How true to nature is Eugene von Guérard’s Lake Wakatipu with Mount Earnslaw, Middle Island, New Zealand?

Tuhinga 32: 18-51

ABSTRACT: This article investigates Eugene von Guérard’s claim that his Lake Wakatipu painting (1877–79) was ‘as true to nature as far as possible’ by examining the extent to which its features are faithful to the view at the site; to the geography, geomorphology, geology, ecology and botany of the location; and to the conditions experienced on the day of his visit. Critical to this fidelity analysis is determining the location from which the artist sketched the views on which the painting is based. His moving vantage point resulted in some features being portrayed from different perspectives. This raises some geographical fidelity issues, although the painting was not intended to be a composite work per se. Despite heightening peaks and steepening slopes for compositional purposes, the work exhibits a high degree of fidelity to many aspects of the landscape and to the natural history of the Wakatipu Basin, particularly when compared with historical photographs in the collection of the Museum of New Zealand Te Papa Tongarewa. Von Guérard’s limited familiarity with the geology and flora of the region did, however, result in a few inaccuracies. The article includes a discussion of the historical fidelity of the painting relating to pounamu (greenstone) sourced in the surrounding mountains, and concludes with the affirmation the artist received from the scientist Julius von Haast.

KEYWORDS: Fidelity, true to nature, Lake Wakatipu, Eugene von Guérard, colonial landscape painting, artistic licence, natural history, digital elevation model, historical photographs.