By Peter Simpson
For 20 years in Christchurch, New Zealand, a forged of remarkable women and men remade the humanities. Variously among 1933 and 1953, Christchurch was once the house of Angus and Bensemann and McCahon, Curnow and Glover and Baxter, the gang, the Caxton Press and the Little Theatre, Landfall and day after today, Ngaio Marsh and Douglas Lilburn. It used to be a urban within which painters lived with writers, writers promoted musicians, during which the humanities and artists from various varieties have been deeply intertwined. And it used to be a urban the place artists constructed a robust synthesis of ecu modernist affects and an assertive New Zealand nationalism that gave mid-century New Zealand cultural lifestyles its specific shape.
In this booklet, Simpson tells the notable tale of the increase and fall of this ‘Bloomsbury South’ and the humanities and artists that made it. Simpson brings to existence the person skills and their passions, yet he additionally takes us contained in the scenes that they created jointly: Bethell and her vacationing coterie of more youthful poets; Glover and Bensemann’s exacting typography on the Caxton Press; the annual exhibitions and aesthetic clashes of the gang; McCahon and Baxter’s constructing friendship; the consequences of Brasch’s patronage; Marsh’s Shakespearian re-creations on the Little Theatre. Simpson recreates a Christchurch we have now misplaced, the place a gaggle of artists collaborated to create a distinctively New Zealand paintings which spoke to the situation in their state because it emerged into the fashionable era.
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Bloomsbury South: The Arts in Christchurch 1933–1953 by Peter Simpson