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Changing Attitudes and Perceptions of Artists Towards the New Zealand

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Changing Attitudes and Perceptions of Artists Towards the New Zealand University ofCanterbury Dept. of Geography HA� LIBRARY CH&ISTCHUIICH, � University of Canterbury CHANGING ATTITUDES AND PERCEPTIONS OF ARTISTS TOW ARDS THE NEW ZEALAND MOUNTAIN LANDSCAPE by Katrina Jane Askew A thesis submitted in partial fulfilment of the requirements for the degree of Master of Arts m Geography Christchurch, New Zealand February 1995 "I go to the mountains, to get High" Anonymous Abstract The purpose of this study is to explore the changing attitudes and perceptions of artists and settlers towards the New Zealand mountain landscape from the period of colonisation to 1950. When European colonists first anived in New Zealand, they brought with them old world values that shaped their attitudes to nature and thus the mountains of this country. Tracing the development of mountain topophilia in landscape painting, highlighted that the perceptions settlers adopted on arrival differed greatly from those of their homeland. In effect, the love of European mountain scenery was not transposed onto their new environment. It was not until the 1880s that a more sympathetic outlook towards mountains developed. This led to the greater depiction of mountains and their eventual adoption into New Zealanders identification with the land. An analysis of paintings housed in the Art Galleries of the South Island provided evidence that this eventually led to the development of a collective consciousness as to the ideal mountain landscape. ll Acknowledgements The production of this thesis would not have been possible but for the assistance of a great number of people. The first person I must thank is Dr. Peter Perry who supervised this research. Peter provided invaluable direction in what is a relatively new area of geography. The limitations you didn't set, were my greatest blessing. Thank you Peter. My gratitude is also extended to Austin Davis of the Suter Art Gallery, Anna Cryton and Neil Roberts of the McDougall Art Gallery and Oliver Stead of the Dunedin Public Art Gallery. The time spent in your galleries was the treat of a lifetime. I thank you for allowing me free access to your treasures and making your time available to me. I would also like to extend my appreciation to the various members of each faculty I visited in my quest for Knowledge. To W. E., Shepard, Professor of Religious Studies, I am sorry our theological discussion was so one sided, but when you think the New Testament is just an updated version of the Old, the chances of dazzling are pretty low. Still I thank you for setting me straight and not laughing too hard. My parents as usual were a wealth of support, financially and emotionally. Mum you nearly drove me crazy with your nagging, but I guess the fact I handed my thesis in on time is a testimonial to your love and devotion. Keep the faith sister, I do appreciate it. Dad, well as usual you were the grump behind the scenes, pretending to grudge your time, but always giving it when necessary. You can't fool me, I know you actually like me. To my fellow musketeers: Gendie, Nik and Mark. Your continued disregard for the fact I was supposed to be in Christchurch to write a thesis, was probably the one factor that kept me sane for the majority of the year. Thank's dudes, may Monday night pool and Friday night boogie' s at Bardellie's never end. Gendie my pool partner, I'd like to give you a special thank you for always being there when I needed you, you're number one. My final thank you goes out to Natalie Baird, my confidant, guidance counsellor, friend and one true believer. Cheers Kate lll Contents Abstract Acknowledgements ll Contents lll List of Figures Vl List of Tables Vlll Chapter One. Introduction 1 1.1 Background 1 1.2 Research Objectives 2 1.3 Research in Context 3 1.4 Thesis Format 6 Chapter Two. Aesthetic Theories of Landscape 8 Preference 2.1 Introduction 8 2.2 Biological Bases for Aesthetics 8 2.2.1 Habitat Theory 9 2.2.2 Prospect Refuge Theory 10 2.3 Cultural Bases for Aesthetics 11 2.3.1 Cultural Stability-Identity Theory 12 2.4 Personal Bases for Aesthetics 13 Chapter Three. Historic Attitudes towards Mountains 15 3.1 Introduction 15 3.2 Prehistoric Traditions 16 3.3 Western Traditions 17 3.3.1 The Biblical Period 17 3.3.2 The Classical Period 18 - The Greeks - The Romans 3.3.3 The Medieval Period 19 lV 3.3.4 The Renaissance Period 20 3.3.5 The Seventeenth Century 21 3.3.6 The Eighteenth Century 22 3.3.7 The Nineteenth Century 23 Chapter Four. The Reception Colonists Gave to the 24 Mountains of New Zealand 4.1 The Naming of New Zealand's Mountains 24 4.1.1 Maori Mountain Names 24 4.1.2 European Mountain Names 27 4.2 Ocean Explorers 29 4.3 Emigration 33 4.4 Consolidation and Exploration 40 4.5 National Identity and Art 47 Chapter Five. Mount Taranaki: Images of a Mountain 52 5.1 Introduction 52 5.2 Emigration 53 5 .2.1 Charles Heaphy 53 5 .2.2 William Fox 54 5.3 Consolidation 58 5.3.1 William Strutt 58 5.3.2 John Gully 59 5.4 National Identity 60 5 .4 .1 Christopher Perkins 61 Chapter Six. Perception Study 63 6.1 Introduction 63 6.2 Methodology 64 6.3 Analysis of Results 65 6.4 Conclusion 71 V Chapter Seven. Conclusions 72 7.1 Introduction 72 7.2 Summary of Main Findings 72 7.2.1 When and how were New Zealand mountains identified? 72 7 .2.2 Have New Zealand's mountains always been viewed positively or have our collective ideals about what is beautiful naturewise changed overtime? If so what factors caused that change? 73 7.2.3 Why are New Zealand's mountains significant? 74 7.2.4 Were New Zealand's mountains ever commodified? 74 7 .2.5 Why do New Zealander's like some mountains more than others? 74 7 .2.6 Do New Zealander' s have a collective image of an ideal mountain Landscape? 75 7.3 Recommendations for Further Research 76 References 77 Appendices A. Mountains of New Zealand 84 B. Classification System Framework 85 C. Nelson, Results Collected from the Suter Art Gallery 86 D. Christchurch, Results Collected from the Robert McDougall Art Gallery 87 E. Dunedin, Results Collected fromthe Dunedin Public ArtGallery 88 F. Analysis of Contemporary Post Cards by Bob Beresford 89 G. Spatial Distribution of Mountains Depicted in Paintings housed at the three South Island Art Galleries. 90 Vl List of Figures Number Title Page 2.1 John Gibb, Clearing up after rain, fo ot of the Otira Gorge, 1891. 10 4.1 Coastal Profiles fromAble Tasman's Journal. 29 4.2 Claude Lorrain, Sunrise, 1647-48. 30 4.3 William Hodges, The Entrance of DuskyBay, 1773. 31 4.4 James Cook, A View of Snowy Mountains, 1770. 32 4.5 Charles Heaphy, Coastal Profiles fr om Mt. Egmont to Queen Charlotte Sound, 1842. 32 4.6 William Fox, Allington in the Waimea Plains, Nelson, 1840's. 34 4.7 William Fox, Port Lyttelton, Passengers by the Cressy Landing, 1851. Etched Tom Allen. 35 4.8 William Fox, On the Grass Plains below Lake Arthur, 1846. 36 4.9 Charles Heaphy, Mt. Egmont fr om the Southward, 1840. 38 4.10 Eugene von Guerard, Milford Sound, New Zealand, 1877-79. 41 4.11 Julius von Haast, ThreeSketches. Sources of Godley River, Classen and Godley Glaciers. 42 4.12 John Gully, Sources of the Godley River, Classen and Godley Glaciers, 1864. 42 4.13 John Gully, In the SouthernAlps, 1881. 43 vu List of Figures Number Title Page 4.14 JosephTumer, Ben Arthur, Scotland, 1819. 43 4.15 Petrus Van der Velden, The Otira River, 1893. 44 4.16 John Kinder, Manaia, Whangarei (Watercolour) Manaia, Whangarei (Albumen Print), 1871. 45 4.17 Charles Bloomfield, The White Terrace, 1917. 46 4.18 Cecil Kelly, The Dome, SouthernAlps, 1925. 48 4.19 Colin Lovel-Smith, Craigieburn, 1932. 48 4.20 Rita Angus, Mountains, Cass, 1936. 49 4.21 Colin McCahon, Takaka Night and Day, 1948. 50 4.22 Illustrations from C.A.,Cotton, Geomorphology: An Introduction to the study of Landforms, 1922. 50 5.1 George Baxter, TheRev. J. Waterhouse Super­ intending the Landing of the Missionaries, Rev. Charles and Mrs Creed at Taranaki, New Zealand. 53 5.2 William Fox, New Plymouth, 1849. 55 5.3 Charles Heaphy, View of New Plymouth, 1843. 56 5.4 Henry Warre, Mt Egmontfromthe camp near Stony River, 1862. 57 5.5 George French Angas, Taranaki or Mount Egmont, War Canoe, 1844. 57 5.6 Artist Unknown, Pah, or Fortified Village, of the Natives in the Province of New Plymouth, NZ, 1860. 57 Vlll List of Figures Number TI� P�e 5.7 William Strutt, View of Mt. Egmontfrom New Plymouth, with Maori Driving offSettlers Cattle, 1867. 58 5.8 John Gully, Mount Egmont. 59 5.9 William Fox, Mount Egmont with Train, 1880. 60 5.10 Christopher Perkins, Taranaki, 1931 61 5.11 Artists Unknown, Illustrations fromPacific Parallels Eldredge (1981, p 156). James Berry, Airmail issue Stamp, 1935. 62 List of Tables 4.1 The Reasons Mountain are Named. 28 I Chapter One Introduction 1.1 Background The relationship between humans and mountains is so extensive that it predates the beginnings of recorded history. Globally, mountains constitute around twenty to thirty percent of the world's land mass and are a highly visible part of many people's everyday environment.
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