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By Deborah Shepard
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Sample text
Edith had talent and the will to work, but Toss’s original style and vision, and his commanding ego, may have been an obstacle to her capacity to forge a path of her own, especially in her demanding domestic situation. By the late 1940s toss was reviewing his work prospects, hoping to find a job that offered more flexibility and a higher income. In November 1949 he gratefully accepted a new opportunity – a dealership in Rawleigh health and household products in Greymouth. His early letters from Greymouth reveal a fresh optimism, and the hope that he would now be able to provide a better standard of living for his family.
N. ’5 The problem with this exemplar was that such a singular approach to art-making was antithetical to family life and would lead the artist to neglect his family as well as overlook his partner’s creative needs. When Colin began courting Anne, she was initially resistant to his approaches, as though she sensed, instinctively, that a romantic attachment to another painter might sabotage her own career. She might also not have taken him seriously. In 1937, he was merely eighteen years old, while she was already twenty-two and sophisticated.
This was life at its best for a talented young woman painter. Working alongside the others in the studio gave her an opportunity to develop her understanding of modernism. Anne had benefited from a year of instruction by English artist Robert Nettleton Field, who had himself learnt carving from that titan of British sculpture, Henry Moore. From 1925, when he arrived at the Art School in Dunedin, Field worked to bring the institution to the forefront of innovation in art education. His teaching attracted high-calibre students, many of whom went on to become New Zealand’s most important painters; Toss Woollaston and Doris Lusk, as well as Colin McCahon, both had their beginnings in Dunedin.