A new book details the life and work of Whanganui painter Edith Collier.
A Whanganui painter considered a radical of her time can now take “her rightful place in the story of New Zealand art history”, according to one of the editors of a new book.
Edith Collier was born and raised in Whanganui before travelling to the United Kingdom at the age of 27 to study art at London’s St John’s Wood School of Art.
She returned eight years later with modern European ideas of art and modernism which, in her home country, “no one had the vocabulary to deal with”, Sarjeant Gallery curator of collections Jennifer Taylor said.
“The critics were just awful to her.”
The story of her life and art has been captured in a book, Edith Collier: Early New Zealand Modernist, which was released on Thursday.
The book - edited by author and art historian Jill Trevelyan, Sarjeant curator and programmes manager Greg Donson and Taylor - takes readers through Collier’s life featuring short pieces from more than 20 people with a range of perspectives on Collier and her work.
Taylor said Collier was a woman who did not necessarily follow the conventions of the time.
“To be a successful woman artist, you had to forgo everything else and just focus on that ... and I don’t think she was prepared to do that because she really loved her family and had a real care for other people.”
Collier remained unmarried and never had children, yet she put aside her career to nurture her 37 nephews and nieces.
“She was everyone’s favourite aunt,” nephew Gordon Collier said.
He said the family was “very, very proud”.
The Edith Collier Trust, which still has several relatives as members, was set up following her death in 1964 to tell her story and ensure her art is appreciated in a way it was not during her life.
“We are able to make sure she has her rightful place in the story of New Zealand art history,” Taylor said.
The book detailed a relatively untold time of Collier’s life when she lived in Kawhia and developed a relationship with the local kuia, Taylor said.
During her time there, she was allowed to paint their portraits, creating historical records and family heirlooms for the local iwi.
The book includes stories from the descendants of those in her Kawhia portraits about what her work means.
Taylor said there were many reasons why scholars believed her work was not recognised during her time, including it being too modern, being a female artist and her humility.
“She was quite averse to self promotion.
“She was given opportunities to sell her work but she preferred not to and instead gave them to family members as wedding gifts.”
Taylor said it was important Collier’s name was known now.
The book has been timed to coincide with the reopening of Te Whare o Rehua Sarjeant Gallery on November 9 and its opening show No Konei, which will feature some other works.
A collection will then be sent to Australia for its first international exhibition.
Edith Collier: Early New Zealand Modernist - a collaboration between the Sarjeant Gallery, Massey University Press and the Edith Collier Trust - is now available at the Sarjeant online gift shop and other book retailers.
Olivia Reid is a multimedia journalist based in Whanganui.