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B.21101 Mar 2023
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James K. Baxter To Colin McCahon 1952. From Book XVI, James Keir Baxter literary papers, MS-0704/016. Image courtesy of Hocken Collections – Uare Taoka o Hākena and reproduced with kind permission of the James K. Baxter Trust.
To Colin McCahon
James K. Baxter’s 1952 poem ‘To Colin McCahon’ is an important marker in the long and sometimes tempestuous artistic relationship the two men shared. On an immediate level, the poem is a response to McCahon’s painting There is only one direction (1952), which he presented to Jim and Jacquie Baxter to mark the birth of their daughter Hilary after they had named McCahon her godfather.
But the painting is also part of a sporadic ‘conversation in art’ between McCahon and Baxter over the next two decades about the importance and purpose of art, and the role of the artist in society. This conversation, which kicked off in various Christchurch pubs when both lived there in 1948, first took to print when Baxter used a column in Canta, the university student magazine, to defend McCahon’s work from criticism by those who didn’t appreciate his cultural influences and, often religious, symbolism.
In many ways There is only one direction is McCahon’s affirmation of Baxter’s reading, as well as the catalyst for the poem ‘To Colin McCahon’. Baxter begins the poem by noting the concern with human suffering that McCahon shared with the French artist Rouault, but recognises the unique translation of that suffering to a New Zealand frame in McCahon’s work, before discovering in the promise symbolised by the Virgin and child the possibility of salvation through ‘the bruised herb’, forgiveness. Baxter and McCahon’s conversation in art stuttered to its nadir just weeks before Baxter died in 1972, when in the poem ‘Ode to Auckland’ he castigated the Auckland Art School for admiring ‘the worst of McCahon’.
Thankfully for New Zealand art, Baxter didn’t have the last word, which went instead to McCahon’s magnificent series of works exploring and trying to understand Baxter’s literal and metaphorical journeys through the sacred spaces and cultural consciousness of Aotearoa.
Related reading: Colin McCahon
film

Baxter and McCahon: a conversation
Two of the greats of the New Zealand art world – artist Colin McCahon and poet James K. Baxter – were friends. And fell out. As poet Gregory O’Brien says, 'They were such big spirits, I guess they couldn’t last that long in a room together.' O’Brien, Dr Paul Millar, author, professor of English and head of the School of Humanities at the University of Canterbury, and Dr Peter Simpson, writer, critic, academic and curator, are all experts on the work and personalities of these two men. On 6 March 2016 they got together before an audience at the Gallery for a fascinating discussion about Baxter and McCahon.
film

Colin McCahon - There is only one direction
Dr Peter Simpson reads James K. Baxter's poem To Colin McCahon, written in response to this painting.
Exhibition
From the Sun Deck: McCahon's Titirangi
6 February 2017
Colin McCahon’s shift to Titirangi in 1953 was a watershed moment in the artist’s career, providing the inspiration for him to develop his interest in cubism and abstraction.
Collection

Colin McCahon There is only one direction
This pared back, strikingly modern Madonna and child was painted in the Christchurch suburb of Phillipstown where Colin McCahon, perhaps New Zealand’s most acclaimed twentieth-century artist, lived with his family between 1948 and 1953. In contrast to the typically grander, often lavish treatment of this traditional subject within art history, McCahon’s composition is personal and startlingly bare, reduced to two naked figures framed within a rough oval that emphasises their close and enduring connection. Without haloes, thrones or attending angels, their identity is alluded to only through their grave sense of purpose and the work’s uncompromising title.
McCahon gave There is only one direction to the renowned writer James K. Baxter and his wife Jacqueline, marking the friendship between the two families and McCahon’s position as godfather to their young daughter Hilary. The painting sat above Baxter’s writing desk for many years.
(Unseen: The Changing Collection, 18 December 2015 – 19 June 2016)
Notes

There Is Only One Direction by James K Baxter
Dr Peter Simpson reads James K Baxter's poem There Is Only One Direction. Baxter wrote this poem in response to Colin McCahon's painting of the same name, now in the collection of Christchurch Art Gallery Te Puna o Waiwhetū.
The poem has been generously provided by the Hocken Collections - Uare Taoka o Hākena and is reproduced with kind permission of the family of James K. Baxter.
Notes

There is only one direction by Colin McCahon
This article appeared as 'Divine Innovation' in the The Press on 31 August 2012.
Commentary

What We Talk About With McCahon
Where to begin when writing or talking about Colin McCahon? I remember seeing one of his paintings for the first time, a North Otago landscape painted deep green with a sunless white sky on a piece of hardboard, hanging at the Forrester Gallery in Ōamaru while on a family trip when I was a young teenager. I felt like I recognised the landscape depicted from what I saw around me growing up, but I hadn’t seen it reduced to something so stark and primal before.
Notes

Canterbury Landscape by Colin McCahon
In 2014 we purchased an important landscape work by Colin McCahon. Curator Peter Vangioni speaks about this new addition to Christchurch Art Gallery’s collection.
Notes

‘Where the picture stops and the world begins’
The way a work of art is framed affects our perception of the piece. A bad frame can detract and distract, a good frame enhances and even extends a work. While the Gallery has been closed we have updated frames for a number of works in the collection.
Notes

Kauri tree landscape by Colin McCahon
This article first appeared as 'Mighty kauris inspired McCahon' in The Press on 10 February 2015.
Notes

as there is a constant flow of light
On a recent printer's residency at the Otago University's Otakou Press Colin McCahon's huge mural painting Waterfall Theme and variations dominated proceedings.
Collection

Colin McCahon Kauri tree landscape
In 1958 poet and arts patron Charles Brasch, a great supporter of McCahon, said of the Titirangi works: 'These Auckland paintings seem an entirely new departure. The colour and light of Auckland are different from those of the rest of New Zealand; they are more atmospheric, they seem to have an independent, airy existence of their own, and they break up the uniform mass of solid bodies, hills or forests or water, into a kind of brilliant prismatic dance. Some of the paintings are explorations, evocations, of the kauri forest of the Waitakeres. In some you seem to be inside the forest, discovering the structure of individual trees, with their great shaft trunks, their balloon-like cones, and the shafts of light that play among them. In others you look at the forest from outside, as it rises like a wall before you, built up of cylinders and cubes of lighter and darker colour, with its wild jagged outlines against the sky.'
(From the Sun Deck: McCahon’s Titirangi, 17 September 2016 – 6 February 2017)
Notes

Light Passing Into a dark landscape
Today is the centennial of the death of one of New Zealand's most treasured artists, Petrus van der Velden.
Notes

As there is a constant flow of light we are born into the pure land
After many, many months in the 'Darkness' of the empty gallery, I can think of no better words than those of Colin McCahon to signify the opening of the new gallery shop at 40 Lichfield Street.
Drop in Mon-Fri 10am-5pm, 10am-4pm Weekends
See you all soon!
Notes

O'Reilly/McCahon: an Easter meditation
An Easter-themed excerpt from an article published in 2010 in The Journal of New Zealand Art History...
Notes

Sutton high-fives McCahon
Nothing made it into a W.A. Sutton painting by accident, and the white line that rises diagonally through the sky in Plantation Series II is no exception.
Exhibition
Van der Velden: Otira
This exhibition brings together a comprehensive selection of Van der Velden's paintings portraying the wild, untouched natural beauty of the Otira region's mountainous landscape.
Exhibition
Colin McCahon
Two decades after Colin McCahon's death, this touring focus exhibition brings together paintings and works on paper by one of the most widely acclaimed New Zealand artists.
Collection

Colin McCahon Light falling through a dark landscape (A)
For the exhibition Untitled #1050 (25 November 2017 – 14 October 2018) this work was displayed with the following label:
“As a painter I may often be more worried about you than you are about me and if I wasn’t concerned I’d not be doing my work properly as a painter. Painting can be a potent way of talking.
“Do you believe in the sunrise?
“My painting year happens first in late winter and early spring. I paint with the season and paint best during the long hot summers. I prefer to paint at night or more especially in the late summer afternoons when, as the light fades, tonal relationships become terrifyingly clear.
“At night I paint under a very large incandescent light bulb. I’ve been doing this for a long time. I am only now, and slowly, becoming able to paint in the morning. After a lifetime of working – farming, factories, gardening, teaching, the years at the Auckland City Art Gallery – I find it hard to paint in the world’s usual work-time. It can be difficult to accept that painting too is work.”
—Colin McCahon, 1972
Collection

Colin McCahon Tomorrow will be the same but not as this is
In April 1958 Colin McCahon travelled to the US, responding both to the expansiveness of the American landscape and to the modern American painting that he saw in museums. On his return, his works increased in scale while economising in gesture: the landscape elements of Tomorrow have been reduced to a horizon and lowering sky, with the land bisected by a grey river. He converted his Titirangi garage into a studio, and built an extra bedroom for his children underneath. The studio was gloomy – there was only one small side window for light when the garage door was closed – but it precipitated dozens of new works. Tomorrow was an unfortunate painting, said McCahon, ‘in that it wouldn’t go right, and I got madder and madder. I hurled a whole lovely quart tin of black Dulux at the board and reconstructed the painting out of the mess.’ The black paint (a commercial flooring paint, mixed with sand) dripped down the surface of the work and ran between wide cracks in the studio floorboards, ruining clothes and bed linen in his sons’ room below. He finally finished the painting in May 1959.
(March 2018)
Collection

Colin McCahon Kauri tree landscape
In 1958 poet and arts patron Charles Brasch, a great supporter of McCahon, said of the Titirangi works: 'These Auckland paintings seem an entirely new departure. The colour and light of Auckland are different from those of the rest of New Zealand; they are more atmospheric, they seem to have an independent, airy existence of their own, and they break up the uniform mass of solid bodies, hills or forests or water, into a kind of brilliant prismatic dance. Some of the paintings are explorations, evocations, of the kauri forest of the Waitakeres. In some you seem to be inside the forest, discovering the structure of individual trees, with their great shaft trunks, their balloon-like cones, and the shafts of light that play among them. In others you look at the forest from outside, as it rises like a wall before you, built up of cylinders and cubes of lighter and darker colour, with its wild jagged outlines against the sky.' (From the Sun Deck: McCahon’s Titirangi, 17 September 2016 – 6 February 2017)
Collection

Colin McCahon Blind V
The word ‘blind’ refers to a screen that cuts out light, but Colin McCahon also uses it to refer to an absence of vision. Questions of faith were important to McCahon and he often used references to blindness to suggest the inability to see the real essence and value of things. McCahon’s style was highly personal and distinctive. Blind V is part of a series of five works painted onto window blinds. The abstract forms have the feel of a beach and sky and it has been suggested that the ‘blindness’ which McCahon refers to was the inability of New Zealanders to really see and appreciate their own unique environment.
McCahon is regarded by many as New Zealand’s greatest contemporary artist. Born in Timaru, he studied art in Dunedin. He lived in Christchurch for a time, became keeper and assistant director at Auckland Art Gallery, then lecturer in painting at the Elam School of Fine Arts, University of Auckland, before taking up painting full time in 1970.
Collection

Colin McCahon Red and black landscape
For the exhibition I See Red (5 December 2007 - 23 November 2008) this work was displayed with the following label: Colin McCahon’s combination of sky, sea and land is the simplest of landscapes, but by using powerful red and black, he has created a painting filled with mystery and weight.
‘Red sky at morning, shepherd’s warning, Red sky at night, shepherd’s delight’ goes the old saying. This could be sunset or sunrise, a perfect day to come or a perfect storm. Which would you choose?
Collection

Colin McCahon Northland
In 1958, Colin McCahon spent several months in America, visiting numerous art museums to see historical and contemporary art from the United States and Europe. Returning to a wintry Aotearoa New Zealand, he struggled to readjust. Eventually he found solace and inspiration in memories of a place very close to his heart – the wild, wind-sculpted landscape of Aotearoa’s Far North. Oil paintings were followed by a series of ink wash drawings, painted on paper spread out over the floor like a continuous, unfolding frieze. They are dark and lonely images, full of longing and a sense of return. “It’s a painful love, loving a land,” McCahon wrote. “It takes a long time.”
(Absence, May 2023)