B.

I’ve always thought that if you’re a landscape artist, the working holiday must be the perfect getaway. You get to immerse yourself in an environment that may then become reflected in your art, a manifestation of your response and connection to a place. This was certainly the case for several Ōtautahi Christchurch landscape painters in the twentieth century: Doris Lusk and Onekakā, Bill Sutton and the Port Hills, Ivy Fife and the Canterbury High Country, Rita Angus and Wainui. For their close contemporary and friend Leo Bensemann it was Mohua Golden Bay, a landscape that had a profound effect on him when he holidayed there in the summer of 1965. It was a location he bonded with so much that he returned regularly to holiday and paint most summers for the rest of his life, in the process creating a remarkable body of over sixty paintings of the region.

Continued

Prior to moving to Christchurch in March 1948, Colin McCahon and his family spent a little over a year living in Muritai Street, Tahunanui, on the outskirts of Nelson city. It was his most productive period as a painter to date – a phase dominated by figurative paintings with some landscapes. The products of this prolific period were brought together in his first major one-person show, at Wellington Public Library in February 1948, organised by his Dunedin friend, Ron O’Reilly. An exhibition of forty-two works made between 1939 to 1948, more than half produced in 1947, it consisted of roughly equal numbers of landscapes (including Otago Peninsula and Maitai Valley), biblical paintings (King of the Jews, Crucifixion according to St Mark ), and non-biblical figurative works (A candle in a dark room, The Family). Although it was reviewed favourably in The Listener by J.C. Beaglehole, the subsequent letters column ran hot with controversy, and it brought McCahon to national attention.

Continued