William Sutton Port Hills I 1989. Purchase 1989. Collection of Christchurch Art Gallery
This exhibition is now closed
A selection of works by some of New Zealand’s most significant historical and contemporary artists responding to the unique landscapes of Banks Peninsula Te Pataka o Rakaihautu.
The natural beauty and history of Banks Peninsula has captivated some of New Zealand’s most significant historical and contemporary artists. This group show, drawn largely from the Gallery’s Collection, is a visual journey around the Peninsula which was formed from two ancient volcanoes, the craters of which we now know as Akaroa and Lyttelton Harbours.
Curated by Peter Vangioni, Picturing the Peninsula displays both historical and contemporary paintings, drawings, prints, photographs and watercolours to tell the story of the Peninsula through such artists as Colin McCahon, Bill Sutton, William Watkins, Laurence Aberhart, Margaret Stoddart, Charles Meryon, William Watkins, Tony Fomison, Doris Lusk, Jeffrey Harris and Nicholas Chevalier.
Banks Peninsula has an extremely rich history in terms of geology, as well as its Māori and colonial history, says Peter Vangioni. 'The region has changed dramatically during the last 160 years, from a once densely forested landscape to largely pastoral, as seen through these works.'
Christchurch Art Gallery Director Jenny Harper says Picturing the Peninsula responds directly to the area and is timed to celebrate the anniversary of Banks Peninsula becoming part of Christchurch City Council. 'Banks Peninsula Te Pataka o Te Rakaihautu (the food store house of the paramount chief Rakaihauta) has always been easily accessible to Christchurch residents by land or sea and as Picturing the Peninsula highlights, many Canterbury artists have taken full advantage of the opportunity of living, travelling and working in the area.'
Exhibition number 771
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Date:
21 April – 5 August 2007 -
Curator:
Peter Vangioni -
Exhibition number:
771
Collection works in this exhibition
Related reading: Margaret Stoddart: Nature's Artist, exhibition-771
Exhibition
Te Tihi o Kahukura: The Citadel of Kahukura
18 February 2017 – 18 February 2018
Selected works by Bill Sutton considered from a Kāi Tahu perspective.
Exhibition
Neil Pardington: Rehutai series
27 June – 19 July 2007
In conjunction with Picturing the Peninsula, the large-scale colour photographs by Neil Pardington depict the interiors of two significant buildings on Banks Peninsula evoking a sense of absence and past memories.
My Favourite
Charles Meryon: Nouvelle Zélande, Presqu’île de Banks, 1845...
1957 was a big year for me – transitions from a middle- sized hometown to life in a major city, and from high school to university, with an emphasis on courses in French language and literature. And late in that year a new display in the Canterbury Museum allowed my rudimentary interest in New Zealand history, my unstructured interest in the visual arts, and my commitment to things French, to come together around the work of an artist I had never heard of, but who had lived briefly at Akaroa in the 1840s – Charles Meryon.
Notes
New Brighton by Margaret Stoddart
This article first appeared as 'Stoddart: an artist for all seasons' in The Press on 17 November 2015.
Notes
An Otira stream (also known as Mountain Rata) by Margaret Stoddart
This article first appeared as 'Otira colour captured in all its summer glory' in The Press on 28 February 2014.
Notes
Godley House, Diamond Harbour by Margaret Stoddart
This article first appeared as 'Stoddart's summer' in The Press on 15 February 2013.
Notes
Margaret Stoddart: born Diamond Harbour 3 October, 1865.
While the Gallery remains closed to the public the permanent collection continues to grow with several generous gifts and bequests being received recently.
Notes
Diamond that shines
The ruins of Diamond Harbour's Godley House may have finally been removed but the stunning sparkling views out across Lyttelton Harbour remain.
Notes
Happy birthday Margaret
Margaret Stoddart was born on this day in 1865 at Diamond Harbour. Here she is in 1909:
Notes
Godley House
The Press announced today that another iconic Banks Peninsula building is to be demolished, Godley House at Diamond Harbour.
Notes
The Watercolour Collection
The Gallery's Watercolour Collection had modest beginnings, but over the past 70 years it has grown steadily by gift and purchase and, of all the Collections, still maintains a largely traditional emphasis. When the Gallery opened in June 1932, just 28 of the 128 paintings on display were watercolours and, of these, 11 were by British artists and 17 by New Zealanders. Among the mostly nineteenth century British watercolours were those by Helen Allingham, Edgar Bundy, Matthew Hale, Laura Knight, William Lee Hankey and Ernest Waterlow. In contrast, the New Zealand watercolours were by mostly contemporary or early twentieth century artists and included works by James Cook, Olivia Spencer Bower, Margaret Stoddart, Maude Sherwood, Eleanor Hughes and Alfred Walsh. The foundation Watercolour Collection included two paintings of larger than usual dimensions. William Lee Hankey's We've been in the Meadows all day (1184 x 878mm) and Charles N. Worsley's Mount Sefton (996 x 1105mm) are still greater in scale than any other work in the Watercolour Collection.
Article
Exquisite Treasure Revealed
Canterbury Museum holds two albums compiled by Diamond Harbour artist Margaret Stoddart. The older of the two, containing images featured in this Bulletin, and itself currently exhibited in the Gallery, covers the period 1886–96. The album is handsomely bound in maroon, and stamped M.O.S. in gold. It contains a sort of travelogue by way of black and white photographs set amongst decorative painting, mostly of native flora, with some locality and date information.
Collection
Margaret Stoddart Anna Ollivier Roses
“I live out my own world & follow in the lives of Frances Hodgkins […] and other women painters,” wrote Rita Angus. One of those painters was fellow Waitaha Canterbury artist Margaret Stoddart. Like Margaret, Rita developed a deep appreciation of botanical subjects in her work. Although both artists are known for their landscapes, their approach to watercolour couldn’t be more different; Margaret’s lively impressionistic approach contrasts with Rita’s work, which is rich with the detail usually reserved for a botanical artist illustrating a scientific journal.
(Perilous: Unheard Stories from the Collection, 6 August 2022- )