Only two or three other Waterfalls share this feature while a few others have similar triangles at all four corners. His Artists and Draughtsmen held at the gallery between October and December The use of numbers and words is a further example of this compression, and is a category for which McCahon has shown a particular preference. Interpretation involves gaining possession of the facts rather than trying to construct some fancy theory which is more in the viewer’s mind rather than being related to the information offered by the painting. The auctioneer may open the bidding on any Lot below the reserve by placing a bid on behalf of the Seller. In this work McCahon is already producing a diagram of perception but one where he supports his own symbolic representation with that of a geographical concept of underlying land structures. The knack of interpreting symbols in a work of art rests on a respect for the facts – the images, words, colours, etc. The Buyer must give written notice of claim to us within thirty days of the date of the Auction.

If the viewer does not make an effort to come to terms with the artist’s symbolic expression of his feelings and ideas, then the meaning of the picture will remain hidden. Payment and Passing of Title. The triangular wedge in the upper right corner of this painting is an interesting detail. Gemstones have historically been subjected to a variety of treatments to enhance their appearances. As Lucy Lippard has said: Take the T-shaped cross in the painting The Days and Nights in the Wilderness , , and compare it to the T-shaped altar in Visible Mysteries I , , or the cross incorporated in the word painting Let be, Let be , , or the bridge structure in the left panel of the triptych On Building Bridges , , or the Crucifixion , owned by the Caselbergs , and in comparing these, see what echoes from these former paintings are relevant to the T-shaped cross of McCahon’s latest productions:

In this work McCahon is already producing a diagram of perception but one where he supports his own symbolic representation with that of a geographical concept of underlying land structures. The auctioneer may open the bidding on any Lot below the reserve by placing a bid on behalf of the Seller. Yet this painting contains further clues, for by dedicating the painting as a ‘Homage to van der Velden’ something is said about the quality of both light and landscape, while the landscape is particularized by the phrase near the top of the painting, ‘Ninety Mile Beach with Haumu Hill’.

The starting point may be personal in origin but he has the ability to project on to a larger, more universal canvas.

This involves a type of inverted visual enrichment, in an artistic sense, intended to suggest more than what is actually shown in the work of art.

Night and Day oil on canvas, x mm, Collection Auckland City Art Gallery The next consideration concerns symbols, their use, complexity and interpretation.

They are prepared well in advance of the sale and may be subject to revision.

Inas McCahon has stated, ‘I came to grips with the kauri and turned him, in all his splendour, into a symbol’. They may be amended by printed Saleroom Notices or oral announcements made before and during the sale. When writing about his two large paintings, Landscape: Background to the Terms used in these Conditions The conditions that are listed below contain terms that are used regularly and may need explanation.

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Likewise, laughter or the sob of sorrow may betray the presence of emotion, but ‘feeling’ is more than just emotion, for it can reflect the intellect; a fact expressed when we say: This process of coming to mccahoj with a painting is not too difficult when a simple landscape is involved, but when the artist uses conventional symbols, or his own symbolism, the problem is compounded.

But McCahon used the kauri motif in a number of ways, behind which lay differing intentions: This deposit is redeemable against any auction purchase and will be refunded in full if no purchases are made. Any prospective new buyer must complete and sign a registration form and provide photo identification before bidding. Gretchen Albrecht Celestial Dome.

Colin John McCahon Waterfall signed and dated ‘M c Cahon December ‘ on the reverse oil, acrylic and sand on board 24 x 16in. Reserves Unless otherwise indicated, all lots are offered subject to a reserve, which is the confidential minimum price below which the Lot will not be sold.

Or, as in McCahon’s case, where symbols in one picture make direct reference to a symbol used in other paintings, even if the context differs to some extent. These terms and conditions and any matters concerned with the foregoing fall within the exclusive jurisdiction of the courts of New Zealand, unless otherwise stated.

Hodges is my hero in all these paintings, but the Wwterfall Falls in the Waitakeres and Japanese and Chinese painting are the real influences later.

The Buyer must give written notice of claim to us within thirty days of the date of the Auction. Risk and responsibility for the lot including frames or glass where relevant passes immediately to the Buyer. Take Days and Nights in the Wilderness where the subtitle reads, showing the constant flow of light passing into a dark landscape, so that this sub-title clearly outlines a basic theme inherent in the Necessary Protection series.

Hodges’ subjects were mccahhon in March-May while Watertall astronomers took the first accurate coordinates of New Zealand on Astronomer’s Point just above the Resolution ‘s mooring at ‘Pickersgill Harbour’, the sheltered cove on mccauon southern side of Dusky Bay. But the problem rests with the extent to which the process of interpreting such symbols can be taken.

Auction « Wed, 24 Aug, « Work 34 « International Art Centre

Bids will not be accepted without this deposit. Such simplification of the landscape, recalled in memory, as is McCahon’s habit, is evident in the Manakau watercolours serirsthe Northland landscapes ofand the North Otago landscapes of the late nineteen-sixties. It is not so much a portrait of a place as such but is a memory of a time and an experience of a particular place’. We conversed, through paint about Naples yellow to start with – and in I painted my first waterfall.

After the watertall, the drenching rain and brilliant sun, the shattered clouds after mfcahon and the rainbows that looped over the city and harbour through the Auckland light produced a series of watercolours called Towards Auckland. If this is considered, then a series like Walk with me, which at first glace appears quite unrelated, has to be reconsidered in this larger context, while one must question a series like Noughts and Crosseswhich is stylistically related waterfalll Teaching Aidsto consider the possibility of a similar, larger inter-relationship.

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Take the land shown in Moby Dick seen off Muriwai see issue 7the landscape that is further reduced in Necessary Protection and waterfwll Jump paintings: The generalised attempt needed to relate to such painters must also give rise to a basis upon which McCahon’s output can be viewed.

Except as required by local law any warranty of any kind is excluded by this paragraph. In later catalogue entries McCahon specifically links the Necessary Protection paintings of the s to his earlier Waterfall series and he makes it clear his painting was not done merely to protest the degradation of the landscape, but in some way to stay environmental devastation and depletion, and to restore an equilibrium in human interaction with the earth.

Later that year six more Waterfall paintings were offered at the annual Group Show in Christchurch at 10 guineas and it is probable that the present work was one of these. The November light for that first year was a miracle. In the Jump series McCahon may have started with thoughts on the Commonwealth Games, but the theme has cloin universalised to include the existentialist’s leap into the unknown – the uncertainty of the creative act.

Illustrations are provided only as a guide and should not be relied upon as a true representation of colour or waterfzll. Permits, Licences and Certificates.

If the viewer does not make an effort to come to terms with the artist’s symbolic expression of his feelings and ideas, then the meaning of the picture will remain hidden. A painting will rely on a few, usually highly simplified elements to carry the artist’s message. There mcfahon 44 works in the show, though how many were Waterfalls and how many were Small Landscapes is not recorded.

The reserve will not exceed the low estimate printed in the catalogue. At the fall of the hammer, insurance is the responsibility of the purchaser. Registration Before Bidding Any prospective new buyer must complete and sign a registration form and provide photo identification before bidding.

All three series use numerals up to fourteen, and in works painted since this usually implies some connection with the fourteen stations of the cross. I only need black and white to say what I have to say. Pre-Lot Text I only need black and white to say what I have to say.

Colin McCahon, ‘Waterfall’ (3rd of 4)

Successful Bid and Passing of Risk. The use of numbers and words is a further example of this compression, and mmccahon a category for which McCahon has shown a particular preference. Statements by the artist can be useful in this respect, in that they can ensure that the viewer is on the right line of approach.

Buyers are responsible for satisfying themselves concerning the condition of the property and the matters referred to in the catalogue by requesting a condition report.

It cklin the earlier Stations made for the Upland Road Convent.