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Cora Wilding and the Sunlight League

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Cora Wilding and the Sunlight League BEAUTY OF HEALTH: Cora Wilding and the Sunlight League A thesis submitted in partial fulfilment· of the requirements for the Degree of Master of Arts in History in the University of Canterbury by Nadia Gush University of Canterbury 2003 Contents Contents Abstract...................................................................... 1 Acknowledgements...................................................... 2 Foreword.................................................................... 3 Introduction: Borders/Boundaries/Skins............................ 5 Chapter One: The Beauty of Health ................... ".............. 25 Chapter Two: A Sense of Form and Strength of Line (1907 -1927) ................................................................. 44 Chapter Three: Celestial Antiseptic: The Beginnings of the Sunlight League. .. 89 Chapter Four: The Beautiful People.................................. 106 Chapter Five: Studying the Figure for Introduction into Landscape (1928-1935) .............................................. 122 Chapter Six : The Art of Harmonious Living (1936-1951) ................................................................ 153 Conclusion: Intensity/purpose/harmony - Truth/goodness/beauty. 171 Appendix A............................................................... 176 Bibliography............................................................. 179 2 - JIJ L 2003 List ifFi8wes List of Figures Figure Page 1. Cora Hilda Blanche Wilding (1888-1982) ................................. 3 2. From Mt Egmont, c.1919/20 ............................................... 56 3. Rabat (Capital of French Morocco), Tailor Boys, c.1924 ............... 62 4. Holy Week, Penitente Procession Traversing Street in Seville, 1924 ........................................... 63 5. Fish Stall on the Pier, California, 1921 .................................... .. 65 6. Taormina, Sicily, c.1922 ..................................................... 66 7. 'On Golf Links above Menaggio, April 9th '23; Mrs Seager and Cora [Wilding]' ............................................. 72 8. Mount Egmont 1936, 1936 .................................................. 83 9. Cora Wilding with Franz Tosef, 1929 ...................................... 84 10. Inaugural meeting of the Sunlight League ................................. 108 11. 'To-Day's Garden Party' .................................................... 120 12. Leysin, Switzerland c.1928 .................................................. 125 Abstract Abstract This thesis situates Cora Wilding and the Sunlight League of New Zealand within a contextual matrix of influences, including the ideology of aesthetics; the New Zealand art scene; burgeoning New Zealand nationalism, Imperialist colonial identity; 'fIrst wave feminism' , and the Health Camp Movement. In so doing it attempts to create a construction of identities for both the Sunlight League and Cora Wilding which leaves their agency intact. Rather than viewing these historical subjects as manifestations of a Eugenics Movement in New Zealand, as other works have done, this work goes deeper into the relevant historical contexts to show the work of both Cora and the League to be representative of a much wider hybridity of influences. The Sunlight League, while being portrayed as a Christchurch health organisation, is also understood in this work to have been a loosely bound feminist body that ran health camps which engaged not only in the New Zealand Health Camp Movement, but also in identity construction for young girls. Similarly the ultimate interpretation offered of Cora Wilding reflects multiple contextual influences, in that she is presented as an aesthete and an artist, a health activist and a feminist. Acknowled8ements 2 Admowledgements I would like to acknowledge some of the introductions which took place for this thesis to happen. I would like to thank Philippa Mein Smith for introducing me to Cora Wilding as an historical subject; Pamela Gerrish Nunn for introducing me to the works of Vernon Lee; Johanna Hermanns for introducing me to myself, and Katie Pickles for introducing me to the field of feminist history. Further thanks need to be extended to my family - especially my generous maiden aunt who bought me a computer; to 88.4 Pulzarfm for providing the soundtrack to my studies; to Philippa Mein Smith for loaning me the New Zealand New Health magazines and providing a reference for the term 'solid sunshine'; to both Philippa and Katie for being the most supportive of supervisors; to Imagelab of Christchurch for providing the scanning of the visuals used; to Denis Rainforth, collections and building manager at the Sarjeant Gallery; to Derene Flood at the Y. H. A. N. Z. National Office, Christchurch; to the unhelpful government staff who led to my first choice of thesis topic being unable to be done which in tum led to this my second and far better choice of thesis topic being undertaken; to the territorial art historians who inadvertently encouraged me to be rigorous in my handling of art historical matters; to a philosophy department which offered such a negative learning environment that I had no choice but to jump ship in favour of history, and to all the feminists who unbeknownst to them, slowly chipped away at my traditionalist foundations leaving me in ideological turmoil with no choice but to abandon my potential career as an artist, in favour of one as a potential historian. With hindsight, I offer the sincerest of thanks to you all. Foreword: Cora Wilding 1888-1982 3 Foreword: Cora Wilding (1888-1982) (Fig. 1) Cora Hilda Blanche Wilding (1888-1982). 'Cora Wilding (Canterbury Public Library, New Zealand Collection)', P. Sargison, Notable Women in New Zealand Health: Te Hauora ki Aotearoa : Qna Wahine Rongonui, Auckland, 1993, p.49. Cora Hilda Blanche Wilding (fig. 1) was born to Julia and Frederick Wilding in Christchurch, New Zealand, on 15 November 1888. Frederick Wilding, a barrister by profession, was an accomplished sportsman who played cricket with great success while his wife, formerly Julia Anthony, was a pianist and had been involved with the British suffrage campaign before the pair moved to New Zealand in 1879. Cora was the youngest of five children. Her eldest Foreword: Cora WildinB 1888-1982 4 brother Anthony (1883-1915) was a New Zealand representative tennis player and was later killed in action during World War One. Cora had an older sister Gladys (1881-1905) and two other brothers, Frank (1886-?) and Edwyn (1897-?). Cora was educated at Christchurch Girls' High School (1901-2) and then at Nelson College for Girls (1903-4). In 1907 she enrolled at the Canterbury College School of Art and in 1912 she travelled to Europe for two years to continue her artistic education. During World War One Cora became one of New Zealand's fIrst qualified physiotherapists in 1917. For four years from 1921 Cora again travelled abroad to paint and on her return was one of the founding members of the Christchurch 'Group' - a breakaway group of young artists. A further trip was taken to Europe in 1928 to study heliotherapy techniques for children and after this trip Cora formed the Sunlight League of New Zealand in 1931. The Sunlight League ran children's health camps and was the motivational force behind the Youth Hostels Association becoming established in New Zealand (Y. H. A. N. Z.). The Sunlight League eventually ceased to exist in the early 1950s but left behind a legacy in the Glenelg Health Camp which had formerly been under its care and the Y.H.A.N.Z .. In 1951 Cora moved to Kaikoura and in 1952 was awarded an MBE. From Kaikoura she continued to work for humanity, becoming more closely involved with women's organisations and promoting art as a means to world peace. She established the Kaikoura Art Group in 1955 and also organised children's art competitions between Japan and New Zealand. A retrospective of Cora's paintings was held at the Canterbury Society of Arts in 1971, the proceeds going to Te Wai Pounamu Girls' College. Cora also actively opposed the Vietnam War and rugby tours to South Mrica. Cora died in Kaikoura on 8 October 1982, aged 93. Boundaries / Borders / Skins s Introduction: Boundaries / Borders / Skins How the practical man loves to divide mankind into two classes - the practical person and the idealist! But are we so sure that we have here a perfect dichotomy? Can the practical stand alone and unsupported by the ideal? May it be that Shelley was correct when he said, "Poets are the unacknowledged legislators of the world"? L. F. deBerry MA.l Ideologies exist as bounded forms of knowledge and these forms of knowledge rely on concepts of inclusion and exclusion to substantiate their existences. In a way these knowledges exist only because they can draw a line in the sand which says 'here, and no further'. Borders, boundaries and skins are all symbols of this line drawn in the sand, a line which exists as an ideological wall, but often as not, an illusory and fallacious wall arbitrarily placed to re-inforce dominant ideologies and to undermine those that wish to supercede them. Boundaries/borders/ skins are spoken of as if they were in fact irrevocable truths and irreconcilable barriers but they can be seen to be, rather than limits of ideologies constructed by way of a centre and a periphery, spaces of fluidity where subj ects interact and transmutation takes place. This applies equally to all forms of knowledge, from the divide between science and art, to the ideological break symbolised in the
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