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John Hovell

(b Wairoa, Hawke’s Bay, NZ, Aug 27, 1939).

Maori painter, carver, weaver, costume and stage designer. His involvement with art began at Te Aute Maori Boys’ College (1954–7), Hawke’s Bay, Waipawa County, and continued with formal art training at Ardmore Teachers’ College (1958–9) and at Dunedin Teachers’ College (1960), where he trained as an art specialist. He subsequently worked for the Department of Education as an arts and crafts adviser and served on committees for national art education policies, the Historic Places Trust (with particular reference to Maori sites), art museums and tribal committees (dealing with traditional and customary art forms and architecture). He helped to promote contemporary developments in Maori arts for community buildings, meeting houses, churches and public sites, serving on private and governmental commissions. In his own work he maintains a balance between the conservation of older traditional materials and forms of Maori arts and the experimental use of new materials, such as composite chipboard, synthetic dyes, plastic-coated basketry fibres and composite, laminated board. His painted and woven-fibre works are notable for their rich but subtle colours and controlled sense of line. They vary in size from complex architectural installations or stage designs for the Royal New Zealand Ballet to designs for postage stamps. At Te Huki Meeting House (...

Article

Jane Clark

(Robert)

(b Melbourne, April 22, 1917; d London, Nov 28, 1992).

Australian painter, draughtsman, printmaker and stage designer. Australia’s most honoured and internationally acclaimed modern painter, and one of the most travelled artists of his generation, he worked prolifically in a variety of media on themes that often related closely to the story of his own life. He remained a controversial figure, considered by Kenneth Clark to be one of the major artists of the 20th century, but often criticized for trying to do too much. Alternating bright moods with blackest drama, he tended to work in series, reviving formal elements and iconography from previous works and maintaining a spontaneous style by devising new painting techniques in the process of execution.

Nolan was enrolled twice at the National Gallery of Victoria’s School of Art (1934 and 1936) while employed as a commercial artist, but he preferred to educate himself in the public library. Reproductions of works by Picasso, Paul Klee, Henri Matisse and the Surrealists influenced his idiosyncratic, quasi-abstract works of the late 1930s, for example ...