This image is 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 email@example.com
- 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.
White, Robin (artist), 1973, Mangaweka
|Medium summary||oil on canvas|
|Materials||oil paint, canvas|
x 1005mm (Width)
Frame: 1112mm (Height) x 1112mm (Width) x 56mm (Depth)
|Credit line||Purchased 1994 with New Zealand Lottery Grants Board funds|
Robin White’s Mangaweka effortlessly captures the scenery and feeling of a rural New Zealand town. White knew the Rangitikei town from childhood, and in 1971 her friend, poet Sam Hunt, wrote ‘A Mangaweka road song’, capturing the town as she remembered it — ‘this one-pub town/approached in low gear down/the gorges through the hills’.(1) The artist’s characteristic composition of layered planes of crisply edged colour is heightened by the strong horizontal lines, particularly the line of the veranda that divides the painting and the shadow that just appears under the Bedford truck.
While White paints what she knows and feels affection for, her aim is not simply to produce faithful copies of real landscapes. She is more concerned with representing places that are overlaid with memory and experience. ‘I’m not concerned with just recording something,’ she wrote in 1977. ‘I take great liberties with the environment, using it to my own ends. I’ve always been conscious that painting is fundamentally an abstract thing.’(2)
White’s depiction of her local inhabited landscape has affinities with the New Zealand regionalist painting tradition. She acknowledges a particular connection with Rita Angus, citing her appreciation of both Angus’s work and her dedication as a woman artist. Along with her contemporaries Richard Killeen and Ian Scott, White was taught by Colin McCahon at Elam School of Fine Arts, and she credits McCahon as another important influence on her development and commitment to her art.
Motivated by the wish to make her imagery more affordable and accessible, White taught herself to screenprint after moving to Bottle Creek, north of Wellington, in 1969. She frequently made screenprints after paintings, including Mangaweka, and has noted, ‘If I get a good image, then I like to reproduce it. To confine it to one painting, one oil, is to block it off from other people’.(3) In 1982 White and her family moved to the Republic of Kiribati where she continued to make art, working almost exclusively with woodcut prints as the materials were more readily available. White returned to New Zealand in 1999, and she continues to make artworks in a variety of media.
This essay originally appeared in Art at Te Papa (Te Papa Press, 2009).
1. Sam Hunt, ‘A Mangaweka road song’, in Sam Hunt, Collected poems 1963–1980, Penguin, Harmondsworth, 1980, p. 63.
2. Robin White, ‘Art and conservation are synonymous’, Art New Zealand, no. 7, Spring 1977, p. 40.
3. Robin White, quoted in Patrick Æ Hutchings ‘Young Contemporary New Zealand Realists’, Art International, vol. 17, 1973, p. 20.
Results from DigitalNZ
Searching 25 million digital objects from over 140 content partners across New Zealand
- Mangaweka war memorial - Ministry for Culture and Heritage
- St Martins Church, Mangaweka - Auckland Libraries
- Mangaweka - Auckland Libraries
- Mangaweka FGR 4618 - 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.