See Italy and Die

See Italy and Die

‘A man who has not been to Italy is always conscious of an inferiority, from his not having seen what it is expected a man should see.’
Samuel Johnson, 1776

As every traveller knows, there is something obsessive about setting out on a journey: the preparatory work of consulting guides, the organisation of itineraries, the accommodation pre-booked, bags packed with essentials, provisions for the journey assembled. This essay explores the metaphor of a journey, with the particular Italian twist that informs the work of the artists gathered together in the exhibition The Weight of Sunlight.

Fiona Bennett, Chapman Tripp

Fiona Bennett, Chapman Tripp
Gallery partner

I think art in Christchurch brings people together. It’s a talking point and a cultural experience as well. I am excited about the events Chapman Tripp is associated with – it’s great be great to be involved.

Yellow Moon: He Marama Kōwhai

Yellow Moon: He Marama Kōwhai

Yellow is a colour with impact – it’s time to encounter its brilliance.

Panier de Raisins
Henri Fantin-Latour Panier de Raisins

Every June from 1878 onwards, once the clamour of the Paris Salon had subsided, Henri Fantin-Latour and his wife Victoria (née Dubourg) closed their Paris apartment and headed to the countryside, a small house with a garden at Buré, Lower Normandy, where they painted until the summer’s end. From Paris, Fantin-Latour shipped his most successful new fruit and flower paintings to art dealer friends in London, Edwin and Ruth Edwards, whose records show that they sold this work (likely to its donor’s parents). Edwin Edwards had supported Fantin-Latour when Paris was in turmoil in 1871 at the close of the Franco-Prussian war, clearing his studio of still-life paintings and drawings to find buyers in England. Subsequent demand from English collectors offered a regular income for Fantin-Latour, whose still-life paintings – now his most prized works – remained all but unknown to his countrymen. As the painter Jacques-Émile Blanche complained in 1919, ‘For too long, they were not found in France; Fantin was revealed to us only through rare portraits and fantasies.’

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

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