The Cool Show
A summer exhibition displaying some of the Collection’s cooler, more relaxed images
Last year’s Hot Show, which was put together for winter/spring 2010, has been replaced by a summer exhibition designed to display some of the Fletcher Trust Collection’s cooler, more relaxed images. The exhibition includes landscapes, some of them very old, particularly the 1823 lithographs from the series of books called Voyage around the World, now known as the Duperry Collection after the man who captained the French exploratory expedition. Among the crew of the corvette La Coquille that sailed under his command around the Pacific including New Zealand in the years 1824–25 were artists who saw island life as exotic. It is hard to resist the allure of these romanticised images even today.
There are landscapes from later artists as well, some of them well known figures such as Michael Smither, Don Binney, Robin White and Peter Siddell who were also attracted to New Zealand’s seas and mountains. Other perhaps lesser known figures featured include Dr Cam Duncan, Rata Lovell-Smith, Charlton Edgar and Olivia Spencer-Bower. Many of these paintings were purchased at auction during the 1970s and 80s by Sir James and Lady Fletcher who knew that people would enjoy them in their offices throughout the Fletcher complex at Penrose.
There is a group of summery still life garden paintings. Evelyn Page’s Homage to China features large white lilies and a Chinese ceramic horse while Jane Evans’ very loose watercolour Summer Garden gives a vivid impression of drifts of colour in a closely planted garden. Among the abstract works included in the show are Mrkusich’s magnificently glowing and mysterious Painting Green 1972 and his Painting Green III of over thirty years later. In these no image is depicted.
Like Ian Scott and Robert McLeod, the artist invites us to think about and enjoy shape, colour and texture in an abstract composition. Even their titles discourage the viewer from making any associative connections with objects in the world outside the paintings themselves. The post card image is of Joanna Braithwaite’s Afternoon Bather. This is an amusing painting of a rather snooty looking woman who is perhaps observing something not quite nice in the water nearby. The little study the artist did for the larger painting is also included in the exhibition.
— Peter Shaw
View of the lower harbour Otago from Port Chalmers
1849, 396 x 745mm, Hand tinted lithograph by Trelawny Saunders, Colonial Library, London
MONKHOUSE, William, after a sketch by Thos. Thorpe
The New Dock at Dunedin, New Zealand
c.1875, Hand tinted lithograph