Two Hundred and Forty Years of New Zealand Painting

By Gil Docking, Michael Dunn and Edward Hanfling

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This book is an ideal introduction to the development of New Zealand painting from its very beginning, and also the development of critical thinking about the work of New Zealand artists over the last 40 years. Detailed bibliography and index makes this an ideal book for students.

The original text by GIL DOCKING, former director of the Auckland Art Gallery, covers the period from European discovery up to 1969. Presented in its original form, it is a fascinating look at what was being thought about and written about New Zealand paintings over forty years ago. Beginning with Sydney Parkinson’s 1769 pen-and-wash study A Perforated Rock in New Zealand, made during Cook’s first voyage of discovery, the text moves through four main periods; from ‘Exploration’, a time when British and French painters with varying approaches—from the scientific to the romantic—recorded what they saw during brief visits to this country, to the ‘New Impulses’ in New Zealand art in the 1960s.

MICHAEL DUNN’s narrative takes the reader through the 1970s and 1980s with a discussion of neoexpressionism, new realism and the rise of Maori and Polynesian painting.

EDWARD HANFLING looks at New Zealand painting and its evolution over the last twenty years, when many painters saw their work as a medium for addressing issues, ideas and identities, and describes new directions in painting that test the boundaries of the medium.

304 x 250 mm, 280 pages, hardback with jacket, over 170 paintings reproduced



Gil Docking, Michael Dunn and Edward Hanfling

GIL DOCKING was born at Bendigo, Victoria in 1919 and educated in Australia. His ?rst association with New Zealanders was during service with an RAAF squadron which affiliated with the RNZAF operating from Norfolk Island under Coastal Command and, later, as a prisoner of war in Germany. Following the war he resumed art studies at the Royal Melbourne Institute of Technology, then studied at the University of Melbourne. After graduating in Arts, he married the artist Shay Lawson. He was director of the Auckland City Art Gallery (now the Auckland Art Gallery Toi o Tamaki) from 1965 to 1972 and during that time wrote the ?rst edition of this book. He now lives in Sydney.

MICHAEL DUNN was Head of the Elam School of Fine Arts at the University of Auckland from 1994 to 2003. He completed a diploma majoring in painting at the Canterbury School of Fine Arts before graduating with a BA (Hons) and MA in Fine Arts at the University of Melbourne. In 1970 he was appointed to a lectureship at the University of Auckland then promoted to Senior Lecturer in 1975. While lecturing at the university, he completed a PhD on the art of Gordon Walters. He sat on the board of the Auckland City Art Gallery (now the Auckland Art Gallery Toi o Tamaki) from 1977 to 1996, and has written many books on individual New Zealand artists and art-related topics, notably New Zealand Painting: A Concise History, ?rst published in 1991, as well as writing specialist articles and papers for journals worldwide.

EDWARD HANFLING is an art historian, critic and curator, and a lecturer in the School of Media Arts at Wintec, Hamilton. He holds a PhD in Art History from the University of Auckland, and has written for a range of publications including Art New Zealand and the Burlington Magazine. He is editor of the Journal of New Zealand Art History and has published books on New Zealand artists such as Ian Scott and Milan Mrkusich, including the monograph Mrkusich: The Art of Transformation (2009) co-written with Alan Wright. He lives in Onehunga, Auckland with his partner Carolyn and their cat Captain Springs.