101 Works of Art

Ken Hall, Jenny Harper, Felicity Milburn, Nathan Pohio, Lara Strongman and Peter Vangioni
$79.99 Buy Now Shipping Info

ISBN: 978-1-877375-40-8

Hard cover book with origami dust jacket

Imagine standing in front of Van der Velden’s Dutch Funeral, or Michael Parekowhai’s Chapman’s Homer, listening to the curator talk intimately about the work. Experience the detail: see Woollaston’s squally brushstrokes, the glinting copper surface of The Physician, the sparkle of Zina Swanson’s intricate glasswork. 101 brings the art experience to the page.

In this large, beautifully presented book, we showcase 101 treasures from the collection – paintings, drawings, sculpture, film and photographs that stand out in a line-up of New Zealand’s most significant collected works. Enjoy thoughtful, conversational texts by Lara Strongman, Ken Hall, Felicity Milburn, Nathan Pohio, Peter Vangioni and Jenny Harper – written to feel as if the reader is standing with the curator in front of the painting. Also includes insightful interviews with artists and curators.

Designed by award-winning artist and designer Aaron Beehre, this is the art book to buy this year!

Published with the generous assistance of the Life Members of the Friends of Christchurch Art Gallery, and with funding from Christchurch City Council and the Friends of Christchurch Art Gallery.

Author: Ken Hall, Jenny Harper, Felicity Milburn, Nathan Pohio, Lara Strongman and Peter Vangioni

Features: Painted page edges

Pages: 352

Dimensions: 257 x 302mm

Imprint: Christchurch Art Gallery Te Puna o Waiwhetū


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Commentary
The Dutch Funeral, Retitled

The Dutch Funeral, Retitled

When you think about it, The Dutch Funeral is a peculiar title for a work painted in the Netherlands, by a Dutch artist. You could imagine such a work being titled The Funeral, or A Funeral; or even more likely, A Funeral at a Specified Place or possibly At a Specified Time. Even Of a Certain Person. But The Dutch Funeral? Most unlikely. It was while we were researching works for the Closer exhibition that its strangeness suddenly became evident to me. I was surprised that I’d never questioned the title before. But then, like many people who grew up in Christchurch, I was used to The Dutch Funeral as a fixture of local culture, a work so large it could never be taken off the wall at the McDougall; a magnificently gloomy painting which van der Velden scholar Rodney Wilson once described as “a sort of Christchurch version of the Night Watch with an immense public following”.