Ow Did the Whangarei Art Museum Come to Have the Painting of Harata Rewiri Tarapata?

Article

Trove

Recounting the untold stories behind some of the works in the exhibition Treasury: A Generous Legacy, curator Ken Hall likewise underlines the value of fine art philanthropy.

Continued

Notes

Report (Woman in a wide black hat) by Raymond McIntyre

This article beginning appeared as 'The Muse' in The Printing on 25 August 2015.

Collection

John Gully Lake Wakatipu

In 1877, John Gully retired from his role equally chief draughtsman in the Nelson Survey Office and took a calendar month-long sketching tour of Wanaka, Milford Sound, Wakatipu and Manapouri. A year later, when he exhibited his new watercolours, he was commended by the Nelson Evening Mail for "two big watercolour paintings, the latest, and, to our mind, the best of the many that have been produced from the studio of that now historic artist... These represented Milford Sound and Lake Wakatipu… two nobler pictures it would exist difficult to find."

(Our Collection: 19th and 20th Century New Zealand Fine art, 2018)

Commentary

The wisdom of crowds

In recent years, crowdfunding and crowdsourcing accept become big news in the arts. By providing a funding model that enables would-exist-investors to go involved in the production of new works, they have altered traditional models of patronage. Musicians, designers, dancers and visual artists are inviting the public to finance their projects via the net. The public are also being asked to provide wealth in the form of cultural capital through crowdsourcing projects. The Gallery has been involved in ii online crowdfunding ventures – a projection with a public art focus around our 10th birthday celebrations, and the purchase of a major sculpture for the metropolis. Just, although these projects have been made possible past the internet, the concept behind the funding model is certainly not new. The rising of online crowdfunding platforms also raises important questions about the function of the country in the funding and generation of artwork, and the democratisation of tastemaking. How are models of supply and need afflicted? Does the freedom from more traditional funding models allow greater innovation? Exercise 'serious' artists even ask for money? It'southward a large topic, and one that is undoubtedly shaping up in PhD theses around the world already. Bulletin asked a few commentators for their thoughts on the thing.

Continued

Notes

Even so life with flowers in a handbasket by Pieter Hardimé

This article first appeared equally 'Apologue of life'southward dazzler, brevity and fragility' in The Printing on xv August 2014.

Collection

Elizabeth Kelly Laura

Elizabeth Kelly (née Abbott) made this sculptural portrait bosom while at the Canterbury College School of Fine art, where she studied from 1891–1901. She won regular prizes for her modelling from life, including at the 1906–07 Christchurch International Exhibition. Kelly subsequently became one of New Zealand's leading gild portrait painters, in the 1930s showing her piece of work in exhibitions in London, Edinburgh and Paris.

Laura was modelled on the creative person's younger sister, Laura Maude Cox (née Abbott, 1884–1957). Ane of the primeval sculptures in the collection past a New Zealand born artist, it is a contempo gift to the metropolis from Margaret Abbott, a great-niece of the two sisters.

(Treasury: A Generous Legacy, eighteen December 2015 – 27 Nov 2016)

Notes

Revealed

The respond to yesterday's puzzle is Teresina by Frederick Leighton

Drove

Petrus van der Velden Mountain Stream, Otira Gorge

The Rotterdam-born Petrus van der Velden arrived in New Zealand in 1890. Following his first visit to Otira Gorge in January 1891, he became engrossed with this subject, and painted its powerful, surging torrents many times over the next ii years.

This painting was purchased by Gilbert Anderson, a leader in New Zealand's frozen meat industry, also involved with the Canterbury Guild of Arts. Anderson sold it to the Guild in 1912; it was purchased from them in 1996 through the Community Trust and Christchurch Art Gallery Trust.

(Treasury: A Generous Legacy, xviii Dec 2015 – 27 November 2016)

Notes

Untitled by Meindert Hobbema

This article get-go appeared equally 'Dutch care for' in The Press on 12 Apr 2013.

Collection

Pieter Hardimé Still Life with Flowers in a Basket

As well as being enjoyed for their superb decorative qualities, Dutch even so life paintings were intended to be reminders of the beauty, brevity and fragility of life. An arrangement of tulips, anemone, nicotiana, jonquils, morning glory and oriental poppies, this work is attributed to the Antwerp-born Flemish painter Pieter Hardimé, who lived at The Hague from 1697.

The painting arrived from Windsor, England as an unexpected and welcome gift, shortly after the 2011 earthquakes. It was given in retentiveness of Kathleen Muriel Whiteley (1904–1949), who had historical family unit ties to Christchurch, from the estate of her married man Albert, whom she married two years earlier her expiry in 1949.

(Treasury: A Generous Legacy, 18 December 2015 – 27 November 2016)

Article

The East Bharat Visitor homo: Brigadier-General Alexander Walker

Getting to know people can take time. While preparing for a time to come exhibition of early on portraits from the collection, I'chiliad condign acquainted with Alexander Walker, and finding him a rewarding subject. Painted in 1819 by the leading Scottish portraitist of his mean solar day, Sir Henry Raeburn, Walker'southward portrait is wrought with Raeburn'south feature blend of painterly vigour and attentive care and conveys the impression of a well-captured likeness.

Continued

Notes

Angels and Aristocrats

Blair Jackson and I attended the opening of Angels & Aristocrats at Dunedin Public Fine art Gallery on Fri 27 April. It'due south spectacular.

Notes

Taking Stock

Information technology'due south difficult to believe, but only 18 collection works were damaged as a consequence of all earthquakes, with fourteen damaged on the 22 February 2011.

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George Sheridan Knowles Glasgerion

Treading a path well established in the 1850s by the Pre-Raphaelites, George Sheridan Knowles'south Glasgerion takes its direction from the tragic medieval romance in a lyric narrative of the same proper name. Information technology was i of 305 English and Scottish popular ballads nerveless by Francis James Kid and published between 1882 and 1898. Sheridan Knowles was amidst many late Victorian illustrators and painters inspired past the ballads. His large-scale depiction of the eager, before long-to-be betrayed lovers was widely admired when hung on the walls of the Royal Academy in 1897.

Glasgerion was one of half dozen paintings brought to Christchurch from London in 1903 by the Canterbury Society of Arts, which set about raising funds to buy them. This was the starting time painting purchased, through a gift past local pol and businessman, John Thomas Peacock.

(The Moon and the Manor Business firm, 12 November 2021 – 1 May 2022)

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George Leslie In the Wizard's Garden

In response to the adverse impacts and uncertainties of the industrial age, many belatedly Victorian and Edwardian British artists were fatigued to somewhat escapist historical or literary themes. Lavishly displaying this tendency, George Dunlop Leslie'south In the Wizard's Garden was first shown at the Majestic Academy in 1904, and in New Zealand at the 1906–07 Christchurch International Exhibition. Because the painting puzzled visitors, Leslie was asked for an explanation of its meaning. Its unhappy subject area was a immature medieval noblewoman who had sought an alchemist or wizard's guidance to observe the secrets of the future. The theme originated from American writer Nathaniel Hawthorne's 'Rappacini's Daughter', a macabre tale featuring a garden filled with poisonous plants. The setting of the painting was, notwithstanding, English rather than Italian: it is known to exist based on Leslie's own garden in Wallingford, Oxfordshire. London-based, former Dunedin merchant Wolf Harris, a friend of many leading artists, bought the piece of work about as soon every bit it arrived in Christchurch and then gifted it to the Canterbury Lodge of Arts.

(The Moon and the Manor House, 12 Nov 2021 – 1 May 2022)

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Raymond McIntyre Study (Woman in a Wide Black Hat)

In 1911, two years afterward arriving in London, Raymond McIntyre began his long clan with the Goupil Gallery, the urban center's leading international contemporary fine art dealer, and exhibited for the first fourth dimension with the prestigious New English Art Gild. McIntyre congenital his reputation on small-scale, pared-dorsum landscapes and stylised heads depicting young women. The influence of Japanese woodblock prints is evident, as is the work of William Nicholson, from whom he briefly took lessons. McIntyre became an established figure in London fine art circles, cheers as well to his office equally art critic for the Architectural Review.

(The Moon and the Manor House, 12 November 2021 – 1 May 2022)

Collection

Frances Hodgkins Pleasance Garden

This work was painted during a sketching trip to Bridgnorth, Shropshire in the summer of 1932. Its lively watercolour fashion and bailiwick matter express Hodgkins's feature interest in capturing the fleeting sensations of a moment.

Following her death in England, Pleasure Garden was one of six works by Hodgkins brought to Christchurch in 1948 at the request of the Canterbury Gild of Arts. When the Club's purchasing committee rejected the selection, a group of contained art supporters raised the purchase toll and offered information technology to the city'due south gallery, whose refusal generated metres of newspaper column displeasure and argue. In 1951 their persistence finally paid off.

(Treasury: A Generous Legacy, eighteen December 2015 – 27 Nov 2016)

Collection

Gaspar van Wittel The Colosseum seen from the Southeast

Gaspar van Wittel is as well known by the italianised version of his name, Vanvitelli

Dutch-born Gaspar van Wittel reached Rome aged most xx-2 in 1674, becoming role of a high-spirited, long-established group of expatriate Dutch painters known as the Bentvueghels (Dutch for 'birds of a plumage'). He married Anna Lorenzani of Rome (their eldest son was the leading eighteenth-century Italian architect Luigi Vanvitelli) and spent the rest of his life in Italy. Van Wittel played a pivotal role in the development of the genre of topographical painting known equally veduta, and was an important influence on later artists such as Canaletto (1697–1768). Van Wittel'southward paintings typically became treasured souvenirs for those on the high culture rite of passage known every bit the G Bout. 3 other versions of this view are known, at dissimilar sizes and with unlike arrangements of figures, livestock and lighting. These are based on a gridded pencil, ink and watercolour sketch dated 1685 and held at the Biblioteca Nazionale Centrale di Roma.

(The Weight of Sunlight, xvi September 2017 - xvi September 2018)

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Henriette Browne La Lecture de la Bible

The French creative person Henriette Browne excelled at painting highly realist, representational narrative paintings and La Lecture de la Bible is one of her finest. Browne produced several portraits of religious devotees and the two young women in this painting are thought to be novices studying to enter a religious gild. They are clearly virtuous – their austere black garments suggest a puritan character and the painting is also known equally The Puritans. The withered flowers on the tabular array are the about obvious narrative element in the painting, these are a vanitas symbol for the passing of fourth dimension and the loss of youth. La Lecture de la Bible was first owned by Empress Eugénie, the wife of Napoléon III, and was presented to the Gallery by its major benefactor, Robert McDougall.

(New Dawn Fades, Nov 2018)

First exhibited at the Paris Salon in 1857 with the championship 'Les Puritaines', this painting has for many years besides been known as 'La Lecture de la Bible'.

Collection

Gottfried Lindauer King Tāwhiao Tūkāroto Matutaera Pōtatau Te Wherowhero (Ngāti Mahuta, Tainui)

"Ki te kotahi te kākaho ka whati, ki te kāpuia, due east kore e whati." —Rex Tāwhiao [If there is but one toetoe stem it volition intermission, but if they are together in a packet they volition never break.] While in Sydney in 1884, en route to England, King Tāwhiao had his photograph taken by Henry King. Vienna-trained, Bohemia-born painter Gottfried Lindauer obtained a copy in Aotearoa New Zealand and that became the source for this portrait.Tāwhiao's kaupapa (intention) was to meet Queen Victoria, gain recognition of the Treaty of Waitangi, and redress the injustice of vast confiscations of Māori state – he was blocked, however, from seeing her.

(Te Wheke, 2020)

Collection

Raymond McIntyre Ruth

In 1911, two years after arriving in London, Raymond McIntyre began his long association with the Goupil Gallery, the metropolis'south leading international contemporary art dealer, and exhibited for the first time with the prestigious New English Art Social club. McIntyre built his reputation on minor, pared-dorsum landscapes and stylised heads depicting immature women. The influence of Japanese woodblock prints is axiomatic, every bit is the piece of work of William Nicholson, from whom he briefly took lessons. McIntyre became an established figure in London art circles, cheers besides to his role every bit fine art critic for the Architectural Review.

(The Moon and the Estate Firm, 12 Nov 2021 – 1 May 2022)

Collection

Harry Linley Richardson Cynthia's Birthday

Harry Linley Richardson began painting Cynthia's Birthday in Karori, Wellington in December 1926. When purchased for Christchurch'due south intended new art gallery in 1928, information technology attracted much criticism, largely for the children's doll-like immobility. "Where is the joyful spirit of a birthday party? Why, such dolefulness?" wrote "Disgusted Ratepayer" to the Press, as well discerning "no concentration on the affair at manus, namely, the lighting of the candle."While others defended the choice, the painter himself had no comeback. London-built-in Richardson had arrived in New Zealand to teach at Wellington Technical College in 1908, and was a painter with a groundwork in illustration and design, influences both evident in this piece of work. Looking back rather than forward, he besides admired the work of mid-Victorian Pre-Raphaelite painters such equally John Everett Millais, whose devotion to realism with decorative issue and melancholic tone Cynthia'southward Altogether certainly suggests.The work's solemnity also makes information technology difficult perhaps non to consider the demands fabricated on sitters, even the about pliable – these were the artist's children – and the inherent tensions of creative person-model relationships.

(Persistent encounters, March 2020)

Collection

Thomas Benjamin Kennington Relaxation

Thomas Benjamin Kennington's focus as an creative person was in the sympathetic depiction of the everyday reality of the poor and working classes. Born in Grimsby, a seaport on England's east coast, he studied art in Liverpool, London and Paris, and from 1880 exhibited annually at the Regal University, where this naturalistic workroom scene was shown in 1908.

Relaxation was exhibited at the 1911 International Exposition of Art in Rome and at the 1913 New Zealand Academy of Fine Arts exhibiton in Wellington. By 1920 it was in the hands of newspaper proprietor Robert Bell. Bell was president of the Canterbury Society of Arts from 1925–26, and bequeathed ten paintings to the gallery. (Treasury: A Generous Legacy, eighteen Dec 2015 – 27 November 2016)

Collection

Lord Frederic Leighton Teresina

Frederic Leighton was probably the single most influential figure in the English-speaking fine art globe of the late nineteenth century: he was fabricated president of the Royal University and knighted by Queen Victoria in 1878, and later on made a baron. He was likewise held in high regard in Australasian fine art circles. When, in 1887, he agreed to purchase, on behalf of the Canterbury Guild of Arts, £250 worth of Majestic University paintings – "a few works of an educational character" – it was regarded as a local triumph. Leighton'due south captivating painting of a young Roman adult female, Teresina, was showtime shown at the Imperial Academy in 1876, and came to New Zealand for the Christchurch International Exhibition thirty years later. Its buy by Canterbury Society of Arts was regarded every bit some other notable coup.

(The Moon and the Manor House, 12 Nov 2021 – 1 May 2022)

Drove

Gottfried Lindauer Ana Reupene Whetuki and Child (Ngāti Maru) [also known equally Heeni Hirini and Heeni Phillips]

Ana Reupene Whetuki from the Ngāti Maru iwi (tribe) was well-known in the Thames goldfield district in the Coromandel. Also known equally Heeni Hirini and Heeni Phillips, she married the Ngāti Maru rangatira (chief) Reupene Whetuki and lived at Manaia, where some of her descendants nevertheless live today.Gottfried Lindauer based this portrait on a striking 1870s photographic studio portrait by the Foy Brothers of Thames. Lindauer first visited Thames in 1874, shortly after arriving in Aotearoa New Zealand from Bohemia (present day Czechia). He painted at least twelve versions of this portrait between 1878 and 1920.

(Te Wheke, 2020)

Collection

Matthijs Naiveu Scene in a Tavern

Matthijs Naiveu studied under the leading seventeenth century Dutch painter Gerrit Dou (painter of The Dr.). Naiveu's tavern scene presents a moral lesson: the kid implores his mother and a human being who may be his father to put their intoxication aside, and give him a better chance in life.

This is one of many works presented to the Gallery by the Canterbury Society of Arts in 1932. It was bequeathed to the guild past Scottish-born Major Archibald C. D. Spencer (1861–1929). Major Spencer retired from service with the Royal Irish Rifles in South Africa, Canada and Republic of malta and settled at Mount Peel in S Canterbury.

Collection

Gertrude Demain Hammond A Reading from Plato

Gertrude Demain Hammond was a prolific volume illustrator whose formal art training began in 1879 at the Lambeth School of Fine art, alongside her sister Christiana, and continued at the Majestic Academy Schools from 1885. She offset exhibited in the academy's prestigious annual summertime show in 1886. In 1891 she sold a painting from the Regal Constitute of Painters in Water Colours to the Empress Frederick of Germany – Queen Victoria's eldest child, Princess Victoria – and in 1896 was elected to the plant. Gertrude and Christiana were recognised in the 1890s as Uk's leading women illustrators. After Gertrude's union in 1898, the sisters lived and worked from the same address at St Paul's Studios, Hammersmith – a grand suite of Arts and crafts studio apartments established as an urban artists' colony.

A Reading from Plato was shown at the Royal University in 1903 before being sent to Christchurch for the 1906–07 New Zealand International Exhibition, where it was purchased by local fine art collector James Jamieson who, with his brother William, ran one of the land's largest construction companies.

(The Moon and the Manor Business firm, 12 November 2021 – one May 2022)

Collection

Artist Unknown Nathaniel Webb, Esq., of Roundhill Grange, Charlton Musgrove, Somerset

Nathaniel Webb, the discipline of this striking 300-year-quondam portrait, was a Bristol merchant who – like many of his peers in this catamenia – is known to have fabricated a vast fortune through West Indies sugar and slavery.

Webb'south portrait was donated in 2007 by a direct descendant, in honour of her male parent John Jekyll Cuddon, a respected Christchurch chartered accountant. The painting came to New Zealand with Henry Joseph C. Jekyll, who immigrated to Canterbury in 1862, and in 1880 purchased a large package of farmland beyond the edges of Christchurch, naming information technology Dallington after an old family manor.

(Treasury: A Generous Legacy, xviii December 2015 – 27 November 2016)

Collection

Sir Henry Raeburn Mrs Barbara Walker of Bowland

The 55-year-old Alexander Walker (1764–1831) and his wife Barbara (née Montgomery, 1770–1831) commissioned Scotland'due south leading portraitist, Henry Raeburn, to paint their portraits in 1819. They had married eight years before; shortly later on Alexander's retirement from over 30 years' service with the East Republic of india Company – mostly in Republic of india – and had 2 young sons. Alexander had i final Company role before him, that of Governor of St. Helena from 1823–28.

2 of their grandsons, William Campbell Walker and Alexander John Walker, immigrated to New Zealand in 1862 to farm in Canterbury; William after became Minister of Education. These impressive ancestral portraits were presented by descendants in 1984.

(Treasury: A Generous Legacy, 18 December 2015 – 27 Nov 2016)

Collection

U Biagini Dante's Beatrice

Previously attributed to the Rome-based sculptor Alfredo Biagini, Dante'south Beatrice is now recognised as the piece of work of a lesser-known but yet highly accomplished creative person U. Biagini working in Florence in the tardily nineteenth and early twentieth century. Representing Beatrice, who captured the heart of the thirteenth-century Italian poet Dante Alighieri, it is a fine example of the Florentine sculptor's idealised marble busts.

Dante's Beatrice was given to the city through the heritance of the retired Christchurch merchant and importer John Alexander Redpath (1875–1975).

(Treasury: A Generous Legacy, 18 December 2015 – 27 November 2016)

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Auguste Rodin Psyche

Psyche, in Greek mythology, was a mortal princess whose dazzler attracted the attention of Eros, the god of dear, and the jealous anger of his mother Aphrodite. The renowned Parisian sculptor Auguste Rodin worked on variations on the theme of Psyche between 1886 and 1905. This bronze is a later casting, produced by the Musée Rodin at a foundry in Paris in 1961.

Psyche was purchased by the New Zealand Regime in 1962 through a fund established to strengthen learning and cultural relations betwixt New Zealand and France. After being exhibited in Christchurch in 1963, this city became the sculpture'due south permanent dwelling house.

(Treasury: A Generous Legacy, 18 December 2015 – 27 November 2016)

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January Frans van Son Flowers in a vase

The Flemish creative person Jan Frans van Son came from an creative family; his father, Joris van Son, was too a respected painter. During the sixteenth century the demand for artists to paint flower subjects – specially rare and exotic blooms – mirrored the increased enthusiasm for the cultivation of flowers in Holland. By the seventeenth century, still-life flower painting had go a major genre in Dutch painting, and it was at this that van Son excelled. He relocated to England as a young man around 1675 where he established himself as a highly successful painter renowned for his blossom paintings.

(New Dawn Fades, Nov 2018)

Collection

George Henry The Black Hat

In about 1901, having established a potent reputation with his painting in Scotland, the Glasgow-based George Henry relocated to London, where he began to establish a successful society portrait practice.

The Blackness Hat – possibly the work exhibited to acclaim every bit 'La matriarch au chapeau noir' at the Regal Glasgow Institute in 1904 – was i of twelve paintings selected in 1911 past the English artist Niels Lund to exist purchased for the Canterbury Order of Arts. Its conquering in 1912 was enabled through a newly agreed £50 annual subsidy from the Christchurch Metropolis Quango; the society presented the painting to the city'south new public gallery in 1932.

(Treasury: A Generous Legacy, xviii December 2015 – 27 Nov 2016)

Collection

Meindert Hobbema A Wooded Mural with Peasants on a Path and an Angler at a Stream

At around the age of seventeen, the orphaned Meindert Hobbema met Jacob van Ruisdael, an artist considered the pre-eminent landscape painter of the Dutch Gilt Age, who would teach him how to get an artist. Painted around ten years afterwards, A Wooded Landscape with Peasants on a Path and an Angler at a Stream shows Hobbema proceeding on his ain merit and demonstrating his ain style. The lowered horizon line creates a big sky, which is animated past rolling clouds in argent blues, greys and brilliant whites. Their forms are continued in the treetops and knotted branches that frame and obscure the scene, which recedes almost endlessly into the distance, to reveal fields flooded by sunlight and the understated silhouette of a church building.

(Endless Light, 29 June 2019 – 8 March 2020)

Collection

Frances Hodgkins Unshatterable (Belgian Refugees)

The Dunedin-born Frances Hodgkins was running her own watercolour painting school in Paris when World War I bankrupt out in 1914. She relocated to St. Ives in Cornwall, where she establish many displaced Belgian families as well living, and painted this piece of work in response to their wretched plight. Unshatterable, one of her first oil paintings, was exhibited in London in 1916 and purchased by the painter Sir Cedric Morris. Dr Rodney Wilson, the Gallery's director in 1980, visited Morris, and with assist from the National Art Collections Fund, a British art charity, successfully secured this work for the Christchurch collection.

(Treasury: A Generous Legacy, 18 December 2015 – 27 November 2016)

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Gerrit Dou The Physician

Gerrit Dou was Rembrandt van Rijn'due south first educatee, training with him in Leiden while in his teens, and for a significant period he eclipsed his chief's reputation. Rich with coded narratives, his extraordinarily detailed paintings were prized throughout Europe by the wealthiest royal and aristocratic collectors. The figure examining the bottle of liquid in this painting is believed to be a self-portrait, and is identified as a piskijker– a medical practitioner skilled at studying urine, hither for a pregnancy examination. Symbols of his skill and learning are prominent, including a celestial world and carefully positioned anatomy textbook. The skeleton on the open page leaning similar a gravedigger on his spade is the ultimate symbol of vanitas – a reminder of the fragile brevity of a human life. At the same time information technology looks with apprehension to a child to come.

(Persistent Encounters, March 2020)

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William Powell Frith Girl with a Mask

Although evidently portraying a refined Venetian lady – a young woman with carnival mask, black veil and shawl – this work was painted not in Italian republic, only England. Yorkshire-built-in William Frith, who became extremely well-known for his large, densely populated panoramas of gimmicky English life, also painted small costume studies early in his career, oftentimes modelled on literary figures. Frith's model in this work, painted in 1846, strongly resembles his wife Isabelle (née Bakery), whom he married in York in June 1845; Isabelle sat for him several times. Isabelle Frith became a close friend and confidante of Catherine Dickens, married woman of author Charles, who (although a friend of her husband'due south) she afterwards banned from entering their London abode; this post-obit the 1858 breakdown of the Dickens' union. The Frith marriage was also 'troubled': Isabelle had 12 children to William from 1846–threescore; his mistress Mary Alford had six more to him from 1855. (He married Mary in 1881, a twelvemonth subsequently the expiry of Isabelle.)

(The Weight of Sunlight, 16 September 2017 - sixteen September 2018)

Collection

Jacopo Amigoni Bacchus and Ariadne

Born in 1695 in Naples or Venice, Jacopo Amigoni worked in Munich from 1719 equally a painter at the court of Maximilian Two Emanuel, before moving to London to pigment for Rex George II in 1729. A pioneer of the Venetian Rococo style, Amigoni painted this sumptuous mythological scene during his stay in London. Information technology pictures Bacchus, Roman god of wine, leaning in a drunken stupor against Ariadne, the Cretan princess who became his immortal helpmate, who is warning the putti not to waken him. Amigoni returned to Venice in 1739 after making what was considered a fortune through his painting in London, and spent his afterward years from 1747 in the court of King Ferdinand VI in Madrid. Patronage for artists such every bit Amigoni linked to the taste for Italian decorative art and high culture that was prevalent amid Europe'south elite.

(Persistent Encounters, March 2020)

Collection

Raymond McIntyre Suzette

In 1911, two years after arriving in London, Raymond McIntyre began his long clan with the Goupil Gallery, the city'south leading international contemporary art dealer, and exhibited for the showtime fourth dimension with the prestigious New English Art Lodge. McIntyre built his reputation on small, pared-back landscapes and stylised heads depicting young women. The influence of Japanese woodblock prints is axiomatic, equally is the work of William Nicholson, from whom he briefly took lessons. McIntyre became an established effigy in London fine art circles, cheers also to his role equally art critic for the Architectural Review.

(The Moon and the Manor House, 12 Nov 2021 – 1 May 2022)

Collection

Sir Henry Raeburn Brigadier-Full general Alexander Walker of Bowland

The 55-year-one-time Alexander Walker (1764–1831) and his wife Barbara (née Montgomery, 1770–1831) commissioned Scotland'due south leading portraitist, Henry Raeburn, to paint their portraits in 1819. They had married eight years earlier; shortly after Alexander's retirement from over thirty years' service with the East India Company – more often than not in Bharat – and had 2 immature sons. Alexander had one terminal Visitor part before him, that of Governor of St. Helena from 1823–28.

Two of their grandsons, William Campbell Walker and Alexander John Walker, immigrated to New Zealand in 1862 to farm in Canterbury; William later became Minister of Educational activity. These impressive bequeathed portraits were presented by descendants in 1984.

(Treasury: A Generous Legacy, 18 December 2015 – 27 November 2016)

Collection

Gerrit Adriaenszoon Berckheyde A View in Cologne with St. Gereon'due south Basilica

Gerrit Berckheyde's contribution to the Dutch Golden Historic period of painting was as an exponent of the cityscape, which became a new genre from the mid seventeenth-century. Berckheyde was Haarlem-based, and began producing paintings of Cologne in nearly 1670, from sketches made in the 1650s. He painted a series of works depicting St. Gereon's Basilica, a large and distinctive Romanesque fashion church building completed in the thirteenth century.

This painting was purchased through a meaning bequest made in 1953 from an insurance settlement from the estate of William Ballantyne (1864–1934), whose art collection had been largely destroyed in the 1947 Ballantyne's section shop fire.

(Treasury: A Generous Legacy, 18 December 2015 – 27 November 2016)

Collection

Ignace Henri Théodore Fantin-Latour Panier de Raisins

Henri Fantin-Latour's Panier de Raisins evokes the abundance of midsummer and an temper of unhurried pleasure and respite. Every June from 1878 onwards, once the clamour of the Paris Salon had subsided, Fantin-Latour and his wife Victoria (née Dubourg) closed their city apartment and headed to rural France, and a small country firm in Lower Normandy, to paint until summer'due south end. Henri Fantin-Latour sent the best of his new notwithstanding-life paintings to his dealer in London, where they institute a fix audition.Fantin-Latour produced over 800 fruit and blossom paintings between 1862 and 1896, nearly all of which sold in England – the paintings for which he is nearly highly regarded were unknown to his countrymen. As the painter Jacques-Émile Blanche protested in 1919, "For likewise long, they were not found in French republic; Fantin was revealed to u.s.a. merely through rare portraits and fantasies."

(Persistent encounters, March 2020)

Collection

Joost Cornelisz Droochsloot Soldiers in a Village

Between 1618 and 1648, Europe was thrown into turmoil past the Xxx Years' State of war – a biting conflict that raged between Cosmic and Protestant states. It was renowned for the fell fighting often brought virtually by the large mercenary armies employed on both sides. Here, Droochsloot depicts the confiscations and pillaging by mercenary soldiers equally they drive Dutch villagers from their homes.

(New Dawn Fades, November 2018)

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Alfred Drury The Age of innocence

Modelled past Alfred Drury after a friend's daughter in fancy dress, this contemplative statuary bust is one of many variations of The Age of Innocence he made between 1897 and 1918; some in white marble. It is regarded as an important work in the British New Sculpture move, whose followers sought either greater naturalism or symbolic qualities than had been found in the prevailing neoclassical approach.

Brought from England to Christchurch for the 1906–07 New Zealand International Exhibition, it was purchased by the Canterbury Society of Arts, and presented to the city in 1932 to get function of the Robert McDougall Art Gallery's founding collection.

(Treasury: A Generous Legacy, eighteen December 2015 – 27 November 2016)

Notes

Belgian Refugees past Frances Hodgkins

This commodity first appeared in The Press on 28 Feb 2007

Belgian Refugees is one of the get-go oil paintings that Frances Hodgkins always exhibited, although at the time she was already well accustomed to showing her watercolours. Working in oils and tempera on sheet, she used an experimental technique in this work that gained much from her experience with watercolour. Believed to have been kickoff shown as Unshatterable, in October 1916 at the International Society's Autumn Exhibition in London, the pick of title would advise a greater sense of resilience than is actually conveyed by this family group. Here only the baby is oblivious to problem, while his nursing female parent seems devoid of expression, and the older children tense with anxiety or fear. Behind the group, a gap in the swirling grey suggests the fact of a missing male parent, and this steam and fume speaks of deportation, the atmospheric backdrop of a railroad train station or the symbolic clouds of state of war. Within the wall of monochrome, intense color is reserved for female parent and child, who also remind of i of Hodgkins' favourite early on choices of subject affair in watercolour.

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Source: https://christchurchartgallery.org.nz/collection/69-78/charles-frederick-goldie/ina-te-papatahi-a-ngapuhi-chieftainess

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