A Filtered Modernism

Looking back through twentieth-century New Zealand art history to a time when England was fondly referred to as ‘the mother country’, the pull to the United Kingdom for aspiring artists from the colonies was strong—embracing the cultural milieu only cities like London, Paris or Rome could offer.

Exciting study opportunities, first-hand access to art history and major artworks awaited. At a time when long-distance travel was by sea, many artists spent extended periods away, some becoming expatriates, while others returned. Embracing modern ideas and new theories often coincided with periods of experimentation and major breakthroughs, and for those artists returning home to teach, a willingness to share.

This was the case for Christchurch-born painter Paul Olds (1922–1976) who left for the UK in 1951 and remained in Europe for almost a decade. Initially studying at Canterbury College School of Art during World War II (1939–43), he taught at several secondary schools in Christchurch before being awarded the first National Art Gallery Travelling Scholarship in Art, offering three years study overseas. Setting sail for London, Olds based himself at the Royal College of Art from 1951 to 1954 where he studied painting and architecture before moving on to the British School in Rome. English-born Robert Ellis (b.1929) studied at The flow of New Zealand artists back and forth between hemispheres during the 1950s, and the interconnectedness of Wellington’s burgeoning art scene, are captured in John Drawbridge’s recollection: ‘We passed each other on the Pacific in 1957 when I was on my way to London and Paul was returning to New Zealand to teach in the job I had left as Art Lecturer, at Wellington Teachers Training College.’ Olds’ highly accomplished plein-air realism underwent radical transformation in Europe. Feeding off bustling urban environments—street scenes, architecture and people—Olds’ imagery embraced the vibrant atmosphere and optimism of post-war Europe. The year after he returned home, in February 1958, a solo exhibition of his work was held at the prestigious Redfern Gallery in Cork Street, London, alongside noted English abstract painter Patrick Heron (1920–1999). reported, ‘Mr. Paul Olds, downstairs at the same gallery, shows some pretty and stylish views of Paris and Rome.’ Occurring off-shore, and arguably the highpoint of his career, it is sad that Olds did not experience the exhibition firsthand. Among the 25 paintings and six drawings shown, the titles, apart from a few portraits, identify specific locations in France and Italy, rather than England: noted sites such as Notre-Dame and Sacré-Coeur featured, and a work titled , painted in Rome, was included. The whereabouts of almost all the works shown remain unknown. However, one work included in the exhibition, (c.1956), and now in a private collection in Auckland, gives insight into Olds’ development at the time. Characterised by flowing lines and softened edges, two figures are seen out walking; the woman leans away from the man, her exposed shoulders and averted glance highly suggestive. The scene is washed in subtle, heightened colour. Former student Sara Tun Pascoe remembers Olds encouraging students to record ‘planes of light’ which seems appropriate in relation to this work. At this point Olds’ approach references romanticism, overly decorative at times, but with the fluidity of Raoul Dufy. Pictorial space is partially condensed in this atmospheric painting and one senses the beginnings of Olds’ own unique form of lyrical abstraction—a filtered modernism—only fully realised the following decade.