'Pākihi is a word for a place that is bare or without trees. The Pākehā surveyors called these cleared areas parkee from the Māori word for no trees, pākihi. Kā Pākihi-Whakatekateka-A-Waitaha: the treeless place, the joyous strutting march through the treeless land of south Canterbury, Waitaha – that’s the old name for the Canterbury Plains.' —Sir Tipene O’Regan

(He Rau Maharataka Whenua: A Memory of Land, 17 September 2016 – 18 February 2017)

“When the Pākehā arrived, much of the peninsula was heavily forested with Podocarp. You can still see old fossilised tōtara stumps lying all around the tops of the hills. As I understand it, Christchurch was built off those forests.” —Tā Tipene O’Regan

In this work, Doris Lusk draws attention to the dead trees commonly seen around Horomaka Banks Peninsula, painting several above the settlement of Kawatea Okains Bay. The surrounding area is shown as ordered and controlled, divided into the individually owned parcels of land that are common for European-style sedentary farming. Both Māori and Pākehā burned forests for settlement – Aotearoa New Zealand’s forest cover had dropped from more than eighty percent to roughly fifty-three percent by 1840, and stands at just thirty-three percent today.

Pākehā ~ New Zealander of European descent

He Kapuka Oneone – A Handful of Soil (from August 2024)

In the summer of 1943, during the height of World War II, Ōtautahi Christchurch artist Rita Angus was called up by the Industrial Manpower Board to report for work at a local factory as part of the country’s war effort. Angus was a pacifist, so she chose instead to move to Wainui, a small coastal settlement in Akaroa Harbour, where she spent several weeks. Wainui was a refuge, a place of retreat and recuperation for Angus, and she embarked on an extraordinary series of small watercolours of the surrounding landscape. The intense attention to detail and her precision and clarity in applying the watercolour paints is exceptional. Angus wrote: “Wainui is charming, the bach is built on a rise overlooking the harbour and opposite Akaroa, and the weather has been rather wonderful. […] I find the bach very comfortable, most of my subjects are near here. I’m aware of much I’ve not noticed before, and how very short is one’s life. Again a hermit, I can reflect on the last few weeks in Christchurch, they were wonderful weeks to me. […] I thought I could be a more simple hermit than I am.”

He Kapuka Oneone – A Handful of Soil (from August 2024)

“The Māori name for Kaikōura is Te Ahi Kaikōura o Tama Ki Te Raki, the place where Tama Ki Te Raki cooked his crayfish. […] Another interesting thing about the mountains of the Kaikōura territory: you’ve got Te Parinui o Whiti, one of Kāi Tahu’s marker boundaries, and the highest peak, Tapuae o Uenuku. Tapuae means footsteps, the sacred footsteps of Uenuku. Uenuku is said to have been put ashore from the Uruao or Uruaokapuarangi canoe [said to have come from Hawaiki, led by Rākaihautū], and he climbed the mountain and named it Te Tapuae o Uenuku. The mountains behind have many different names; most of the Seaward Kaikōurashave Māori names. Behind them is the Awatere valley, inland; Tapuae o Uenuku is at the head of those valleys.”

—Tā Tipene O’Regan, 2016

Tama Ki Te Raki ~ mythical exploring ancestor

Te Parinui o Whiti ~ the White Bluffs

Kāi Tahu ~ tribal group of much of Te Waipounamu South Island

Uenuku ~ prominent Māori ancestor who lived in Hawaiki

He Kapuka Oneone – A Handful of Soil (from August 2024)

Having lost his leg while fighting on the Somme during World War I, Archibald Nicoll was confined to painting landscapes in close proximity to where he was able to drive. This is why so many of his landscapes have roads as a central motif. Rather than a hindrance, however, Nicoll put his car to good use and revelled in the freedom it offered, driving all over Canterbury to paint. He would often combine painting excursions with family holidays. The scene in this work is thought to be Balcairn Downs inland from the town of Amberley in North Canterbury.

In the vast emptiness, 8 January - 21 August 2016

After a stint at the Wigram Air Force Base in Christchurch with the Royal New Zealand Air Force during World War II, Douglas MacDiarmid found the need to get away to the country for a well-earned sketching holiday. It was here that Hills from Annat was completed. He said of this time:

'I had been able to lay my hands on the last covered wagon in the South Island, also to hire a fine white mare. Off we drove in a flourish then for a month, Blanche, Buddy, me. We were headed for the rolling country where the Canterbury Plains are not yet hills finishing as Alps. At no more than a clip-clop pace it is possible to approach with peaceful observation, meditation merging as no motor vehicle will allow.'

In the vast emptiness, 8 January - 21 August 2016

In the summer of 1943, during the height of World War II, Ōtautahi Christchurch artist Rita Angus was called up by the Industrial Manpower Board to report for work at a local factory as part of the country’s war effort. Angus was a pacifist, so she chose instead to move to Wainui, a small coastal settlement in Akaroa Harbour, where she spent several weeks. Wainui was a refuge, a place of retreat and recuperation for Angus, and she embarked on an extraordinary series of small watercolours of the surrounding landscape. The intense attention to detail and her precision and clarity in applying the watercolour paints is exceptional. Angus wrote: “Wainui is charming, the bach is built on a rise overlooking the harbour and opposite Akaroa, and the weather has been rather wonderful. […] I find the bach very comfortable, most of my subjects are near here. I’m aware of much I’ve not noticed before, and how very short is one’s life. Again a hermit, I can reflect on the last few weeks in Christchurch, they were wonderful weeks to me. […] I thought I could be a more simple hermit than I am.”

He Kapuka Oneone – A Handful of Soil (from August 2024)

In the summer of 1943, during the height of World War II, Ōtautahi Christchurch artist Rita Angus was called up by the Industrial Manpower Board to report for work at a local factory as part of the country’s war effort. Angus was a pacifist, so she chose instead to move to Wainui, a small coastal settlement in Akaroa Harbour, where she spent several weeks. Wainui as a refuge, a place of retreat and recuperation for Angus, and she embarked on an extraordinary series of small watercolours of the surrounding landscape. The intense attention to detail and her precision and clarity in applying the watercolour paints is exceptional. Angus wrote: “Wainui is charming, the bach is built on a rise overlooking the harbour and opposite Akaroa, and the weather has been rather wonderful. […] I find the bach very comfortable, most of my subjects are near here. I’m aware of much I’ve not noticed before, and how very short is one’s life. Again a hermit, I can reflect on the last few weeks in Christchurch, they were wonderful weeks to me. […] I thought I could be a more simple hermit than I am.”

He Kapuka Oneone – A Handful of Soil (from August 2024)

With the arrival of the motorcar, Otama-a-kura / Goose Bay (south of Kaikōura) became a popular camping spot for summer visitors. Christchurch-born couple Colin and Rata Lovell-Smith stayed there regularly throughout the 1930s, joining the throng heading north each season to camp, fish and relax – and, for these two, to paint. The results of Colin’s labours include this pared back evening coastal scene at Haumuri Point; and a painterly record of civil engineering works disturbing the usually tranquil Otumatu (near Goose Bay) during the completion of the Main Trunk Line in 1939.

Colin Lovell-Smith often went on painting trips to this area with his wife Rata, who was also a landscape painter. Craigieburn is in the Southern Alps, about 100 kilometres northwest of Christchurch. Although set beside a small riverbed close to the main road, the painting focuses on the steep eroded slopes of the Craigieburn Range. Lovell-Smith has paid close attention to the landform details, capturing the distinctive qualities of the Canterbury mountain region. Shades of ochre are subtly orchestrated with the soft grey of the predominant greywacke rocks. Born in Christchurch, Lovell-Smith studied at the Canterbury College School of Art then worked for his father’s printing business. During World War I Lovell-Smith was with the Royal Engineers on the Balkan Front and was subsequently awarded the Serbian Gold Medal of Merit for his work. On his return to Christchurch in 1919 he taught, first at St Andrew’s College, then at the School of Art, of which he was Director from 1947 until his death.

Rata Lovell-Smith was a central figure in the development of the distinctive aspect of Aotearoa New Zealand’s twentieth-century art history that is often referred to as Canterbury regionalism. She, along with artists such as Rita Angus, Olivia Spencer Bower and Bill Sutton, focused on features common in the Waitaha Canterbury High Country: the bright, hard light, the nor’west winds and the resulting high cloud formations, swathes of tussock grasses and the breathtaking mountainous backdrop beyond the plains. These artists often emphasised human-made structures, such as this bridge on the road up to Aoraki Mount Cook.

He Kapuka Oneone – A Handful of Soil (from August 2024)

A 1935 reviewer described Ōtautahi Christchurch-born Rata Lovell-Smith as “known for a simple and direct treatment of landscape [and] practically the pioneer in this way of seeing and representing the Canterbury countryside”.Lovell-Smith’s pared back approach appears at least partially inspired by contemporary British travel posters, an area of design studied at the Canterbury College School of Art where she trained and later taught. As demonstrated in Hawkins, the application of such an influence was effective in representing the hard, crisp light of rural Canterbury. This work also points to future works by others connected to the school, including Louise Henderson, Rita Angus, Ivy Fife and Russell Clark.

(From Here on the Ground, 18 May – 17 November 2024)

Forming an ever-present backdrop to Ōtautahi Christchurch, the rugged, golden range of Te Whakatakanga-o-te-ngārehu- o-te-ahi-a-Tamatea Port Hills help define this town. Easy access to these remarkable extinct volcanic landforms and the scenic Summit Road, which traverses the hilltops, has made this inspiring landscape and the views it affords a drawcard for many artists. Local artist Doris Lusk was drawn to the expansive view from these hills out across the plains to the foothills and Kā Tiritiri-o-te-moana Southern Alps beyond. The horizontal focus in Lusk’s painting sums up friend and fellow artist Bill Sutton’s feelings about Waitaha Canterbury’s wide landscape: “On the Canterbury Plains you don’t look up and down but from side to side.”

He Kapuka Oneone – A Handful of Soil (from August 2024)

Trevor Moffitt had a deep love for inland Canterbury that was in part fostered by his obsession with fishing. In the mid 1970s he purchased a bach at Lake Clearwater, inland from the Canterbury town of Ashburton. This became his favourite spot to retreat from city life and experience the outdoors. In 1982, after the death of his wife, Alison, Moffitt began the series that this work is from. He said in an interview:

'After Alison died I’d had enough of people, so I went out and painted the Rakaia River series. I had just been emotionally drained. […] The best thing I could do was go off on the weekend and paint the river. I poured all my grief and tears into depicting the waters of the Rakaia.'

In the vast emptiness, 8 January - 21 August 2016

In 1930s New Zealand there was wide discussion about what was unique about the New Zealand situation; what it was that made us different from the rest of the world. Artists and writers began exploring ways to identify our national identity. A number of artists began painting the Canterbury High Country, most famously Rita Angus and her landscape painting of the railway station at Cass. One reviewer in 1936 observed that there was a new quality in the landscapes exhibited in Christchurch that seemed ‘to consist in a removal of the romantic mists which used to obscure mountains and the Canterbury countryside generally. The light now is clear and hard, the colours are in flat planes, and the effect is of seeing the country through a gem-like atmosphere. There is also a new romantic standpoint – an insistence on the isolation and brooding loneliness of the hills.’ It’s a statement that certainly rings true with the Canterbury paintings of Rita Angus, Leo Bensemann, Louise Henderson, Rata Lovell-Smith and Bill Sutton.

(March 2018)

According to Kāi Tahu, within the story of the creation of Te Waipounamu (the South Island), Aoraki was an atua, or demi-god, who left the home of his father, Raki, in the heavens and voyaged with his brothers to visit Raki’s first wife Poharora o Te Po. They set out to return to his father, but there was a fault in the karakia (prayer) for their return. Aoraki’s canoe – Te Waka o Aoraki – was stranded, and Aoraki and his brothers turned to stone, becoming the mountains of Kā Tiritiri o Te Moana, the Southern Alps.

'This work is interesting because it offers an unusual perspective on Aoraki [Mount Cook] – but Aoraki is full of different perspectives in Kāi Tahu culture. The mountain is, above all, a symbol of our tribal and regional identity. That’s got nothing much to do with its location – although that obviously commands cultural attention – but mainly because of its centrality in the Te Waipounamu creation story. And it is a distinctive creation story, part of a creation myth which has survived here in the remote outskirts of Polynesia while it has been lost at the centre where it came from. Aoraki made us distinctive, and it makes all people distinctive that live under its span. Juliet Peter’s depiction of it is unusual, but every way you look at Aoraki you’ve got a different perspective.' —Sir Tipene O’Regan

(He Rau Maharataka Whenua: A Memory of Land, 17 September 2016 – 18 February 2017)

For Austen Deans, painting was an expression of his love of the outdoors and, in particular, the Canterbury high country. Born at Riccarton House, Christchurch in 1915, he grew up on the family farm near Sheffield in North Canterbury (and near Kowai, the subject of this 1952 painting). He trained at the Canterbury College School of Art between 1934 and 1938, where he continued his interest in the outdoors through membership of the College tramping club. He once said that he had 'rather wished to be a mountain guide', but his mother dissuaded him from that early ambition. Though he loved sculpture, he specialised in painting because it allowed him to work outdoors rather than being tied to a city studio. Deans was the last of a generation of painters, which also included Doris Lusk and Bill Sutton, whose work was strongly focused on the Canterbury landscape. He is most well-known for his paintings of Mt Peel and the surrounding area, where he lived and worked for over 60 years. 'It was really my attraction to the mountains that started me painting' he said, 'and it's never left me'.

(Turn, Turn, Turn: A Year in Art, 27 July 2019 – 8 March 2020)

'Tu-Te-Raki-Whanoa, the son of Aoraki, is the atua [demi-god] who shapes the wrecked waka to ready it for people. His first great task is to defeat the south-easterly winds roaring along the side of the wreck. He invents peninsulas. He rakes all the rubbish of the wreckage and piles it up like a gigantic break water. Thus you have the Canterbury Plains and a sheltered place for his next invention, Whakaraupō [Lyttelton Harbour] and Akaroa Harbour. He then depresses his heel and creates Waihora [Lake Ellesmere], later claimed by the exploring ancestor, Rākaihautū, as Te Kete ika o Te Rākaihautū [the fish basket of Rākaihautū].' —Sir Tipene O’Regan

(He Rau Maharataka Whenua: A Memory of Land, 17 September 2016 – 18 February 2017)

The viewpoint Esther Hope chose for this work allowed her to show the vast expanse of the Mackenzie Country, which stretches out before the viewer towards the Southern Alps. This region was a favourite subject of Hope’s, one that she returned to throughout her career.

She said that “this land is a part of me … I have never regretted my choice of environment [and] have always felt a strong feeling of primitiveness [here].” Hope’s mature style is seen here, with broad wet washes of colour confidently used.

Hope was born near Geraldine, South Canterbury. She was first introduced to painting through her mother, Emily Studholme, an accomplished amateur artist. She also took lessons from Edwyn Temple and Margaret Stoddart. In 1912 Hope left New Zealand for England where she enrolled at the Slade School of Art, London. In 1919 she returned to New Zealand, married Henry Norman Hope and settled at the Grampians Station in the Mackenzie Country.

Kowai Bush is a farming area in the foothills of Central Canterbury, where typically the summers are very hot and dry. Like other Canterbury landscape artists of the 1930s, Cedric Savage was interested in recording the unique features of the Canterbury region. He was essentially a plein air (outdoors) artist concerned with painting directly from nature but in Summer, Kowai he has worked in a careful manner, keeping control over the application of paint. Born in Christchurch, Savage studied at the Canterbury College School of Art. He later studied with Sydney Lough Thompson (1877-1973) and Archibald Nicoll (1886 - 1953). After travelling, he returned to New Zealand in 1933, settling in Christchurch where he became vice-president of the New Zealand Society of Artists. Savage’s eyes were injured during World War II and for the rest of his life he could only paint outdoors. Although he won the Kelliher Art Award in 1962, Savage felt unappreciated in New Zealand and spent many years living away from the country, finally settling in Greece.

Bill Sutton began his long affiliation with the upper Waimakariri River area in his teenage years during the Great Depression, he and his elder brother Len spending several Christmases at Bealey with an aunt and uncle who had taken work there as a roadman. He later described the place getting under his skin as he and Len explored the area’s windblown tussocky hills and dry riverbeds. Soon after, in 1936, a single-lane bridge was opened on State Highway 73 across Bruce Creek, a flood-prone tributary previously crossable only by ford. Sutton returned to the region after two years’ art study and travel in London and Europe in 1947–9, bringing memory along with fresh eyes for a familiar landscape.

(From Here on the Ground, 18 May – 17 November 2024)

Living in Ōtautahi Christchurch for most of his life, Bill Sutton was an artist who identified deeply with the surrounding Waitaha Canterbury landscape. He would often escape the city for sketching trips to Horomaka Banks Peninsula or inland towards the High Country. Works such as this highlight his interest in regionalism and the distinctive features of this land. Here, he focuses on the abstract patterns of paddocks and shelter belts with the dramatic backdrop of the foothills and Kā Tiritiri-o-te-moana Southern Alps in the distance. The sky is painted to show the unique cloud formations resulting from the celebrated nor’west winds of Waitaha.

He Kapuka Oneone – A Handful of Soil (from August 2024)

This painting by Bill Sutton expands our view of a familiar site on Christchurch’s Port Hills, encouraging the viewer to consider what mysteries may have been present before the arrival of Māori tangata whenua, the people of the land. Te Tihi o Kahukura, or the Citadel of Kahukura, is the first name of Castle Rock, the foregrounded point at the left of the painting. The extended Māori name translates as ‘the Citadel of the Rainbow God (and a) sky full of boiling clouds roaring around all over the place’. According to Kāi Tahu tradition, Kahukura is the atua, or god, who clothed the land; Kahukura later transformed to become the atua of rainbows. Here, Sutton’s interest in landscape, light and colour is applied to a location of significance for Māori. There is an intimacy in the site for Sutton, as he was able to see it “from my upstairs back-landing window”. Sutton’s house remains in what is now known as ‘the red zone’, an earthquake-battered place of an undetermined future.

(Te Tihi o Kahukura: The Citadel of Kahukura, 18 Februay 2017 - 18 May 2018)

French-born Louise Henderson married a New Zealander and came to Ōtautahi Christchurch in 1925. She relished the freedom of her new life, exploring in and painting the hill country of Te Waipounamu and often sleeping out alone under the stars. In 1936, she undertook a ten-day painting trip to Cass, in the Southern Alps, with her friends Rita Angus and Julia Scarvell. Her translation of that landscape is alive with luminous colour and dynamic movement, capturing jagged ridgelines, undulating hills and the curving lines of telegraph wires. The mountain, its slopes depicted blue with shadow, is called the Pyramid – much easier to look at than to climb.

(Perilous: Unheard Stories from the Collection, 6 August 2022- 21 July 2024)

In the autumn of 1936, Rita Angus, with artist friends Louise Henderson and Julia Scarvell, took a ten-day sketching trip to Cass – a remote outpost on the Midland Line to Te Tai Poutini / the West Coast. Angus completed several works in oil and watercolour in the following months, all showing her attentiveness to human presence in the sweeping landscape. Built structure and material in Cass, her best-known work, includes railway sheds, a stationary wagon, telegraph poles and stacked up timber opposite a solitary waiting passenger. Other finished works from this visit featured a derelict musterers’ hut, and the Canterbury College Mountain Biological Station with a passing steam engine.

(From Here on the Ground, 18 May – 17 November 2024)

Ōtautahi-trained painter Rita Angus is known for her distinctive graphic style, clear light and bold colours. A Goddess of Mercy is the first of three goddess works she painted. Informed by her feminist worldview, Rita saw the goddess portraits as the most important examples of her pacifist ideas. This work also has personal significance. Rita’s sister Edna died suddenly in 1940, and the pattern on the subject’s skirt comes from one of Edna’s favourite outfits. Surrounding the figure we see symbolic clues to a relationship with nature: a deer at the figure’s side, willow branches forming a halo around her head and the crocus flower clasped in her hand, a hopeful sign for the coming of spring.

(Perilous: Unheard Stories from the Collection, 6 August 2022- )