Object: Colonial garden bird
This image has All Rights Reserved.
Please follow the Buy or license link under each image to apply to use this image. (Charges may apply)
Why you need to apply for the use of this image
Rights for this work may be:
- controlled by the artist, the artist's estate, or other rights holders; or
- unclear - Te Papa will do a more detailed analysis of the work’s rights history; or
- covered by Te Papa’s Mana Taonga principle which supports the rights of holders of traditional knowledge to determine how the image may be used.
You need to make sure you don’t infringe on the rights of third parties before you use this image. Our image request process helps with this. Te Papa does not authorise the use of this image beyond the uses allowed by the “fair dealing” provisions of the New Zealand Copyright Act, 1994.
More information about copyright
We recommend these resources for more information:
- Copyright in NZ - Ministry of Economic Development
- Copyright guidelines and resource - Lianza
- Enabling use and re-use - Digital NZ
Find more information about Te Papa's rights project on our blog, including how rights types are assigned.
Get in touch
Please contact firstname.lastname@example.org
- if you have any information regarding this work and rights to it, or
- if you wish to contact the rights holder for this work. We will assist where we can.
|Title||Colonial garden bird|
Binney, Don (artist), 1965, Auckland
|Medium summary||oil on hardboard|
|Materials||oil paint, hardboard|
x 760mm (Width)
Frame: 1865mm (Height) x 800mm (Width) x 41mm (Width/Depth)
|Credit line||Purchased 1971|
This painting of a tui flying above a Mount Eden villa in Auckland by Don Binney was painted in 1965. Binney's handling of the oil paint, especially on the feathers of the tui, is assured. He develops contrasts between paint laid down in thin layers and areas of thickly applied paint that suggest foliage or the glossy plumage of the bird's wings and back. The dramatic vertical of the painting cuts away the tree, garden, and gate, and emphasises the dynamic downward swoop of the bird.
In Colonial garden bird, the close visual relationship and lack of distinction between the birds and landscape in paintings such as Fatbird (1964), also in the Te Papa collection, gives way to a more pronounced interest in space and flight. Colonial garden bird was painted near the end of the period when Binney used oil paint on hardboard. Soon after, he began using acrylic paint and canvas, which led to an explosion of space in paintings like Pacific Frigate Bird I (1968), also owned by Te Papa.
The psychic life of the landscape
Binney is often thought of as a painter of birds and empty landscapes, but as Colonial garden bird illustrates, there are regular intrusions of people and signs of presence - a villa, a church, even a boy with bucket and spade - into his paintings. As he said in an interview in 2003: 'I've always been interested in a space that stands as not wholly unoccupied but metaphoric of human condition, sometimes anxiety, often desire.' While the gate is half-open, the windows of the house in Colonial garden bird are opaque, repelling our attempts to view the life within. Nothing stirs behind the fence. The tui descends on the villa like an omen, the meaning of which is ambiguous and, like the lives of the villa's residents, ultimately unavailable to the viewer.
Results from DigitalNZ
Searching 27 million digital objects from over 150 content partners across New Zealand
- Evening Post" Photo. HON. S. G. SMITH, Minister of Education, photographed at Parliament Buildings after being sworn in at Government House. â€¢ ' â€¢ "Evening Post" Photo. SHARING RESPONSIBILITIES.â€”WeiI-known -inhabitants. of the Botanical Gardens, these two swans are sharing nesting responsibilities. There are five or six eggs in the nest, and except,on odd occasions the bird assists in the hatching "operations. . "Evening Post" l'hoto. BEAUTY OF DESIGN.â€”The top portion of the new Colonial' Mutual -Building, at the comer of Customhouse Quay and Willeston Street, gives some indication of the decorative motif of the architecture which will characterise the completed building. The exterior colour scheme is a new departure so far as Wellington is concerned, comprising pastel colours of several shades. (Evening Post, 23 November 1934) - National Library of New Zealand
- åƒ‘â€‹è¾³â€‹æœˆâ€‹åˆŠâ€‹ Volume 002 Issue 002 Page 002 The N.Z. Chinese Growers' Monthly Journal - Auckland Libraries
- åƒ‘â€‹è¾³â€‹æœˆâ€‹åˆŠâ€‹ Volume 002 Issue 006 Page 002 The N.Z. Chinese Growers' Monthly Journal - Auckland Libraries
- åƒ‘â€‹è¾³â€‹æœˆâ€‹åˆŠâ€‹ Volume 002 Issue 003 Page 002 The N.Z. Chinese Growers' Monthly Journal - Auckland Libraries
Disclaimer: This information was created from historic documentation, and may not necessarily reflect the best available knowledge about the item. Some collection images are created for identification purposes only and may not be of reproduction quality. Some images are not available due to copyright restrictions. If you have information or questions about objects in the collection, contact us using our enquiry form. You can also find out more about Collections Online.