Within a half-century of the signing of the Treaty of Waitangi between the British Crown and Maori chiefs in 1840—the event from which the beginning of New Zealand (Aotearoa) is generally dated (and leaving aside from the present discussion the tribal art of the indigenous Maori and the early art created by European navigators, explorers, surveyors, itinerant artists, soldiers, and the like)—a rudimentary infrastructure of public art galleries, art societies, and some art schools had arisen in the main cities—Auckland, Wellington, Christchurch, and Dunedin—and the beginnings of a discourse concerning the character and purpose of the visual arts in the new nation emerged. The central question was whether or not such a phenomenon as ‘New Zealand art’ existed or should exist and what characteristics it should aspire to. These matters were vigorously debated for a decade or so either side of 1890 when the infant nation marked its 50th anniversary with a jubilee. The discourse about national identity then largely disappeared for a generation only to emerge again a decade or so either side of ...
(b Upper Hutt, Oct 3, 1964).
New Zealand painter of Maori descent. Cotton studied at the University of Canterbury, graduating with a Bachelor of Fine Arts in 1988. He is prominent amongst a generation of Maori artists that emerged in the 1980s and 1990s including Michael Parekowhai (b 1968), Lisa Reihana (b 1964), and Peter Robinson, all of whom were schooled in contemporary Euro-American art styles and debates and then explored their Maori identities in relation to globalization and post-colonialism. Cotton’s early 1990s works were contemporary history paintings, locating New Zealand’s conflicted past firmly in a bicultural present. Drawing upon Maori figurative styles from the late 19th-century, particularly in meeting-houses inspired by the prophet and resistance leader Te Kooti Arikirangi Te Turuki, Cotton’s sepia-toned works juxtaposed these images with customary Maori carved forms, written Maori script, the coastal profiles of early European explorers, and appropriations from contemporary artists as diverse as Imants Tillers, Bridget Riley, and Haim Steinbach....
[Friström, Clas Edvard]
(b Torhamn, nr Karlskrona, Sweden, Jan 23, 1864; d San Anselmo, CA, March 27, 1950).
Sweden-born painter and teacher, active in Australia, New Zealand, and America. In 1884, Fristrom joined his older brother, the painter Oscar Fristrom (1856–1918), in Queensland, married in 1886, and became an Australian citizen in 1888. Employed as a photographic retoucher, Fristrom was a self-taught artist and from 1899 to 1902 he exhibited 53 paintings, including landscapes and figure studies, some featuring Aborigines, at the Queensland Art Society exhibitions. Fristrom’s artistic success is indicated by two commissions from the state government and enthusiastic reviews in the press.
In 1903 Fristrom travelled to the United States and then to New Zealand, settling in Auckland and joining the Auckland Society of Arts. He exhibited 60 paintings there, almost all landscapes, from 1904 to 1914. Until 1911 Fristrom regularly travelled around New Zealand, from Gisborne to Hokitika, selling his paintings at auctions. He also taught at the Elam School of Art, Auckland from ...
From the formal establishment of New Zealand with the Treaty of Waitangi in 1840 until the 1960s, landscape was the predominant genre of painting in New Zealand. Several interrelated artistic, social, and practical reasons led to this and to the differing approaches to landscape representation during the period. They range from the country being ‘a land absolutely teeming with artistic subjects of the most varied kind… [offering] the special features of every country which is remarkable for its scenery’ (Hodgkins, 1880) to a belief that the mild climate made painting out of doors possible ‘without much discomfort all the year round’ (Killick, 1917).
The first professional artist to spend time in and paint New Zealand, in 1827–8, was Earle, Augustus, but the artists who followed him in the 1840s were mostly amateurs—sailors, surveyors, and administrators, and later soldiers. Their objectives were largely governed by colonizing imperatives: documenting the country to promote it to potential settlers back ‘home’ who wanted to see non-threatening potential destinations. Watercolour was the primary medium. William Fox (...