173:(NZSA). All members of The Group at the time were tempted by the larger scale of NZSA, hence their decisions of leaving Group to join NZSA. However, members of The Group who left to join NZSA then withdrew their membership with NZSA as they were displeased with having to submit their artworks to bigger group. The Group later on organised its largest-ever exhibition in 1935 with the contribution of fourteen artists, including Rata Lovell-Smith and Louise Henderson, two major contributors to the Canterbury landscape painting style.
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was the informal headquarters and regular meeting spot of The Group. His art expression and style revolutionised the art scene of
Christchurch as a result of his membership – free of influence from traditional methods that were taught in art school. Bensemann style focused on portraitures and graphic
176:
Despite the attempt to create a more balanced atmosphere, The Group had experienced some internal conflicts as some members attempted to turn Group into a weapon against its competitors while some other members wanted to limit the number of memberships available instead of expanding by branching out.
168:
From its founded year until 1933, it frequently held annual shows in later time of the year in the Durham Street gallery to distinguish from CSA’s annual shows. The Group continuously organised independent shows until it temporarily terminated its exhibition in 1933 or 1934 after the formation of the
203:
joined The Group in 1932. During her membership, she contributed fifteen works to the 1938 show. Angus has been a well-known name within the contemporary art scene of New
Zealand, hence her membership boosted the reputation of The Group. She also introduced some artists such as Bensemann to become a
258:
The Group received positive responses from the critics during its time being under review. They mainly spoke highly of The Group on its unique way of art exhibiting, which differentiates itself from other existing art institutions. However, there are opinions saying that Group’s lack of distinctive
249:
Throughout its operating period, The Group had organised its annual exhibition at the Durham Street
Gallery, except for in 1933 and 1934 due to its temporary fall-out caused by the formation of NZSA. Many of Group's exhibitions displayed landscape and portraiture artworks as they were the dominated
210:
was a mainly self-taught artist as he, the son of a German blacksmith, grew up in an underprivileged rural environment. He withdrew his membership with CSA, where his works were exhibited during 1935 to 1938, to join The Group in 1938 after moving to
Christchurch to pursue his with his membership
262:
Though being a competitor with The Group, James
Shelley, NZSA’s first president, spoke highly of The Group as he admired their self-management and the freedom it gave its artists to fully express themselves via their artworks. He delivered opening speeches at Group’s 1929 and 1932 exhibitions.
185:
Unlike showcased artworks at exhibitions held by other art groups in New
Zealand at the time, which were usually chosen by those group’s committees, artworks displayed at exhibitions of The Group were curated by artists who had their works displayed at the upcoming exhibition.
165:(CSA) for review and curation before getting approved before selected artworks getting selected to be displayed at exhibitions. The CSA was a large art exhibiting institution at the time with surging membership and high sales.
240:
was born in
England. She graduated Canterbury College School of Art and started having her works showed with The Group from 1936. Preferred medium was using watercolour to depict landscape and figure subjects.
227:
became member of The Group in 1936. His style was similar to
Bensemann’s in free and radical mindsets as they shared the same mentor. Wollaston shared the same apartment with Angus and Bensemann for some time.
197:
During its time, The Group had some notable names within New
Zealand’s contemporary art scene joined as its members. Members of The Group were dominated by female artists except in 1932.
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89:. The influence of The Group extended into other areas of New Zealand culture through the collaborations and friendship of members such as the likes of writer and editor
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Though the operation was unconventional during its time, members of The Group respected their traditional and conservative education they received in art school.
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to challenge conventional and conservative standards of art by showcasing their artistic works free of influence and administration from a larger body. They were
234:
was a regular contributor to CSA in the 1920s until she left the institution for The Group. Her style mainly depicts landscape with poster-like colour palettes.
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The Group : a thesis submitted in partial fulfilment of the requirements for the degree of Master of Arts in Art
History in the University of Canterbury
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161:, William H. Montgomery, and Billy Baverstock. Prior to the formation of The Group, artists were to submit their artworks to larger bodies such as
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Cooke, Elizabeth Louise C'Ailceta. "The Group 1927–1977: An Annotated Bibliography" Wellington: Victoria University of Wellington, n.d.
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42:. The Group exhibited annually for 50 years, from 1927 to 1977, and it was continuously at the forefront of New Zealand art's
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Many of the country's best-known artists were associated at some time with The Group. Among these are
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media, distinguishing himself from most The Group’s artists whose predominated subject is landscape.
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309:"15. – Canterbury region – Te Ara Encyclopedia of New Zealand"
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The Group was formed in 1927 by seven young graduates of
457:. Auckland: Auckland University Press. pp. 71–103.
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Coming from rather similar background with Bensemann,
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People associated with the Canterbury Society of Arts
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Bloomsbury South: The Arts in Christchurch 1933–1953
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The studio: international journal of modern art 135
481:Roland Hipkins. “Contemporary art in New Zealand.”
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215:. The shared house of Bensemann, Rita Angus, and
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341:Nzportraitgallery.org.nz
283:(1986, Craftsman House)
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469:"Bensemann, Leo Vernon"
453:Simpson, Peter (2016).
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489:(April 1948): 103–120.
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204:member of The Group.
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593:Olivia Spencer Bower
274:The Group: 1927–1977
238:Olivia Spencer Bower
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211:being proposed by
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83:Quentin Macfarlane
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673:Rata Lovell-Smith
618:Rosemary Campbell
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546:The Group artists
232:Rata Lovell-Smith
141:(later Frankel),
139:Margaret Anderson
75:Rata Lovell-Smith
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888:Related articles
877:Northland Panels
738:Kathleen Salmond
683:Molly Macalister
658:Louise Henderson
653:Suzanne Goldberg
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628:Philip Clairmont
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703:Lois McIvor
668:Olive Jones
598:Helen Brown
573:Nola Barron
245:Exhibitions
159:Ngaio Marsh
44:avant-garde
32:New Zealand
925:Categories
824:John Coley
773:Edith Wall
678:Doris Lusk
563:Rita Angus
318:7 February
295:References
213:Rita Angus
201:Rita Angus
155:Edith Wall
121:Rita Angus
99:Bloomsbury
63:Rita Angus
55:Doris Lusk
26:formed in
880:(McCahon)
872:(McCahon)
539:The Group
388:cite book
380:233699673
20:The Group
853:Artworks
427:13 March
346:18 March
101:South".
864:(Angus)
487:no. 661
193:Members
105:History
46:scene.
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181:Theme
861:Cass
429:2023
394:link
376:OCLC
348:2019
320:2016
285:ISBN
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