This image has No Known Copyright Restrictions.
To the best of Te Papa’s knowledge, under New Zealand law:
- there is no copyright or other intellectual property rights in this work in New Zealand; and
- the work may be copied and otherwise re-used in New Zealand without copyright or other intellectual property rights related restriction.
Te Papa will not be liable to you, on any legal basis (including negligence), for any loss or damage you suffer through your use of this material, except in those cases where the law does not allow us to exclude or limit our liability to you.
Stoddart, Margaret (artist), 1920s, Christchurch
x 782mm (Width)
Support: 561mm (Height) x 782mm (Width)
Frame: 884mm (Height) x 1086mm (Length)
|Credit line||Gift of the New Zealand Academy of Fine Arts, 1936|
Roses is a virtuoso display of Stoddart’s later watercolour technique in which she demonstrates her skill in the control of washes and play of reflections on the polished table, and in the loose mesh of rapidly applied and vigorous brushmarks that makes up the patterned background. This is one of her boldest and most accomplished flower paintings, and when the New Zealand Academy of Fine Arts purchased it in 1930 it was their second still life of roses acquired from the artist for their collection.Although Stoddart’s success was initially won in flower painting, she gained recognition for impressionist landscapes such as Old homestead, Diamond Harbour, c.1913 (Christchurch Art Gallery Te Puna o Waiwhetu), a depiction of the artist’s birthplace, which would later become one of her best-known works. In the late 1920s she began to explore a new range of regional motifs. Less interested in the play of light, she now concentrated on simplifying her compositions, restricting colours and frequently drawing and emphasising a particular form in charcoal. In View of Mount Cook, she reduces the landscape to a few basic elements, adjusting her viewpoint to draw attention to the boulders, shingle and grasses. Stoddart’s stark images of the South Island hinterland and her robust handling of the watercolour medium confounded gender expectations, struck a chord with fellow painters, and challenged critics to recognise the breadth and variety of her subjects and styles.
This essay originally appeared in Art at Te Papa (Te Papa Press, 2009).
1. EH McCormick, Letters and art in New Zealand, Department of Internal Affairs, Wellington, 1940, p.159
Find additional information about this object at these sites
- Google Art Project
Results from DigitalNZ
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.