HOME|CONTACT US|COPYRIGHT|DISCLAIMER|PRIVACY|SPONSORS|SITEMAP|SITE SEARCH
Experience the best of New Zealand's ArtSearch Our Collection Auckland Art Gallery Toi o Tāmaki Clock
 exhibitions | visit | support us | activities | collection | research | services | about us | gallery development


Back to Quarterly index

Quarterly
Number Twenty-five —  1963

 PDF version
    < Previous page Next page >    
AUCKLAND CITY ART GALLERY

QUARTERLY

NUMBER TWENTY-FIVE—1963
EDITORIAL
 The present issue of Quarterly is devoted to some New Zealand painters working at the turn of the century. Two at least of these artists — Van der Velden and Nairn — exercised as teachers a profound influence on the course of painting in this country. Nerli was also well known as a teacher, mainly in Dunedin, and as perhaps the most influential teacher of Frances Hodgkins.
STAFF
 We should like to congratulate Mr L. C. Lloyd on his recent election to a fellowship of The International Institute for Conservation of Historic and Artistic Works.
 PETRUS VAN DER VELDEN 1837-1913 New Zealand
RIVER LANDSCAPE (COVER)
 Canvas 21 x 32
 Presented by Mr Morris Yock, 1952
Previously unattributed, this painting is, on stylistic grounds, quite surely by the hand of Van der Velden, who worked in New Zealand from 1880 to 1898 and from 1905 to 1913.
 An important retrospective exhibition was devoted to Van der Velden in 1959 by the Gallery in which several of his Dutch paintings were shown — as he had brought many out with him. Van der Velden belongs to the school of Israels, the Maris brothers, Anton Mauve and Mesdag, and this painting is typical of this group.
The bravura painting of the sky appears in his New Zealand work, al-		 though his latter period is much more expres-sionistic and dramatic.
 Van der Velden was the first serious artist to paint in New Zealand, and his influence and example was particularly felt by the younger generation of New Zealand artists, among them Frances Hodgkins, who set off for Europe prior to the first world war. Van der Velden himself suffered considerably, and it was with some spirit of bitterness that he went to Australia in 1898 where no greater fortune attended him and he returned to New Zealand virtually a broken man.
 It is of interest to know that the only description of his physical appearance and personality is contained in letters written by Vincent van Gogh to his brother Theo. —P.A.T.

EDWARD FRISTROM Active New Zealand cl903-1917
PORTRAIT OF A MAORI GIRL
 Oil on canvas 19 x 15
Purchased 1961
The charming portrait of a Maori girl reproduced right, by Edward Fristrom, is the only portrait by him in the collection; its acquisition two years ago rounded out our representation of the work of this somewhat elusive artist, who was said to be noted for his paintings of Maoris. The Queensland Museum has a painting by Edward of an aboriginal, probably influenced by his brother Oscar who was also a painter and was well known in Australia for his paintings of aborigines.


page two

  
    < Previous page Next page >