1097:, were stolen from the University of Auckland Library during the Christmas break. The thieves are believed to have broken into a secure room at the library by prying open a locked window. Art experts and police said at the time that selling the paintings in New Zealand or overseas would be difficult, as anyone who knew about the artists would be very suspicious. By October 2007, all the stolen items, valued at over $ 200,000, were returned. Negotiations between police and a man who knew the thieves concluded the case. Following this incident, security was increased at the library.
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387:, in 1946 in Nelson. These works depicted events from Christ's life in a New Zealand setting. McCahon was never a member of a church, but acknowledged that religious questions were central to his work. In the 1940s, words began to appear in his work often resulting in public criticism. McCahon felt the directness of words could help, provide a 'way in' to his images, a long tradition within painted images, especially in religious art.
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597:(3rd ed. 1942), a scientific text that examined landscape forms and processes, illustrated with sketches, diagrams, and photographs. These diagrams ignored built features, trees, and objects irrelevant to his scientific themes as he attempted to strip the landscape to its geological basis. These precise drawings would inform McCahon in his efforts to find the landscape's spiritual basis.
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436:. He started working at the Auckland City Art Gallery first as a cleaner, then as a custodian of the paintings, and finally, in April 1956, as the deputy director. McCahon assisted in the professionalisation of the gallery and helped it mount the first exhibitions and publications to record New Zealand art history.
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was considered too abstract and was excluded from the Otago Art
Society's exhibition, despite a rule entitling each member to submit one work. The society's conventions of good taste were challenged by McCahon's modernist style, which reduced the volcanic cones of the Otago Peninsula to a topographic
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My painting is almost entirely autobiographical – it tells you where I am at any given point in time, where I am living and the direction I am pointing in. In this present time it is very difficult to paint for other people – to paint beyond your own ends and point directions as painters once did.
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McCahon's large-format "word paintings" combine his religious and abstraction tendencies. His early religious paintings created a very literal connection between the events and locations of the Bible and his native soil. He started incorporating words into his paintings in the 1940s, a move often
240:'s Saturday-morning art classes to learn the fundamental skills of painting. Visits to an exhibition by Toss Woollaston, whose landscapes, "clean, bright with New Zealand light, and full of air", also inspired him to become a painter. McCahon later attended the Dunedin School of Art (now known as
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I am not painting protest pictures. I am painting about what is still there and what I can see before the sky turns black with soot and the sea becomes a slowly heaving rubbish tip. I am painting what we have got now and will never get again. This is one shape or form, has been the subject of my
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After returning to New
Zealand from visiting America in 1958, a significant change occurred in McCahon's work. Instead of using frames, he worked with unstretched and unframed canvas, and other changes included a considerable increase in scale; the creation of series of works in contrast to
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From April to July 1958, McCahon and his wife visited the United States on gallery business. They used the visit as an opportunity to view art that interested them in major galleries. Colin and Ann McCahon visited galleries and museums throughout
America. Paintings such as
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Most of my work has been aimed at relating man to man to this world, to an acceptance of the very beautiful and terrible mysteries that we are part of. I aim at very direct statement and ask for a simple and direct response. Any other way the message gets
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At the beginning of World War II, McCahon had initially tried to enlist for military service after deciding that the defeat of fascism was a global necessity, even from his pacifist standpoint. He was rejected from active service due to an enlarged heart.
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A constant theme throughout McCahon's art is his exploration of the religious. His landscapes, in particular, are imbued with a sense of the spiritual. Even more overtly, McCahon often sets
Biblical scenes in the contemporary New Zealand landscape. His
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During the 1960s, McCahon's work enjoyed increased exposure and recognition in New
Zealand and internationally. McCahon worked almost exclusively in black and white after the mid-'60s and produced a number of works combining numbers and texts, such as
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As McCahon relied on seasonal work, his wife returned to live with her parents. Over the next five years, their time together was intermittent. The couple had four children – two daughters and two sons: William, Catherine, Victoria and
Matthew.
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In
January 1971, he left Elam School of Fine Arts to paint full-time. McCahon produced both word and landscape paintings during this period, but words increasingly began to dominate his output. His works from this period include
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consisted of 16 panels and incorporated words from poems by John
Caselberg. McCahon used Allan Kaprow's term 'environment' when he described the work in a lecture in 1963 as having been hung to "create a complete environment."
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criticised by the public, but which he felt was necessary to directly communicate with the viewers of his art. The Early
Religious Paintings are testament to McCahon's 1939 aim to connect God and land for the sake of peace.
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McCahon supported himself in the late 1930s with a stint of working in a touring variety show, stage scenery painting, and fruit picking. Some of these jobs were undertaken during his voluntary service for the state during
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McCahon is best known for his large paintings with dark backgrounds overlaid with religious texts in white. He was also an extensive landscape painter and was inspired in part by the writings of New
Zealand geologist
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organised an exhibit at the Wellington Public Library February 1947, then at the Lower Hutt Municipal Public Library. In September 1947, McCahon showed a different selection at the Dunedin Public Library.
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A Te Papa profile of McCahon has described his landscapes as "often stark and empty (rather than picturesque), raising questions about the human histories of these seemingly unpopulated landscapes."
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and the sensation of walking through an artwork rather than walking past it. McCahon had visited the studio of Kaprow and he also saw Kaprow's work exhibited in New York at the Hansa Gallery.
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Auckland City Art Gallery presented another retrospective, "Colin McCahon: Gates and Journeys", the following year. Further major exhibitions both in New Zealand and overseas have followed.
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In 1960, the family moved to a house in central Auckland. In August 1964, McCahon resigned from the Auckland City Art Gallery and began lecturing at the University of Auckland's
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series of bare, almost monochromatic forms. The protests of other young artists, who withdrew their works in sympathy, forced the society to relent and display the work.
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432:, where they bought a house. Partly as a result of his exposure to the area, McCahon painted many landscapes featuring beaches, the sea, the sky, land, boats, and
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for one year. He showed an early interest in art, influenced by regular visits to exhibitions and the work of his maternal grandfather, photographer and painter
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in 1947 and contributed work regularly until its demise in 1977. During 1944, McCahon collaborated with his wife producing watercolours collectively called
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activist Te Kaha and an associate Laurie Davis. After missing for 15 months, it was returned in August 1998 after negotiations involving arts patron
402:. McCahon met poet John Caselberg in Christchurch in October 1948. McCahon collaborated with Caselberg on various works that fused words and images.
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on 1 August 1919 the second of three children of Ethel Beatrice Ferrier and her husband John Kernohan McCahon. He spent most of his childhood in
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whose work over 45 years consisted of various styles, including landscape, figuration, abstraction, and the overlay of painted text. Along with
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to New Zealand in the mid-20th century. He is regarded as New Zealand's most important modern artist, particularly in his landscape work.
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gallery mounted a joint exhibition of works by McCahon and Woollaston in Wellington; a selection was shown in Auckland later that month.
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for seasonal work, which subsequently led to his artwork reflecting the places where he travelled, particularly the Nelson region.
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McCahon, Colin John, 1919–1987 McCahon, Anne Eleanor (née Hamblett) 1915–1993 McCahon, Colin and Anne: Papers, 1914–1989, ARC-0772
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reflect McCahon's immediate response to this visit, which accelerated his stylistic development during the following decade.
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757:(1949), currently in the collection of the Dunedin Public Library, was the realization of a schoolboy vision inspired by
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Once the painter was making signs and symbols for people to live by; now he makes things to hang on walls at exhibitions.
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Thematically, his art was at times concerned with developing a painterly nationalism. McCahon himself explored issues of
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A second retrospective of his work was presented at Auckland City Art Gallery in 1972, which later toured New Zealand.
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In September 1940 and November 1943, he was guest exhibitor with The Group show in Christchurch. He became a member of
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550:. The implications of recent work were dealt with in the Govett-Brewster Art Gallery's 1977 exhibition McCahon's
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Alderton, Zoe (2013). "Out with the Tide: Colin McCahon and Imaginative Pilgrimage". In Norman, Alex (ed.).
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in 2002 introduced McCahon as "the first modern New Zealand painter of major international importance."
969:, Auckland, now serves as a small museum about Colin McCahon and his family. The house is surrounded by
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individual paintings; and "a new gestural freedom in his brushwork." These differences were apparent in
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The days and nights in the wilderness, showing the constant flow of light passing into a dark landscape
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and The Long Way Home's "Canoe Song" refers to several of McCahon's works on their debut album,
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In 1947, he worked as a labourer, and in 1948 worked as a gardener in Christchurch. His friend
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A more contemporary house and studio on the same section of land serves as the base for the
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by the mid-1980s. In 1984, the exhibition "I Will Need Words" was presented as part of the
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on 27 May 1987. On 6 June 1988, his ashes were scattered throughout the Muriwai headland.
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mounted the first exhibition to examine in detail a particular aspect of his past work,
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In 1940, he had a small exhibit in Wellington and produced his first commissioned work,
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on canvas. Another work completed in 1958, after McCahon's return from America, was
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McCahon's first mature works, religious paintings and symbolic landscapes, such as
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proved to be an inspirational influence. After leaving Otago, McCahon attended
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By the late 1970s, McCahon's health had deteriorated because of his long-term
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In late 2006, manuscripts, including seven Colin McCahon poems, along with a
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Dear Colin, Dear Ron: The Selected Letters of Colin McCahon and Ron O’Reilly
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After this trip, McCahon's use of scale and space shifted, most notably in
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513:, gifted to the Australian National Gallery by the New Zealand Government,
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He first exhibited his work at the Otago Art Society in 1939. His painting
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2146:. Amsterdam: Craig Potton Publishing and the Stedelijk Museum Amsterdam.
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689:. During a visit to the United States in 1958, McCahon saw paintings by
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1066:. It was eventually determined that the painting had been stolen by
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At the age of 14, convinced he wanted to be an artist, McCahon took
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Journeys and Destinations: Studies in Travel, Identity, and Meaning
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The gannet colony off the Muriwai coast that was a muse for McCahon
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1943:. United Kingdom: Cambridge Scholars Publisher. pp. 265–286.
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McCahon, Colin; O'Reilly, R.N.; Auckland City Art Gallery (1972).
1448:. Newcastle Upon Tyne: Cambridge Scholars Publishing. p. 26.
1423:. Newcastle Upon Tyne: Cambridge Scholars Publishing. p. 64.
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McCahon was the subject of a 2004 biographical documentary titled
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University of Otago Digital Collections: Works by Colin McCahon
1896:"Cliffs as Crosses: The Problematic Symbology of Colin McCahon"
1873:. Nelson, New Zealand: Craig Potton Publishing. pp. 61–2.
1858:. Auckland, New Zealand: Auckland City Art Gallery. p. 26.
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by McCahon, completed May 1976. It was famously stolen in 1997.
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in 1953 on a trip to Melbourne; she rekindled his interest in
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Towards A Promised Land: On the Life and Art of Colin McCahon
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1833:. Nelson, New Zealand: Craig Potton Publishing. p. 62.
1652:. Nelson, New Zealand: Craig Potton Publishing. p. 61.
1601:. Nelson, New Zealand: Craig Potton Publishing. p. 60.
1551:. Nelson, New Zealand: Craig Potton Publishing. p. 10.
2382:"Victory over death: The gospel according to Colin McCahon"
1808:. Nelso, New Zealand: Craig Potton Publishing. p. 61.
1576:. Nelson, New Zealand: Craig Potton Publishing. p. 6.
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series along with numerous landscapes of the Kaipara area.
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Later, leaving his family at home, he travelled around the
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1983:. Art History School of Art History Classics. p. 34.
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Treasures from the Museum of New Zealand Te Papa Tongarewa
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McCahon began the first of his early religious paintings,
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Auckland Art Gallery Toi o Tāmaki: Works by Colin McCahon
993:. Other artists who have completed a residency include
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Between 1940 and 1950, McCahon was commissioned by the
2404:. Newcastle Upon Tyne: Cambridge Scholars Publishing.
2068:"Tree House: McCahon Residency Five Years On – Te Uru"
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In 1964, McCahon started working as a lecturer at the
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371:. This book proved to have an influence on his art.
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2118:"McCahon House Artists In Residence 2021 Announced"
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Elements of Modernism in Colin McCahon's Early Work
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1768:. Auckland: Auckland University Press. p. 45.
619:both within and outside of this national identity.
413:from July to August 1951 to study paintings in the
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2948:People associated with The Group (New Zealand art)
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2300:"Colin McCahon Interviewed by Ray Thorburn 1982"
2279:"Colin McCahon interviewed by Ray Thorburn 1976"
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1255:Museum of New Zealand Te Papa Tongarewa (2005).
1871:Answering Hark: McCahon/Caselberg: Painter/Poet
1831:Answering Hark: McCahon/Caselberg: Painter/Poet
1806:Answering Hark: McCahon/Caselberg: Painter/Poet
1650:Answering Hark: McCahon/Caselberg: Painter/Poet
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1599:Answering Hark: McCahon/Caselberg: Painter/Poet
1574:Answering Hark: McCahon/Caselberg: Painter/Poet
1549:Answering Hark: McCahon/Caselberg: Painter/Poet
1115:Two interviews with McCahon recorded by artist
398:By 1948, McCahon and Hamblett had relocated to
282:Untitled image by McCahon commissioned for the
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788:coastline as a site of spiritual nourishment.
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1217:. Christchurch City Libraries. Archived from
542:In 1975, the Manawatu Art Gallery's director
2928:Academic staff of the University of Auckland
2447:The Colin McCahon database and Image Library
1968:. Cambridge Scholars Publishing. p. 91.
852:Tomorrow will be the same but not as this is
517:, which was made for Auckland Art Gallery's
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1471:"Colin McCahon School Journal Illustration"
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2918:People educated at Otago Boys' High School
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1119:in 1976 and 1982 are available on YouTube
662:At the Dunedin School of Art, McCahon met
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1021:A major retrospective of his work at the
424:In May 1953, McCahon moved his family to
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1739:Te Ara – the Encyclopedia of New Zealand
1708:Te Ara – the Encyclopedia of New Zealand
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1469:Archives New Zealand (26 August 2013).
1215:"Famous New Zealanders – Colin McCahon"
1058:, was stolen from the reception of the
977:McCahon House Trust, artists' residency
321:. This illustration is now held at the
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2943:20th-century New Zealand male artists
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2374:Colin McCahon: The Man and the Artist
2253:"Stolen art returned to Auckland Uni"
2227:"Valuable art stolen from university"
2174:"Stolen mural will return to Urewera"
2142:Bloem, Marja; Browne, Martin (2002).
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405:The support of the poet and editor,
2779:Other people connected to The Group
2386:Australian Broadcasting Corporation
1623:"Colin McCahon: Victory Over Death"
1316:"Topic: Biography of Colin McCahon"
1194:Dictionary of New Zealand Biography
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548:McCahon: Religious' Works 1946–1952
315:to produce an illustration for the
252:Art School as a part-time student.
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2376:. David Ling Publishing Ltd, 1997.
2366:. Auckland University Press, 2010.
2339:
2202:"Art theft at Auckland University"
2144:Colin McCahon: A Question of Faith
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1964:Alderton, Zoe (27 February 2015).
1856:Colin McCahon: a survey exhibition
1766:Colin McCahon: The Titirangi Years
1526:Otago University Research Heritage
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1085:Cover image of McCahon documentary
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2938:20th-century New Zealand painters
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1714:from the original on 28 June 2013
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816:Six Days in Canterbury and Nelson
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666:, Doris Lusk, Anne Hamblett, and
622:McCahon's graphic design work in
2172:Cleave, Louisa (17 March 1999).
1745:from the original on 2 July 2013
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983:McCahon House artists' residency
595:The Geomorphology of New Zealand
369:The Geomorphology of New Zealand
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1793:. Wellington: Reed. p. 90.
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1704:"Edgar, James Douglas Charlton"
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1242:The Best Australian Essays 1999
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501:deepened McCahon's interest in
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217:, although his family lived in
178:August 1919 – 27
2841:Harbour Cone from Peggy's Hill
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961:The McCahon family house near
638:painting for a very long time.
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359:McCahon married fellow artist
258:Harbour Cone from Peggy’s Hill
95:, Auckland Region, New Zealand
59:, Timaru District, New Zealand
16:New Zealand artist (1919–1987)
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2882:King Edward Technical College
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1259:. Te Papa Press. p. 78.
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523:exhibition and later sold to
365:St. Matthew's Church, Dunedin
337:The Angel of the Annunciation
250:King Edward Technical College
2380:Butler, Rex (25 July 2012).
2359:. Reed Books, rev. ed. 1993.
1500:www.archway.archives.govt.nz
1395:"Colin McCahon The Luminary"
1074:, Te Kaha, and Tuhoe member
1062:Āniwaniwa Visitor Centre at
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561:, and he was suffering from
415:National Gallery of Victoria
273:
7:
2913:New Zealand modern painters
2402:The Spirit of Colin McCahon
1966:The Spirit of Colin McCahon
1522:"Portrait of Colin McCahon"
1446:The Spirit of Colin McCahon
1421:The Spirit of Colin McCahon
807:Christ Taken from the Cross
678:were among their teachers.
409:, enabled McCahon to visit
10:
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2872:Centre of Contemporary Art
1060:Department of Conservation
933:A Painting for Uncle Frank
825:North Canterbury Landscape
385:I Paul to you at Ngatimoti
318:New Zealand School Journal
285:New Zealand School Journal
2877:Canterbury College of Art
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2695:Patricia Charlotte Perrin
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2473:in the collection of the
1789:Brown, Gordon H. (1984).
1733:Henderson, Carol (2000).
1675:"Another side of McCahon"
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784:, McCahon represents the
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2933:Otago Polytechnic alumni
2200:University of Auckland.
633:, McCahon wrote in 1971:
471:Elam School of Fine Arts
455:Elam School of Fine Arts
205:Early life and education
1869:Simpson, Peter (2001).
1829:Simpson, Peter (2001).
1804:Simpson, Peter (2001).
1764:Simpson, Peter (2007).
1648:Simpson, Peter (2001).
1597:Simpson, Peter (2001).
1572:Simpson, Peter (2001).
1547:Simpson, Peter (2001).
465:Teaching and exhibiting
363:(1915–1993) in 1942 at
313:Department of Education
231:Otago Boys' High School
104:Otago Boys' High School
2867:Brooke Gifford Gallery
2400:Alderton, Zoe (2015).
2179:The New Zealand Herald
2005:"McCahon house museum"
1979:Gordon, Brown (2003).
1894:Alderton, Zoe (2012).
1735:"Tovey, Arthur Gordon"
1444:Alderton, Zoe (2015).
1419:Alderton, Zoe (2015).
1240:Craven, Peter (1999).
1128:Television New Zealand
1086:
1045:
989:, Moniek Schrijer and
915:Teaching aids 2 (July)
870:Visible Mysteries No 1
777:
655:
649:
640:
575:Auckland City Hospital
459:University of Auckland
302:Pictures for Children.
289:
246:Robert Nettleton Field
2816:Anne Hamblett McCahon
2575:Viola Macmillan Brown
2440:25 March 2012 at the
2357:Colin McCahon: Artist
2352:1989, pp. 22–34.
2321:"Colin McCahon: I Am"
1791:Colin McCahon: Artist
1528:. University of Otago
1190:"McCahon, Colin John"
1084:
1040:
775:
650:
644:
635:
341:Takaka: Night and Day
281:
2565:Olivia Spencer Bower
2035:"Artists' Residency"
1913:10.11157/rsrr2-1-487
1095:Oxford Lectern Bible
991:Cora-Allan Wickliffe
888:Victory Over Death 2
782:Necessary Protection
727:The Northland Panels
683:Mary Cockburn-Mercer
672:J. D. Charlton Edgar
591:Sir Charles A Cotton
552:Necessary Protection
529:Necessary Protection
511:Victory Over Death 2
499:The Tail of the Fish
323:Archives New Zealand
209:McCahon was born in
2039:Mccahonhouse.org.nz
2009:Mccahonhouse.org.nz
1920:on 11 November 2012
1124:Colin McCahon: I Am
957:Family house museum
676:Arthur Gordon Tovey
664:Rodney Eric Kennedy
567:Korsakov's syndrome
525:Victoria University
505:and Mäori imagery.
229:Primary School and
91:Ashes scattered at
2923:People from Timaru
2660:Douglas MacDiarmid
2615:Claudia Pond Eyley
2461:Hocken Collections
2424:Te Papa Press 2024
2045:on 13 January 2015
1221:on 4 December 2021
1101:In popular culture
1087:
1048:In June 1997, the
1046:
778:
703:Richard Diebenkorn
571:Biennale of Sydney
417:. In August 1949,
290:
143:Colin John McCahon
2890:
2889:
2645:Rata Lovell-Smith
2590:Rosemary Campbell
2525:Chrystabel Aitken
2518:The Group artists
2362:Gordon H. Brown,
2259:. 23 October 2007
1950:978-1-4438-4753-7
1702:Entwisle, Peter.
1683:(Online ed.)
1680:Otago Daily Times
1064:Lake Waikaremoana
942:I applied my Mind
906:Parihaka Triptych
768:Muriwai paintings
715:Willem de Kooning
520:Ten Big Paintings
419:Helen Hitchings's
345:The Promised Land
242:Otago Polytechnic
140:
139:
2955:
2860:Related articles
2849:Northland Panels
2710:Kathleen Salmond
2655:Molly Macalister
2630:Louise Henderson
2625:Suzanne Goldberg
2620:Margaret Frankel
2600:Philip Clairmont
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2233:. 5 January 2007
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2011:. Archived from
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1130:and directed by
1023:Stedelijk Museum
834:Northland Panels
695:Kazimir Malevich
629:Of his painting
603:Northland Panels
584:Style and themes
447:Northland Panels
182:May 1987) was a
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2640:Olive Jones
2570:Helen Brown
2545:Nola Barron
2257:Stuff.co.nz
2206:Scoop.co.nz
2127:16 February
2093:"Tanu Gago"
2077:16 February
1906:(1): 5–35.
1401:27 November
1366:26 November
1322:11 November
1132:Paul Swadel
1072:Jenny Gibbs
1011:Ava Seymour
995:Judy Millar
924:Am I Scared
707:Mark Rothko
538:Later years
495:Lark's Song
479:Robin White
434:kauri trees
184:New Zealand
136:(1915–1993)
68:27 May 1987
2897:Categories
2796:John Coley
2745:Edith Wall
2650:Doris Lusk
2535:Rita Angus
2391:7 November
2370:Agnes Wood
2327:7 November
2263:9 November
2237:9 November
2211:9 November
2185:5 November
2153:187733300X
2122:Scoop News
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2019:5 November
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999:Luise Fong
963:French Bay
658:Influences
559:alcoholism
527:, and the
503:Mäoritanga
349:Doris Lusk
227:Maori Hill
195:Rita Angus
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2852:(McCahon)
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1027:Amsterdam
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748:Landscape
607:The Wake.
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298:The Group
274:War years
199:modernism
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2438:Archived
1900:Relegere
1743:Archived
1712:Archived
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1076:Tame Iti
1056:triptych
861:Waioneke
843:Painting
741:The Wake
737:The Wake
733:monocoat
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565:through
563:dementia
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442:The Wake
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