- Presented by Robert Erwin in memory of Lawrence Baigent, 1985
- Reproduced courtesy of the Estate of Rita Angus
- 502 x 626mm
- View on google maps
“I was glad to see this painting again for a few minutes. […] I was ‘knocked out’ by the clear admission of truth. I am amazed that at one time (years ago), and in about three to four hours, I had the power & courage to paint Cass.”
This article first appeared as 'The wonders of waterolours' in The Press on 11 August 2015.
While much has been written about the wrecked buildings in Christchurch's cbd and the loss of some of the city's iconic heritage buildings, demolition work also continues in the suburbs, often on a more personal scale.
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.
In the Vast Emptiness
The Canterbury landscape as captured by twentieth century painters.
Leo Bensemann was one of the most respected figures in the Christchurch arts scene, and played a pivotal role in influential arts collective The Group. Always something of an odd-man-out, he produced a large body of work across several different disciplines before his death in 1986. 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.