Is it art? You decide!
Washday at the Pä was a school bulletin published in 1964 by the Education Department’s School Publications section. Ans Westra wrote the text and took the photographs during a visit to Ruatoria. The bulletin charts a day in the life of a rural Mäori family with eight children. The family was given the fictitious name ‘Wereta’ to protect their identity, and their location was given, not as Ruatoria, but ‘near Taihape’.
John Gully, like many landscape painters of the nineteenth century, was influenced by the famous English Romantic painter W.M. Turner. Painters of the Romantic school often produced landscapes of picturesque lakes, lofty mountains, and mist-shrouded valleys. These images were intended to arouse feelings of awe in the viewer, at both the vastness of nature and the majesty of God’s creation.
This medal was one of a number that expedition members handed out to local people in various places during Cook's second voyage of discovery. Records of the voyage mention that they were distributed to Maori in three different locations in New Zealand when the Resolution and Adventure visited in 1773. This medal is one of eight found here that are known about.
This writing bureau, known as ‘the Watt cabinet’, was made in Auckland by Anton Seuffert, a Bohemian cabinetmaker who lived and worked in the city from about 1860. The bureau may have been commissioned for presentation to Mr David Limond Murdoch, an Auckland banker.
This image, taken in 1885 at the village of Koroniti (Corinth) on the Whanganui River, is one of many documentary photographs by Alfred Burton.
This waistcoat is reputed to have belonged to Captain James Cook: it is said to have come from a house where Cook stayed at one time. Whether that is, or is not, so it is certainly the style of garment worn by respectable gentlemen under their coats in Cook’s time. In the portrait of Cook painted by John Webber, the captain is wearing a waistcoat of similar style, though somewhat less decorative.
Robert Anderson, surgeon on the Resolution during the third voyage of Captain James Cook, made this entry in his journal on 13 February 1777, the day after his ship's arrival at Ship Cove in Queen Charlotte Sound.
In this sculpture Christine Hellyar has assembled a set of ‘artefacts’ inside old domestic display cases, arranged to make the whole as it appears before us. The ‘artefacts’ are based on objects from the natural world such as plant stems, leaves, nests, and logs. The artist has created these elements out of bronze casts, plaster moulds, ceramic models, and found objects (including the cabinets themselves).
Artist Jeff Thomson is well known for his corrugated iron sculptures, especially his elephants and cows. One corrugated iron beast a little different from the others is Thomson’s HQ Holden – a 1974 Holden station wagon clad in corrugated iron.
This portrait of Ina Te Papatahi, a Nga Puhi kuia from the Hokianga, was painted by one of New Zealand’s most controversial artists – Charles Frederick Goldie. It is one of his largest works.
Evans Bay is one of many impressions of Wellington Harbour painted by James Nairn. Like most of Nairn's landscape paintings, Evans Bay was painted outdoors or en plein air. Though this technique was unusual in New Zealand at the time, many European artists, especially the Impressionists, favoured painting outside, directly in front of the subject, in order to capture the momentary effects of changing light and weather.
Double Portrait No. 2 is an oil painting of the artist's friends Katharine Church and Anthony West. It was painted after Hodgkins had been staying at their home - Quarry Farm. Hodgkins said about her stay, 'I . . . the happiest long week end with the Wests & have painted 3 quite attractive canvases inspired by objects observed by me out of the corner of my subjective eye, when really looking for black berries…' (1).
The Northland Panels consists of eight separate pieces of unstretched, unframed, hanging canvas, each one depicting a scene of rural Northland.
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