until the early fifties when he was living here, to come into Christchurch Art Gallery’s collection. The hot, dry nor'west winds of Canterbury produce dramatic cloud formations and an atmospheric light. William (Bill) Sutton spent most of his life in Christchurch, apart from two years from 1947–49 studying and painting in Britain and Europe. McCahon had recently been in Melbourne and had studied under Mary Cockburn-Mercer, who in turn had studied under the cubists in France in the 1910s. Some people fear them, others revel in the unforgiving dry heat – love them or hate them the legendary Canterbury nor'wester is one of the defining features of this region in the summer months and there is a real doozy blowing outside at the moment. Thus you have the Canterbury Plains and a sheltered place for his next invention, Whakaraupō [Lyttelton Harbour] and Akaroa Harbour. —Sir Tipene O’Regan. The Colin McCahon Online Catalogue. Welcome to the online catalogue of the work of New Zealand's foremost painter, Colin McCahon (1919-1987). Their distinguishing feature is their generalised nature. Neo Conceptual Art .. Everything has slowed down; there is time to catch up on reading and time to reflect. McCahon est né à Timaru … In 1930s New Zealand there was wide discussion about what was unique about the New Zealand situation; what it was that made us different from the rest of the world. Christchurch-born couple Colin and Rata Lovell-Smith stayed there regularly throughout the 1930s, joining the throng heading north each season to camp, fish and relax – and, for these two, to paint. Colin McCahon. In 2014 we purchased an important landscape work by Colin McCahon. Although he won the Kelliher Art Award in 1962, Savage felt unappreciated in New Zealand and spent many years living away from the country, finally settling in Greece. A number of artists began painting the Canterbury High Country, most famously Rita Angus and her landscape painting of the railway station at Cass. Saved from mccahon.co.nz. He returned to settle in Wellington in 1904 but died in Auckland. One Christchurch reviewer in 1933 commented: 'Of the painters who direct their attention towards the essential characteristics of New Zealand scenery […] Mrs Lovell-Smith makes an extremely direct statement of her subject. Aug 12, 2014 - Colin McCahon, North Otago Landscape 11, 1967. Collection of Auckland Art Gallery Toi o Tāmaki, 1958. The colour and light of Auckland are different from those of the rest of New Zealand; they are more atmospheric, they seem to have an independent, airy existence of their own, and they break up the uniform mass of solid bodies, hills or forests or water, into a kind of brilliant prismatic dance. However, he struggled to make a living in Christchurch and in 1898 went to Sydney. North Otago landscape 1968 Collection title Multiples: 12 multiples. It’s the beginning of the South Island’s traditional history. This could be sunset or sunrise, a perfect day to come or a perfect storm. From Akaroa, you look across to Wainui, all the way along the peninsula and out over the heads. Back in Dunedin he attended Russell Clark’s Saturday morning art classes and found the … The Gallery buying McCahons has been fraught over the years. She was first introduced to painting through her mother, Emily Studholme, an accomplished amateur artist. In others you look at the forest from outside, as it rises like a wall before you, built up of cylinders and cubes of lighter and darker colour, with its wild jagged outlines against the sky. In some you seem to be inside the forest, discovering the structure of individual trees, with their great shaft trunks, their balloon-like cones, and the shafts of light that play among them. He struggled to make a living in Christchurch, however, and moved to Sydney in 1898. It’s good to see him better represented in our collection, though there is still a large gap, the elephant that isn’t in the room, and that’s a late period black and white word painting on un-stretched canvas. For Austen Deans, OBE, painting was an expression of his love of the outdoors and, in particular, the Canterbury high country. Colin McCahon. —Sir Tipene O’Regan. ', (From the Sun Deck: McCahon’s Titirangi, 17 September 2016 – 6 February 2017), “‘Colour is light’ and there is no darkness at all – there is light or less light. Rather than a hindrance, however, Nicoll put his car to good use and revelled in the freedom it offered, driving all over Canterbury to paint. To quote my professor, the late Colin McCahon, “I saw something logical orderly and beautiful belonging to the land and not yet to its’ people,” I loved growing up in such timeless beauty and the visual drama of these memories … The family lived in Oamaru in 1930–31, and Colin’s interest in art was encouraged at Waitaki Junior High School. ‘Canterbury landscape by Colin McCahon is the first of his Canterbury landscapes from the period from the late forties until the early fifties when he was living here, to come into Christchurch Art Gallery’s collection. I haven’t had the chance to see any other McCahon’s in the flesh, but with the use of the internet, I am able to observe his pieces online. The metaphor is used that the atua [demi-god] Rākaihautū is striking his kō [digging stick] named Tuhiraki into the ground, creating, making, discovering the lakes. He lived in Christchurch for a time, became keeper and assistant director at Auckland Art Gallery, then lecturer in painting at the Elam School of Fine Arts, University of Auckland, before taking up painting full time in 1970. Colin McCahon. There he was assisted by Hine-Nui-Te-Pō – this was before she became the Mother who gathers in the dead. He then depresses his heel and creates Waihora [Lake Ellesmere], later claimed by the exploring ancestor, Rākaihautū, as Te Kete ika o Te Rākaihautū [the fish basket of Rākaihautū].' June 2020. Colin McCahon. In their Highgate home hung landscapes by McCahon’s late grandfather, William Ferrier, and the family regularly visited the Dunedin Public Art Gallery and art exhibitions. His genre paintings like this one were widely appreciated by the public and the press often described him in glowing terms as a “distinguished Dutch artist”. Deans was the last of a generation of painters, which also included Doris Lusk and Bill Sutton, whose work was strongly focused on the Canterbury landscape. Il est considéré par certains comme le plus grand peintre du pays [2], [3. Art. Saved by jing he. ‘We reason with colours. When they get there, Rākaihautū places his kō across the ridge of the hill above Wainui and changes the name to Tuhiraki – and it’s been a treasured name ever since. It can be difficult to accept that painting too is work.”. Discover (and save!) After some struggle, I used my phone to zoom in on areas I enjoy the most, creating new works from within the existing picture plane. Purchased with the support of Christchurch City Council's Challenge Grant to the Christchurch Art Gallery Trust, 11 November 2015. —Petrus van der Velden, (McCahon / Van der Velden, 18 December 2015 – 7 August 2016). She glories in the colour contrasts of the New Zealand landscape. Here, Sutton’s interest in landscape, light and colour is applied to a location of significance for Māori. It’s a mahika kai [food gathering area]. This pared back, strikingly modern Madonna and child was painted in the Christchurch suburb of Phillipstown where Colin McCahon, perhaps New Zealand’s most acclaimed twentieth-century artist, lived with his family between 1948 and 1953. This region was a favourite subject of Hope’s, one that she returned to throughout her career. Peter Simpson is an authority on this distinctive artist. The Canterbury landscape as captured by twentieth century painters. While the Gallery has been closed we have updated frames for a number of works in the collection. On an immediate level, the poem is a response to McCahon’s painting There is only one direction (1952), which he presented to Jim and Jacquie Baxter to mark the birth of their daughter Hilary after they had named McCahon her godfather. (Te Tihi o Kahukura: The Citadel of Kahukura, 18 Februay 2017 - 18 May 2018). of so much love.”. Sutton’s house remains in what is now known as ‘the red zone’, an earthquake-battered place of an undetermined future. In an attempt to get a fuller picture of the man himself, Gallery director Jenny Harper spoke to two artists who knew him well, John Coley and Quentin MacFarlane. Up in the mountains, Henderson found the freedom to further develop ways of painting – and seeing – that reflected the independence of her distinctive vision. In their Highgate home hung landscapes by McCahon’s late grandfather, William Ferrier, and the family regularly visited the Dunedin Public Art Gallery and art exhibitions. The Pākehā surveyors called these cleared areas parkee from the Māori word for no trees, pākihi. Colin McCahon began employing a cubist approach to the New Zealand landscape in the early 1950s. BulletinNew Zealand's leading gallery magazine, Touching SightConor Clarke, Emma Fitts, Oliver Perkins. He is most well-known for his paintings of Mt Peel and the surrounding area, where he lived and worked for over 60 years. The viewpoint Esther Hope chose for this work allowed her to show the vast expanse of the Mackenzie Country, which stretches out before the viewer towards the Southern Alps. Colin John McCahon (Timaru, 1 er août 1919 – Auckland, 27 mai 1987) [1] est un important peintre néo-zélandais. Caselberg was in the group & O’Reilly & miles of students. I remember seeing one of McCahon’s paintings at the Auckland Art Gallery, and being overwhelmed by the scale of his work. 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