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	Notes Toward a McCahon ABC
		Colin McCahon is a prophet in our midst, an Old Testament figure who uses the role of the artist to rail against man's inhumanity to man and the landscape and who bares his soul continually in his work in order to teach by example.
		John Caselberg, in his consideration of McCahon's The Shining Cuckoo, 1974, has written eloquently of this event, and of this part of the North Island's west coast, which in Maori tradition, is the pathway of the spirits of the recent dead on their way to Cape Reinga, the leaping-off point to Hawaiki.
		In this smoulderingly beautiful painting McCahon depicts the brooding majesty of the Urewera country and also the inseparable bond between the people and the land which is the very essence of maoritanga and which should be the heritage of all New Zealanders.
	www.art-newzealand.com /Issues1to40/mccahon08nr.htm (1860 words)

	Colin McCahon - Essay
		McCahon was an artist of unique and complex vision in the history of New Zealand, producing a singular brand of modernist painting that sought to make art, even in its most abstract forms, 'capable of philosophy'.
		McCahon's work was grounded in the landscapes of New Zealand and it was the landscape that served predominantly as a vehicle for his propositions regarding the relation of the individual to physical and metaphysical worlds.
		McCahon's One and A Letter to Hebrews (Rain in Northland) are brought into dialogue here with two works by Rosalie Gascoigne, a pairing that pays homage to a larger exhibition in 1990 that examined the conceptual distinctions and inter-sections between each artist's vision of the landscape, the reconstruction of language and senses of place.
	www.ngv.vic.gov.au /mccahon/essay.html (2921 words)

	Colin McCahon
		Colin McCahon (1919*1987) is now widely regarded as New Zealand's most important modern painter.
		McCahon is often concerned with fl and white, both of tone and of a symbolical scale between good and evil.
		McCahon was using the typical landforms, to communicate a Christian view of the world: a view in which doubt, sin and guilt play a major part.
	www.geocities.com /rr17bb/colin.html (947 words)

	Colin McCahon - Gate III (1970)
		McCahon viewed the landscape as having spiritual qualities and by the 1940s characteristically represented it laid bare and stripped back to its essential geological elements.
		Having visited the United States in 1958, McCahon was also aware of developments in American art including Abstract Expressionism, and was particularly drawn both to the scale of works by Mark Rothko and others, and to their confident use of bold monochromatic colour.
		Colin McCahon was born in 1919 in Timaru.
	www.vuw.ac.nz /adamartgal/ed/artcollectiontour/mccahon.html (815 words)

	McCahon - The Titirangi Years
		Colin McCahon (1919-87), New Zealand’s greatest painter, has an ever-growing reputation throughout the world.
		The cottage that McCahon and his family lived in at that time has been restored and is open to the public, intermediate and secondary schools and special interest groups.
		The McCahon House residency aims to give artists the opportunity to develop their work through a supportive programme while living in the environment that impacted so profoundly on the work of Colin McCahon.
	www.mccahonhouse.org.nz (141 words)

	Art Gallery of New South Wales: Colin McCahon: A Question of Faith
		Colin McCahon (Timaru 1919 - Auckland 1987, New Zealand) is the most extraordinary artist in the Southern Hemisphere and certainly the most ambitious and radical of his time.
		Central to McCahon's oeuvre is the investigation of the true nature of faith and his own spiritual experience and development.
		The authors of the catalogue are William McCahon, the artist's son; Dr Marja Bloem, curator of the exhibition and Senior Curator at the Stedelijke Museum; Murray Bail; and Francis Pound.
	www.artgallery.nsw.gov.au /media/archives_2003/colin_mccahon (612 words)

	Colin McCahon - A Question of Faith
		Encompassing the entirety of McCahon's working life (the artist was born in 1919 and died in 1987), the exhibition covers the changes in his work as his style matured.
		McCahon says he took the step of including text at the expense of figuration because his intentions were being misunderstood.
		Again demonstrating McCahon's use of everyday circumstances and surroundings for inspiration, the apparent origins of the angel motif as used here was quadraphonic loudspeakers in the injured friend's bedroom - alluded to by the inscription "Hi-Fi" on Angels and Bed numbers 4 and 8.
	www.theblurb.com.au /Issue35/McCahon.htm (668 words)

	McCahon - French Bay House - About the House
		From 1953 Colin McCahon, his wife Anne and their four children William, Victoria, Catherine and Matthew, lived in a small house at 67 Otitori Bay Road, Titirangi, until they moved to Partridge Street, Arch Hill in 1960.
		McCahon made many alterations to the house in the years that the family lived there; some further changes were made after the McCahons left; but to a surprising extent the house has been preserved much as it was in 1960.
		The McCahon House is open to special interest groups and secondary schools for guided tours of the house.
	www.mccahonhouse.org.nz /house/default.asp (333 words)

	What's On In Wellington: Colin McCahon: A question of faith (Site not responding. Last check: 2007-10-17)
		Colin McCahon: A Question of Faith is a major survey exhibition of McCahon's work, and the largest touring exhibition ever of New Zealand's most important 20th century painter.
		Colin McCahon: A Question of Faith is a survey exhibition illustrating the development of McCahon's work from 1946 to the beginning of the 1980s.
		Colin McCahon: A Question of Faith is curated and organised by the Stedelijk Museum Amsterdam (SMA) with the organisational support of the Auckland Art Gallery Toi o Tamaki, New Zealand (AAG).
	whatson.wellington.net.nz /event.php?event=2128 (639 words)

	TIME Pacific \| Soul Mining \| February 19, 2001 \| NO. 7
		In The Promised Land, 1948, Colin McCahon paints himself as a serious young artist receiving instruction from the heavens, with the rolling Otago hills east of Dunedin as his vision splendid.
		How to spiritually inhabit the land was McCahon's abiding theme, and his epic Northland Panels now housed in Wellington's Te Papa Tongarewa Museum of New Zealand, with their alternate notes of hope and despair, is his song of the earth.
		In 1999, 27 McCahons traveled to the Museum Fridericianum in Kassel, Germany, as the flagship of "TOI TOI TOI: Three Generations of Artists from New Zealand," while a major retrospective of the artist is planned for Amsterdam's Stedelijk Museum of Modern Art later this year.
	www.time.com /time/pacific/magazine/20010219/mccahon.html (853 words)

	Ferner Galleries \| Colin McCahon (Site not responding. Last check: 2007-10-17)
		Born in 1919 Colin McCahon is now regarded as one of New Zealand's greatest painters.
		Born in Timaru, McCahon was largely self taught, although he studied with Russell Clark in Christchurch from 1933 - 35 and at the Dunedin Technical College from 1937 - 39.
		McCahon did several major series based in and around this part of Auckland including the cubist-inspired Kauri series completed while he was living in Titirangi.
	www.ferner.co.nz /default,446.sm (397 words)

	NZEPC - Mark Young - Colin McCahon
		Yet to McCahon this can be the Promised Land although his vision of it is entirely different to that which suffers Ferlinghetti’s cynicism.
		McCahon has shown the fallacy of popular thought by laying bare the land in all its actual and terrifying immensity by exposing the external menaces and pressures that erase all pretence of isolation; and yet, though he has removed our supposed Utopia, he was awakened us to the promise that our land holds.
		The gap between the vision and the realisation of it is as large as the land, but the land, although at times and in places a landscape with too few lovers or where God, it is all dark.
	www.nzepc.auckland.ac.nz /authors/young/mccahon.asp (793 words)

	Colin McCahon - A Time for Messages
		The career of the Aotearoa/New Zealand artist Colin McCahon (1919-87) spanned four decades and he is internationally acclaimed as one of the most inventive and visionary artists of the twentieth century.
		McCahon’s painting has been profoundly influential on the art and critical thinking of New Zealand and Australian artists.
		Colin McCahon – A time for messages has been organised to celebrate the Gallery’s recent acquisition of Colin McCahon’s One (1965), a significant early painting that has been a collection priority for several years.
	www.ngv.vic.gov.au /mccahon (341 words)

	Titanic struggle with faith - www.smh.com.au
		McCahon's work was never a window on to the world, in the sense that landscape art often is; it was a discussion about good and evil, right and wrong, how to live one's life in the face of God, and how to face one's life if there might be no god.
		McCahon died at the age of 68 of dementia.
		McCahon's monumental art, she believes, belongs to the world; it is time he left the provinces.
	www.smh.com.au /articles/2003/11/13/1068674315384.html (1136 words)

	Colin McCahon (Site not responding. Last check: 2007-10-17)
		In 1958 Colin McCahon was recognised as one of the leading painters of his generation by the Auckland City Art Gallery when the McCahon: Woollaston Retrospective exhibition was shown.
		In his introduction to the catalogue of this exhibition, John Caselberg confirmed that Colin McCahon's paintings were based on a profound study of western art, an acute visual perceptiveness comparable only with the musician's sense of perfect pitch, and many years of unremitting labour, painting, testing, rejecting, learning and continually progressing.
		The entire section of texts on Colin McCahon has been compiled by Gordon H. Brown as contributing editor to this issue.
	www.art-newzealand.com /Issues1to40/mccahon08.htm (233 words)

	Art In The City - Mystic Landscapes/Colin McCahon (Site not responding. Last check: 2007-10-17)
		Colin McCahon is an important figure in New Zealand art.
		McCahonÌs early work is Regional Realist, with one big difference: he places biblical events directly into the landscape, showing Jesus being crucified in the Nelson hills, or the Mary's visiting the empty tomb of Jesus, or angels appearing with visions in the midst of farm sheds.
		In these later paintings, McCahon creates a mystic landscape that is Abstract, leaving behind the surface appearance of the environment.
	www.lopdell.org.nz /Online/aic/mcahon.htm (303 words)

	Colin Mccahon ( - ) Artwork Images, Exhibitions, Reviews
		The NGV holds a major six panel work on paper produced in 1979 by McCahon, and the acquisition of an important early work by McCahon has been a collection priority of the NGV for several years.
		The selection shows how McCahon sought to give visual representation to these existential issues of the human condition by using and modernising the Western Judeo-Christian artistic tradition.The exhibition, which is free to the public, feature...
		Colin McCahon can be called the Van Gogh of Australasia.
	wwar.com /masters/m/mccahon-colin.html (894 words)

	Onfilm magazine: Light falls through a dark landscape
		McCahon started by literally putting religious figures into the NZ landscape and he gradually evolved his own language of dark and light forms to explore the never-ending question of faith.
		McCahon's Jump series are a kind of personal touchstone for me - they are inspired by the young gannets which have to make their first flight from the sanctity of their island.
		McCahon certainly casts a long shadow, has been controversial, and is NZ's biggest hitter in terms of multi-million-dollar price tags.
	www.onfilm.co.nz /editable/ColinMcCahon.html (4279 words)

	A filter of faith - www.smh.com.au
		The highs and lows of Colin McCahon's "heroically troubled" life are reflected in his canvases of divine inspiration, writes Peter Hill.
		McCahon was born in 1918 and grew up in Dunedin, where he went to art school.
		McCahon grew up at a time when biblical graffiti was often scrawled across the walls and outhouses of the New Zealand landscape.
	www.smh.com.au /articles/2003/11/14/1068674365452.html (1140 words)

	Colin McCahon: A Question of Faith - Stedelijk Museum - Absolutearts.com
		McCahon's interest in the nature of Christian spirituality extended to the question of how the Maori in New Zealand had responded to their 'conversion' in the 19th century and how this conversion had led to their own hybrid form of Christianity.
		In 1966 McCahon found a theme that fitted precisely with his concept of this journey: the Stations of the Cross.
		What at first sight would seem to be the naive work of a religious believer from a distant corner of the world is revealed to be the explorations of a doubter whose questions and concerns have a much wider significance and add a dimension to our view of postwar modernism.
	www.absolutearts.com /artsnews/2002/08/30/30246.html (748 words)

	Towards Auckland; Colin McCahon the Gallery Years
		Curator Hamish Keith, McCahon's colleague at the Gallery from 1958, reveals that they were critical years for the painter both professionally and artistically.
		Colin McCahon (1919-1987) is widely acknowledged as one of New Zealand's most exceptional 20th century artists.
		Not only was McCahon a remarkable painter, but the critical thought and philosophical enquiry of his works carry great weight, continuing to resonate with viewers today.
	www.aucklandartgallery.govt.nz /exhibitions/0608towardsauckland.asp (664 words)

	Gow Langsford Gallery - B2, 1973
		In October 1972 McCahon’s friend, poet James K. Baxter, passed away, which was a significant loss for McCahon and “much of (his) activity during the first half of 1973 was occupied memorialising Baxter.
		McCahon encourages the viewer to meditate upon the simplicity of the landscape, reducing it to its fundamental ingredients - the fl iron sand and sea mist.
		By condensing the Muriwai environment to its essentials McCahon creates a visual dynamic that is reminiscent of Abstract Expressionists and Colour Field painters such as Barnett Newman and Mark Rothko.
	www.gowlangsfordgallery.co.nz /featured/mccahon (498 words)

	Spreading the word: Colin McCahon: Thomas Crow talks with Maria Bloem - curator Maria Bloem discusses the Colin McCahon ...
		With the exception of McCahon's, all of these exhibition projects were operating within a relatively narrow margin of possible discoveries and potentially fresh interpretations.
		Not that McCahon did a great deal to aid his own cause--though one doubts that he would have recognized international self-promotion as a cause worthy of his commitment.
		It's a time-honored avant-garde script, but McCahon lived it: When he painted Six days in Nelson and Canterbury, 1950, he had just journeyed several hundred miles on a bicycle looking for seasonal work in the fields; his first job at the Auckland City Art Gallery was as a janitor.
	www.findarticles.com /p/articles/mi_m0268/is_1_42/ai_108691803 (770 words)

	Colin McCahon - Wikipedia, the free encyclopedia
		Colin John McCahon (1919 - 1987) was a prominent New Zealand artist.
		Some of McCahon's best-known works are wall-sized paintings with a dark background, overlaid with religious words in stark white, and wildly varying in size, for example, "Tomorrow will be the same but not as this is", 1958/59.
		He was also an extensive landscape painter, inspired in part by the writings of New Zealand geologist Sir Charles A. Cotton.
	en.wikipedia.org /wiki/Colin_McCahon (177 words)

	Scoop: McCahon French Bay House Ready for Launching
		McCahon, who was in his mid-thirties when he moved to Auckland, had previously painted in various parts of the South Island, with an emphasis on landscape and biblical narrative paintings; the very different social and physical environment he encountered in Auckland led to big changes in his practice.
		While far from being an architectural masterpiece, the McCahon House is a highly typical piece of vernacular building of the period, and also an indication of the simplicity and inconvenience of life-style experienced by the artist and his family in that era.
		Colin McCahon was a great teacher even before he took a position at Elam School of Art and the Trust felt that an appropriate way of honouring him was to provide a residency from which other artists could benefit.
	www.scoop.co.nz /stories/CU0606/S00142.htm (1980 words)

	Colin McCahon -- On discovering one's creative vision (Site not responding. Last check: 2007-10-17)
		Colin McCahon -- On discovering one's creative vision
		Driving one day with the family over the hills from the Taieri Mouth to the Taieri Plain, I first became aware of my own particular God...
		Colin McCahon, artist's statement in Colin McCahon: Gates and Journeys, Auckland City Art Gallery, New Zealand, 1988, p.
	www2.bc.edu /~anderso/sr/mccahon.html (134 words)

	Sunday Morning - 13/07/2003: Colin McCahon: A Question of Faith
		The visionary painter Colin McCahon, born in Timaru in 1919, is now regarded as New Zealand’s first painter of international significance, spoken of in the same breath as the abstract expressionists Jackson Pollock and Edvard Munch.
		The New Zealand landscape and religion are the constant forces in all of McCahon’s output from the accessible early biblical scenes of the 1940’s when he was a believer, to the fl and white canvases of doubt and despair in the 1980s.
		This month at the National Gallery of Victoria nearly 80 of McCahon’s works are on show in a major retrospective of the painter: Colin McCahon — A Question of Faith.
	www.abc.net.au /rn/arts/sunmorn/stories/s899379.htm (178 words)

	Celestial Phenomena : Colin McCahon (Site not responding. Last check: 2007-10-17)
		Colin McCahon favored the works of the German and Italian artists of this period, uplifting their emblems and symbols to use in works that focused on Passion cycle themes using figurative and abstract modes.
		In his later abstract paintings McCahon used the combination of symbol and motto accompanied by an explanatory note as in the Baroque teaching aids of the seventeenth century.
		This paper will examine a selection of works by McCahon that use stars, comets, meteorite and lightning strikes as metaphors for spiritual insight, as portents of death and to mark important events in his life.
	www.astropa.unipa.it /INSAPIII/Abstracts/WhiteJ.htm (229 words)

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