Exhibition

Goncharova and Larionov: L'Art Décoratif Théâtral Moderne

An exhibition of stage and costume designs by the Russian avant-garde artists Natal'ya Goncharova and Mikhail Larionov.

Exhibition

Alan Loney: Poet and Printer

A selection of books by Alan Loney, one of the foremost printers of hand-crafted books in Australasia. Includes finely printed examples of his work from Hawk Press, Blacklight Press, Holloway Press and Electio Editions.

Exhibition

Aus Australien

Experience outstanding examples of printmaking by eight leading contemporary Australian artists, working with a variety of techniques. Highlights include energised woodcuts by John Nixon and confrontational etchings by Mike Parr, two of Australia's foremost contemporary artists, and Jenny Watson's evocative Bottled Memories series.

Notes
Eternal Idol by Auguste Rodin

Eternal Idol by Auguste Rodin

"One day, from up on the scaffolding where I was working on the Burghers of Calais, I noticed Rodin, who between some scenes, was doing a nude sculpture, for which the model was a young woman, stretched out on the table. As the session was drawing to a close, he bent over toward the woman and kissed her tenderly on her belly - a gesture of adoration of nature, which gave him so much joy."

Notes
Port Lyttelton, N.Z., March 9, 1874, from Nature by Thomas Cane

Port Lyttelton, N.Z., March 9, 1874, from Nature by Thomas Cane

This article first appeared in The Press on 27 July 2005

2005 marks the centennial of the death of one of Canterbury's notable Victorian watercolourists and architects, Thomas Cane (1830 - 1905). Cane was born in Brighton, Sussex and prior to his arrival to Canterbury in 1873 he had trained as an architect and quantity surveyor under the firm of Banks and Barry. He was also employed by one of the masters of the Victorian Gothic Revival architectural style, Sir Gilbert Scott, who designed Christchurch's Anglican Cathedral. Cane travelled widely throughout Europe on several occasions visiting France, Germany, Belgium and Holland with the direct purpose of studying medieval architecture. He is likely to have developed his skills as a watercolourist while working as a architect, which would have required producing detailed sketches of building designs.

Notes
Zipp by Frances Hodgkins

Zipp by Frances Hodgkins

‘I can't tell you the horror of the Blackout and the effects on your nerves - the want of ventilation at night is very tiring - perhaps the nastiest part of it all.' - Frances Hodgkins in a letter to her brother, William.

Notes
The Satara Player by Petrus van der Velden

The Satara Player by Petrus van der Velden

Things are not always what they seem. What looks like the result of an artistic foray into exotic lands is, in fact, an 1894 portrait of a Christchurch busker who posed in the studio of Petrus van der Velden.

Notes
Drawing (KO WAI KOE?) by Ralph Hotere

Drawing (KO WAI KOE?) by Ralph Hotere

This article first appeared in The Press on 28 March 2007

Among the highlights of the Christchurch Art Gallery's drawing collection is Drawing (KO WAI KOE?) by Otago artist Ralph Hotere. Produced in 1977 Drawing (KO WAI KOE?) illustrates Hotere's development from his formal geometric approach found in his earlier work of the late 1960s and early 1970s towards the more expressive manner he developed throughout the 1970s and 1980s.

 

Notes
Vulcan Paradise by Jason Greig

Vulcan Paradise by Jason Greig

This article first appeared in The Press on 5 April 2006


One of New Zealand's most significant contemporary printmakers, Jason Greig studied under Barry Cleavin and Denise Copland at the University of Canterbury School of Fine Arts during the early 1980s and graduated with Honours in Engraving. Throughout the 1980s and early 1990s Greig favoured more technically challenging printmaking processes such as etching and lithography as opposed to the less complicated medium of the monoprint. It is the monoprint however that he has worked with almost exclusively over the past thirteen years.

 

Notes
A Summer Idyll by James Nairn

A Summer Idyll by James Nairn

This article first appeared in The Press on 1 March 2006

The arrival of the Scottish artist James Nairn in New Zealand in 1890 is viewed by many as an important event in the history of New Zealand's art history. Nairn brought with him methods and approaches to art which provided fresh and vibrant perspectives to the established, conservative academic styles which had come to dominate New Zealand art throughout the mid to late 19th century.

 

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