Frances Hodgkins - Belgian refugees
An introduction to Frances Hodgkins's Belgian refugees (1916), narrated by New Zealand actor Sam Neill.
Related reading: Treasury: a generous legacy
The Dunedin-born Frances Hodgkins was running her own watercolour painting school in Paris when World War I broke out in 1914. She relocated to St. Ives in Cornwall, where she found many displaced Belgian families also living, and painted this work in response to their wretched plight. Unshatterable, one of her first oil paintings, was exhibited in London in 1916 and purchased by the painter Sir Cedric Morris. Dr Rodney Wilson, the Gallery’s director in 1980, visited Morris, and with assistance from the National Art Collections Fund, a British art charity, successfully secured this work for the Christchurch collection.
(Treasury: A Generous Legacy, 18 December 2015 – 27 November 2016)
Recounting the untold stories behind some of the works in the exhibition Treasury: A Generous Legacy, curator Ken Hall also underlines the value of art philanthropy.
Stunning proof of the impact of generosity on the Christchurch collection.
The wisdom of crowds
In recent years, crowdfunding and crowdsourcing have become big news in the arts. By providing a funding model that enables would-be-investors to become involved in the production of new works, they have altered traditional models of patronage. Musicians, designers, dancers and visual artists are inviting the public to finance their projects via the internet. The public are also being asked to provide wealth in the form of cultural capital through crowdsourcing projects. The Gallery has been involved in two online crowdfunding ventures – a project with a public art focus around our 10th birthday celebrations, and the purchase of a major sculpture for the city. But, although these projects have been made possible by the internet, the concept behind the funding model is certainly not new. The rise of online crowdfunding platforms also raises important questions about the role of the state in the funding and generation of artwork, and the democratisation of tastemaking. How are models of supply and demand affected? Does the freedom from more traditional funding models allow greater innovation? Do 'serious' artists even ask for money? It's a big topic, and one that is undoubtedly shaping up in PhD theses around the world already. Bulletin asked a few commentators for their thoughts on the matter.
The East India Company man: Brigadier-General Alexander Walker
Getting to know people can take time. While preparing for a future exhibition of early portraits from the collection, I'm becoming acquainted with Alexander Walker, and finding him a rewarding subject. Painted in 1819 by the leading Scottish portraitist of his day, Sir Henry Raeburn, Walker's portrait is wrought with Raeburn's characteristic blend of painterly vigour and attentive care and conveys the impression of a well-captured likeness.