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WATERCOLOUR
NEW ZEALAND Inc.
Waterfall, Cumbria
by James Fletcher-Watson
32cm x 38 cm
This image was printed
on the front cover of the
Royal Institute of Painters
in Watercolour in 2004, the
year James died.
Newsletter 180 June – August 2020
In this issue:
A Frisky Business 3 The Pure Watercolour Society 5 Watercolouring at 50kph 10 Watercolour in Lockdown 12
Tutorial
From the Committee
T HE WATERCOLOUR NEW ZEALAND AGM was held in March.
We are pleased to report that committee member Hannah National society for watercolour artists
A Frisky Business
Martis was elected as President and Caroline Hulse as the new by Alfred Memelink
Secretary, so we have new, younger faces at the helm. Our President: Hannah Martis Masking liquid is also known as Resist or Frisk. “Frisk” is the shortest word and as it’s
committee team now comprises a healthy mix of experienced Vice President: pending appointment fast approaching beer-o’clock; let’s use it in this article.
folk like Alfred Memelink, Phil Dickson and Vivian Manthel-French,
Newsletter Editor: Sue Wild info@watercolournewzealand.nz How many readers have wrecked expensive brushes using frisk? How many have
along with newer faces like Rod Weston and Charlotte Hird. Two
Treasurer: Jill Hartstonge jillhartstonge@xtra.co.nz 04 5676938 applied the frisk, washed paint on and realised the masking had not been done
Zoom meetings were a learning curve for us and while they were properly? Here I’m sharing a few tips that I’ve learned by trial and error + my school
successful, we look forward to gathering again to plan the future. We welcome new members of hard knocks over the years.
When the world changed and we were asked to bide our time at
Annual subscription: Member: $40 Couple: $50 Student (enrolled): $15 Protecting the brush
home while the Covid-19 devil was reined in, many people found Have you noticed that some brush fibres are SOOO attracted to frisk? It seems that
painting was a mind-absorbing peaceful activity in the lovely Membership includes our quarterly newsletter, workshops, social
activities, exhibition, discounts at art stores. the more expensive brushes, i.e. sable, find the fluid most appealing, and won’t re-
weather and new silence. Charlotte Hird took responsibility for lease the bond created. One way to help reduce the bond is to coat the brush hairs
running the Watercolour Challenge and changed the rules to fit the To join please go to www.watercolournewzealand.nz – Membership
with a little soap. I prepare a container of slightly watered-down dish liquid. Twirling
situation: a 3X3 Challenge ran successfully during April. A report page. Complete the online form. Alternatively, post your cheque with
name, address, phone numbers and email on the reverse side to: your brush in this liquid coats each hair nicely with a thin protective layer before
and paintings are on page 14. you’re ready to go.
Membership, Watercolour New Zealand, PO Box 33088, Petone, Lower
The five workshops advertised in the March newsletter were put Hutt 5046. Getting ready to paint
on hold. We await clarity from the venue, the Karori Arts Centre, Tools
Watercolour New Zealand Bank Account: 01-0607-0026637-00
on how workshops will operate and what replacement dates are
To be listed in the Artist Directory on our website: go to www. • Use a cheap brush, but one that holds a point well and is a suitable size for
available. We’ll inform all those who have booked or expressed an
watercolournewzealand.nz – Membership – Join Directory – select a the areas you want to mask
interest as soon as possible by email. Using a skewer to point a puddle into corners
profile type. Set-up cost is $10, $25 or $50. Then contact the Treasurer • Have one or two meat skewers ready
The Methven Paintaway, scheduled for early May was not cancelled (above).
– just postponed. We plan to hold it at the same place, same time • Prep an ice-cream-sized container as your brush-rinsing bowl
in 2021. Why delay a full year? Because May is the month for great Your newsletter contribution is welcome • Milk bottle top: rather than dipping the brush into the frisk pot each time, I pour
scenery and accommodation is available before the ski season This newsletter aims to inform and encourage members by including a little frisk into a milk bottle top, then put the top back on the bottle of frisk.
opens. articles on all facets of the art of watercolour. Your contributions and Much more convenient and helps keep the frisk in good condition longer.
We wish you happy winter painting. suggestions will be welcomed. • Use a rubber brush if you like them - whatever they are called?
Committee, Watercolour New Zealand Inc. Please email the editor – see above. Applying the masking fluid
Open the frisk bottle and check the condition of the fluid. If it smells, screw up your
Introducing our new President, Hannah Martis nose and throw it out. If there is a congealed layer on top of the liquid, peel it off
with a brush handle or skewer and throw it out. Shake the frisk bottle well before
starting.
As soon as you see that the frisk on the brush is is starting to congeal, STOP, rinse
Welcome to our new members the brush and reapply the protective dish liquid.
Sandra Barlow, Taupiri If you have some tight corners that you wish to cover with fluid, drop a puddle of
Susan Dey, Petone frisk near the corner and use a skewer to push the outer edges of the fluid into the
corners or edges.
Candy Summer, Wellington
Using a dryer on a painting that has frisk is not recommended. The heat can encour-
Pauline Hailwood, Levin
age the frisk to increase the bond between frisk and paper.
Shona Smellie, Wellington
When you’re done
Chris Parsons, Auckland Clean your brush in soapy water.
Pulling frisk out from a puddle to create grasses
Denise White, Hamilton Salvaging a congealed brush: Ask your brother to siphon a little petrol from a car.
Rod Bently-Bishop, Wellington Frisk HATES petrol and wants to release its bond to the brush when it comes near it.
Sharon Bull, Ashburton Painting over the frisked areas
Be sure that ALL masked areas are completely dry before starting to paint. Dried
Helen Peterwood-Roberts, Paraparaumu frisk is a yellowy colour, so if there are areas of milky white, the frisk is still wet. If
Susan Meares, West Melton you start painting and there is a tiny area of still-damp frisk, the brush will pick up
Diane Bornholdt, Lower Hutt the masking fluid, ruin the bristles and spread paint across the area that you had
planned to keep white.
Alan Brennan, Waitaki
Be aware that the thicker the paint you apply around the masked areas, the harder
Christine Possenniskie, Petone it will be to remove the frisk once the paint has dried. Watercolour washes work
Daisey Bingham, Wellington best with frisk.
Sophie Foster, Auckland You might wish to apply a watercolour wash, let it dry completely, then mask an
Anna Guild, Christchurch area of it before applying the next wash.
Jie Yi Liang, Hamilton Removing the frisk
Hannah is a keen watercolour painter with a preference for plein air I use a gentle side-to-side rubbing motion with my index finger. If your finger picks
(look out for her at the Wellington monthly outdoor painting group), Melanie Ewing, Wanaka up some paint, STOP, clean and dry your finger before you carry on rubbing, OR you
an efficient organiser, and an industrious member of the Splash Chloe Henderson, Palmerston North will end up with a messed-up white space.
team. She has been on the committee for three years and was this Keith Knarston, Auckland Have fun! I hope these shared tips make you a little less afraid of using the magic of
year voted in as President. Working with a strong committee she masking fluid.
is confidently looking to the next chapter in the Watercolour New Dot Anson, Rotorua Masking over parts of a wash before a second wash
Alfred
Zealand story. Gemma Reddell, Auckland
Welcome and congratulations, Hannah.
Page 2 Watercolour New Zealand Inc. www.watercolournewzealand.nz Page 3
A Tribute to Sylvia Meek The Pure Watercolour Society
by Vivian Manthel-French
by Alison Hehir
A treasured member of
Watercolour New Zealand,
Sylvia Meek, died in April. There is a moment when a loaded paintbrush first touches a were published in Soldier Artist in Wartime India.
A membership spanning 35 dampened sheet of white paper... that every watercolour artist After the war, James returned to England to set up an
years of consistent exhibit- knows well. And none more so than James Fletcher-Watson, architectural practice in Norfolk, where he was well known
ing with Watercolour New founder of the Pure Watercolour Society. He made watercolour for his bold and imaginative designs. During this time his
Zealand. his life-long passion and believed in traditional methods, reputation as an artist was growing and in 1952, he was
Her work is an expression of using pure, transparent washes. elected to the Royal Institute of Painters in Watercolour (along
herself. Unique, vivid and full Today the Pure Watercolour Society is a thriving and much- with his friend Edward Wesson), and in 1957 to the Royal
of freedom and joy. It won loved organisation with the Fletcher-Watson family at its Society of British artists.
her the Watercolour New heart, supported by a worldwide community of professional James successfully combined both his architectural and art
Zealand Art Award 2007. and student artists and friends. careers for many years, having moved to the Cotswolds in
Originally from Ohakune, she settled in Lower Hutt with her His great friend, Australian artist Robert Wade, says “James the late 1960’s with his second wife Gill and their children
family. She had a passion for art so she joined the Hutt Art Fletcher-Watson, or ‘Gentleman Jim’ as I often called him, Josephine and Charles.
Society where she found companionship and encouragement. personified the gentle art of watercolour. A traditionalist
Watercolour became her chosen medium so she applied with to the core, he painted in the manner that he loved, never
her paintings and was elected to become an artist member of bending to fashion, or trends for smart techniques. He did
the Wellington Society of Watercolour Artists. With like-minded it with an enormous love and respect for the medium which
artists she was a driving force towards creative and innovative brought so much joy to his followers.”
watercolours, and for seven years she and her husband served
on the committee. She loved people and particularly enjoyed
the Wairarapa painting weekends, a forerunner of our painting
safaris and paintaways.
Sylvia brought a great deal to our society. She and her vibrant
paintings will be remembered and missed.
You can read an interview with Sylvia in the Artist Directory on
the Watercolour New Zealand website.
Flowers by Sylvia Meek
Burford, Cotswolds
by James Fletcher-Watson
It was in the Cotswolds that the Windrush Gallery was
A Watercolour Accepted for the established and James began his teaching career, thanks to
the persuasion of his friend Edward Wesson. By all accounts
Adam Portraiture Award Exhibition 2020 James was a generous teacher and never spoke of his pupils
Congratulations to Rebecca Dowman-Ngapo but rather of his ‘painting friends.’
Gum Trees, Australia
by James Fletcher-Watson. In his later years, James founded the Pure Watercolour Society,
For the first time in years a watercolour was accepted for the to ensure his vision progressed, long after his own lifetime.
Painted on James’s trip to Australia in 1989 to Robert and Anne Wade
Adam Portraiture Award Exhibition at the New Zealand Por-
trait Gallery, Wellington. “The great masters showed us the way and it is right that we
We look at James Fletcher-Watson’s life, his inspiration and
should follow in their footsteps, not copying but receiving
Rebecca: “My friend, Hazel Wheeler: fearless, magical, Hazel- practice…and meet some of the people who continue his
inspiration from them. My aim is to carry on the torch,
made. She pursues her ideas and dreams, constantly creating great passion and vision.
encouraging today’s painters to express the beauty of the
and evolving. I often see her like this, working on her ‘Dragon,’ landscape simply and effectively” he said.
as she calls her sewing machine. I mixed my typically more de- James Fletcher-Watson RI, RBA 1913–2004
tailed style with bolder, inexact strokes and bleeds. I decided James continued to sketch and paint until the last days of his
James was born into a family with a strong watercolour
Hazel would not be separated from the viewer by glass, so I life and died peacefully in 2004.
heritage.
used a special protective glaze.
His mother was a watercolour artist. His grandfather, Pure Watercolour Society and Windrush Art Courses
I was very honoured to be painter of the only watercolour to Pilfold Fletcher-Watson, was an architect and professional After James’s death, David Curtis
be exhibited this year in the Adam Portraiture Award Exhibi- watercolourist who emigrated to Australia in 1883 where he ROI, VPRSMA became Patron of the
tion.” founded the Australian Academy of Art. Pilfold returned to PWS, gathering a support group
England in 1893 and his Australian watercolours are still con- of respected artists including
Rebecca Dowman-Ngapo is a Waikato artist specialising in wa-
sidered to be of great historic interest. David Howell PPRSMA, Trevor
tercolour. Primarily self-taught, Rebecca’s work is indicative of
contemporary New Zealand culture, reflecting aspects of daily James showed an early aptitude for art and went on to train Chamberlain RSMA, and Robert
life with a child; drawing inspiration from local people and as an architect after leaving school. He joined his uncle’s Wade AWS , as well as James’s
places visited, family narratives and moments in time. Rebecca architectural practice in Norfolk, where he lived with his first loyal former pupils and admirers,
exhibits regularly in the Waikato area. She won the People’s wife and children, Michael and Vanessa. He continued to paint, Andrew Hucklesby, Peter Cronin,
Choice Award for both 2018 and 2019 in the Gordon Harris influenced by the Norwich School of painters, in particular Winston Oh, Ian Piper, Paul Weaver
Online Watercolour Competition, organised by Watercolour Cotman, Crome and Middleton, as well as the Early Masters, and Steve Hall.
New Zealand. Girtin, Turner, Cox and De Wint. Central to the Society’s existence,
The Second World War saw James posted to India. He travelled however, was Jo Neil, James’s
through India and Burma with the Royal Engineers, sketching younger daughter, who stepped up
and painting wherever he went; his sketches from that time to continue her father’s vision.
Making Magic, Taming Dragons by Rebecca Dowman-Ngapo
Jo Neil
Page 4 Watercolour New Zealand Inc. www.watercolournewzealand.nz Page 5
It was a daunting prospect taking over Windrush House, but James’s studio is left much as it was during his life, with books,
with encouragement from her husband Charlie, her mother Gill, paints and paper lay spread beneath large windows, flooded with
and members of the PWS, the gallery was restored and the first
exhibition was held in 2008.
light from the garden and fields beyond. James Fletcher-Watson
Windrush tutor Peter Cronin describes teaching and painting
Jo and Charlie maintain the Grade II listed Georgian house that in pure watercolour like this: “At Windrush we strive to keep – his materials and techniques –
acts not only as a family home but as home to the society and art the craft of pure watercolour alive and promote the utter joy of
courses that have developed over the last ten years. Windrush is a the medium. To paint in watercolour is a lifetime’s journey and Brushes
secluded village, set amongst gentle hillsides and clusters of farm Windrush has become a mecca to enthusiasts everywhere.” 1,3,5,7 and 10 brushes. Sable or synthetic. No 8 squirrel mop brush for painting skies or trees.
buildings under Cotswold skies, making it an inspiring place for “My motivation to teach pure watercolour is simple, I bloody love
visiting art students. it. I have tried other media and they all have their qualities but Paints
the excitement, flow and look of pure watercolour can’t be sur- Limited palette to 12 colours, using about 8 for most paintings. With fewer colours “you can understand how they
passed for me. mix to find the right colour and tone quickly and easily.“
“I see two main pitfalls amongst the students on all my courses
and I suspect it’s the same the world over. The first, is poor Cadmium lemon Cadmium yellow
drawing which leaves you very vulnerable in transparent Raw Sienna Burnt Sienna
watercolour, as well as hindering your ability to compose well. Burnt umber Light red
The second is painting too dry or slowly, which amounts to the Indian red Rose Madder
same thing in the end.” Cobalt blue French Ultramarine
David Curtis echoes this sentiment. He believes that good tuition Winsor blue Payne’s grey
is key to developing skill in watercolour: plus Cerulean blue and Raw Umber occasionally.
“The instinctive desire to draw and paint is inherent in all of us at
an early age, but must be nurtured by inspirational tuition and Penknife…for sharpening pencils, scratching out tree branches on a dark background and grasses in the
encouragement. “ foreground.
Windrush House in the Windrush Valley, Cotswolds, Gloucestershire,
United Kingdom Sketchbook
Each year Jo releases the much anticipated annual programme Quick pencil drawings in small sketchbooks for drawing, perspective and shapes of objects, which help determine
of workshops, tutored by a popular and talented stable of artists. good composition. “Eventually you will find that you can paint a picture back in the studio from the pencil sketch
Places are snapped up quickly by people from all over the world. weeks or years after it was done.“
And a final note from Jo Neil: “Dad didn’t have a problem with using body colour or a bit of white gouache, but he
was most attracted to the light and transparent quality of the medium.”
The James Fletcher Watson Royal Institute
of Painters in Water Colours Award
The prize is awarded annually by James’s daughter Vanessa
Whinney, art historian, artist and active member of the High-
gate Watercolour Group.
After a PWS paint-out at Little Barrington. Left to right: Of the win, Julian Bray wrote to Vanessa: “I enjoy your obser-
Paul Weaver, Tony Taylor, David Curtis, Jo Neil, Ian Piper, Peter Cronin vations about my painting having all of the paint handling
A class in progress at Windrush House, down by the Mill, with tutor Paul qualities your father would have admired.”
Weaver Last year, Peter Cronin travelled to New Zealand.
On judging the award, Vanessa says: “I am always conscious
The workshop emphasis is on demonstrations followed by “New Zealand is an artist’s paradise! We did three thousand miles that as it’s an award in Dad’s name, it should be something he
painting outside. Lunch is always a highlight as students gather in three weeks and loved every bit of it”, he says. would be comfortable with, and top of the list is PURE! I also
in the family dining room, around a table bursting with Jo and “Since then, the pandemic has changed everything. My income feel we need to encourage artists, particularly younger ones
Charlie’s home cooking. has hit the floor with both teaching and gallery sales severely starting out, that using the medium can work brilliantly for
curtailed. It has a positive side however, in that I am able to pictures with a modern twist.”
build my online teaching / selling presence. I am also loving the Subsequent winners of the award are 2018 Martin Caulkin RI,
quieter, slower, more nature-centred feeling that lockdown has 2019 Geoffrey Wynne RI and 2020 David Howell VPRSMA.
engendered.”
In the meantime, Jo says that courses at Windrush are on hold but
will resume as soon as possible. With special thanks to Jo Neil, Vanessa Whinney, David Curtis,
Peter Cronin, Robert Wade and Julian Bray.
“The art community is responding to the current crisis in a
creative and collective way and like everyone, we are looking
forward to the time when we can paint together again.”
References
www.thepurewatercoloursociety.co.uk
www.windrushartcourses.co.uk
“Watercolours - The Story Continues”
The Magic of Watercolour by James Fletcher-Watson (out of print) In the Realm of Chickens by Julian Bray
Artist Magazine article, November 2019 winner of the first James Fletcher Watson RI award
James Fletcher-Watson in his studio at Windrush House. at the annual RI exhibition 2017
“The more I paint the more I find I am learning and discovering new ways
to do things. That is why I find watercolour so exciting to use.”
Page 6 Watercolour New Zealand Inc. www.watercolournewzealand.nz Page 7
A Tantalising Four Days
The Watercolour Society of Western Australia (WSWA)
by Chrissie Menzies
W ATERCOLOURS WA COMMITTEE MEMBERS achieved a
unique milestone, when they organised an international
exhibition consisting of 170 paintings by acclaimed artists:
discover “new ways of expressing your creative vision within
the medium of watercolour.” The gallery room in the Moores
Building was well set out with social distancing in mind.
70 paintings from Watercolour Society of WA, and 100 from Winsor & Newton provided dot cards and brushes for us
International and Australian societies. all to experiment and discover new combinations. For me,
An exhibition of selected artworks in a variety of styles some ideas appealed and worked well, others not so much. A
and themes opened on 13th March in the Moores Building, Fabriano satchel contained delightful items e.g. watercolour
Fremantle, Western Australia. International watercolour artists sticks and paper samples. Carla suggested that the sticks
from across 18 different countries included New Zealand could be extremely useful for plein air adventures, especially
artists Richard Bolton, Svetlana Orinko, Adrienne Pavelka, in awkward locations.
Jacky Pearson and Dianne Taylor. Then came the declaration.
Events were planned to run from Opening Night Friday13th After taking into consideration the current health warnings
March to 13th April. A Plein Air competition was held on and the need for all Australians and international visitors to
Saturday 14th. After registering, artists were free to wander maintain a safe environment, the International Watercolours
Fremantle and capture the historic and engaging sights. Committee closure of the exhibition in the Moores Building
Paintings were judged later that day. Delighted artists would be immediate. The physical exhibition was closed. Rhododendron
received generous prizes and all paintings were exhibited in An online gallery was set up to view at leisure. Of course the by Svetlana Orinko
the Moores Building gallery for one week. online gallery did not have the same presence of a physical
Guest artist Joseph Zbukvic demonstrated to small group show. But importantly it gave viewers an opportunity to enjoy,
workshops. It was interesting to note the international consider and perhaps purchase a favourite.
flavour of attendees. Artists had travelled from far and wide. The disappointment of the organising committee can be
As the Covid-19 alarm bells were ringing the seating was imagined by us all. Years of hard planning and achieving
spaced and Joseph demonstrated with live video screening. eighteen countries to commit to sending and exhibiting Giselle
In the following weeks Amit Kapoor (founder of Watercolour precious works. The plan was adventurous and daring, and by Dianne Taylor
Society India) and local artist tutors of note had planned to the achievement spectacular. Eighteen countries sent works:
demonstrate and hold workshops. Belgium, China, France, India, Indonesia, Italy, New Zealand,
Winsor & Newton’s resident artist, Carla Hananiah (originally Nordic Watercolour Societies (Sweden, Norway, Finland,
from Auckland) was proposing to hold two workshops each Denmark and Iceland, one painting from each), Philippines,
day for four days. Plus an expanded all-day workshop entitled Poland, Singapore, Spain, Vietnam. Paintings were sent from
“Working Plein Air”. South Australia, Victoria and Iltja Ntjarra (Many Hands) Art
Workshop 1: Group from Alice Springs. Our own New Zealand artists sat
I attended the first two-hour workshop. We explored specific very comfortably among all present.
palettes and processes for working en plein air to best capture Our thoughts and appreciation go to the planning organisers
“the sense of place in that moment”. We experimented with and volunteers who readied a four week watercolour feast. I
location-specific colours for coastal and country images. can confirm I was fortunate to participate in a tantalising four
Workshop 2: days of all things watercolour.
We experimented with various mediums. A chance to try those Tumultuous times have beset the world and I believe we are Tide Line
bottles with mysterious names, masking devices and textural lucky to have watercolour to engage our hearts and minds. by Richard Bolton
mediums. The aim was to explore application processes to
West Coast Lagoon From the Heart
by Adrienne Pavelka by Jacky Pearson
Page 8 Watercolour New Zealand Inc. www.watercolournewzealand.nz Page 9
Watercolouring @ 50kph
by Alan Collins
I LOATHE AND WILL NOT DRAW from photographs. Why? Because during the trip. You must keep up, the train won’t slow down for
I am convinced that the perspective between my eyes and the you. It’s not fair you may think; you have been doing it for 100
focal length of a camera lens is so different and that my eyes are years - well almost. You do get slow and frail - but when I am
much more accurate or, the way my eyes view a subject are much involved in watercolour, I’m 40 again!
less emphasised. Next day it was hire car to Akaroa. Wow! The composition from
I travelled recently with Sally, her cousin from Devon and her Summit Road and the colour - pinkish straw colour with summer
husband Andy (who like me is a Railway enthusiast) via Kaitaki heat and azure blue water with cruise ships dotted about.
to Picton then Coastal Pacific to Christchurch for an early start I have a ‘Tracer’ projector that will project 140 x 140 cm, almost
on the TranzAlpine. On this occasion, recording the images of the size of my sketch book page. This allows me to project on to
those mountains the way my eyes saw them was more exciting my final piece of Arches cold pressed 640 gsm so that I follow the
than the rumbling DX locomotive accelerating to an incline original biro lines very carefully to preserve the spontaneity of the
(almost heaven). My sketch book is spiral bound 10cm X 15cm; I sketch.
draw with a ‘Bic’ fine black, and I realised you can’t loiter. I need
Crickey, that was exciting ….. well, it was to me.
between less than half a minute and two minutes (depending on
the complexity) to complete the sketch together with my own Have a ‘GO’- the scene from your house but time yourself, half a
shorthand ‘Ultra m’ Ultramarine or ‘Tuss’ Tussock colour, dots = minute?
sparkle etc. If there is time before the whole scene changes, bang Then photograph it, be honest though, don’t look at the
off a photo as a reminder of the colour, but beware: the windows photograph until you have drawn it. Then you will see what I
of the passenger cars are tinted. Less so in the vestibules but if mean.
you walk up 2 or 3 cars there is the observation car, open on both Just a wise word from most of my idols - “To improve your
sides especially for photographers, those wishing to record a DX drawing, keep drawing”.
in notch 3. I hold my sketch book up at almost eye level so as to Alan’s paintings. along with the sketches
Now as the youngsters say, “download that into your memory
save time and accuracy moving the angles of mountains rather they were based upon
banks”.
than looking up and down. This was added entertainment for
those using phones and video cameras. I got 14 of these sketches GOOD LUCK!
Page 10 Watercolour New Zealand Inc. www.watercolournewzealand.nz
Watercolour in Lockdown Gladys Tompkins
Gladys Tompkins was born in Halcombe, a vil- her paintings and her diaries from the guards
By Sue Wild lage in the Manawatu. She trained as a nurse, and in her eighties they became the basis for
complementing her skills with maternity and her story “Three Wasted Years: 1942-45”. Her Te
W HEN COMMEMORATING ANZAC day during lockdown, I found myself thinking about artists for whom watercolour has been a Plunket courses. In 1939 she went with her Ara biographer describes it thus: “Written in a
solace during captivity. As a portable and compact kit, a box of pigments might be a treasured possession for an artist during mother for a holiday in the Malay Peninsula matter-of-fact style, it gives a portrait of a brave
long hours of isolation. I have focused on the World War II experiences of two people: one of our Watercolour New Zealand dignitaries, and took a position as a nursing sister in Johor, woman, clearly of a practical nature, but always
Austen Deans, and a brave front-line nurse, Gladys Tompkins. on the northern fringe of Singapore. When concerned for the welfare of others.” Gladys
the Japanese began to invade the peninsula, died in 1984 in Hamilton.
Gladys was moved to the ‘safety’ of Singapore. Source: Rae M. Riach. ‘Tompkins, Lilian Gla-
Austen Deans, POW When Singapore fell to the enemy, Gladys was dys’, Dictionary of New Zealand Biography, first
marched to Changi Prison Camp. There, she published in 2000. Te Ara - the Encyclopedia
One of the heroes of New Zealand water-
and other interned doctors and nurses ran an of New Zealand, https://teara.govt.nz/en/
colour, Austen Deans, is best known for biographies/5t16/tompkins-lilian-gladys
improvised hospital for prisoners. During the
his Canterbury high country landscapes.
years of hardship, surviving on little more than
But, in his thirties he portrayed very dif-
rotten rice, her weight fell to 45 kgs. But among Gladys Tompkins wearing her nurse’s uniform and
ferent subjects. As a member of the New
her precious personal possessions, Gladys had registration medal in the late 1920s or 1930s.
Zealand forces in Crete in 1941, he was
a box of watercolour paints. Painting became Alexander Turnbull Library Fiona Thompson
wounded during an attack on Maleme Collection (PAColl-7637)Reference: F-201465-1/2
a lifeline for her, helping fill bleak days. She hid
Airport and was captured by German
troops. He was shipped to Greece to re-
cuperate in Piraeus. While there, he was
provided with pad and pencil by a fellow
POW who wanted a portrait sketch to
send to his family. Further requests fol-
lowed from POWs, doctors and even guards. Austen raised cash to
Severely wounded POW’s loading up for repatriation, at
purchase painting supplies through a friendly Greek hospital worker
Kokinia Hospital, Pireaus, 24 October 1941
and began depicting life at the hospital and surrounding landscapes. (public domain)
When he recovered from his wounds, Deans was transferred to a POW
camp in Poland. Here he was able to source art materials through the
Red Cross and continue drawing scenes of camp life. He managed to
have some work shipped back to England. Towards the end of 1943,
Deans was transferred again, to Germany and then to Stalag XVIII-A in
Austria, where he remained for over a year. As the war in Europe was Changi Prison Camp during the Second World War
drawing to a close, conditions in the camp grew harsher. Despite this, Rae M. Riach. ‘Tompkins, Lilian Gladys’, Dictionary of New Zealand Biog-
Deans still painted and sketched and by early 1945 had accumulated raphy, first published in 2000. Te Ara - the Encyclopedia of New Zealand, Women’s quarters inside the crypt of Changi Jail
a portfolio of nearly 300 works. When the POWs were ordered to force https://teara.govt.nz/en/biographies/5t16/tompkins-lilian-gladys by Gladys Tompkins during capitivity.
march towards Germany, he packaged them up for the Red Cross to New Zealand Electronic Text Collection. Victoria University
collect. Unfortunately the collection was never retrieved. While on
the march, the guards’ security became lax with the war all but over.
Deans and a group of others were able to make contact with Ameri-
can forces and make their way back to England.
Genshagen Camp 1943
Collection of Christchurch Art Gallery Te Puna o Waiwhetū,
purchased 1987
Changi Prison entrance, Singapore, with Japanese office under tower.
Tompkins, Lilian Gladys, 1893-1984. Changi Prison entrance, Singapore, with
Japanese office under tower. [1942-1944]. Collection. Ref: C-095-025. Alexander
Turnbull Library, Wellington, New Zealand. /records/22328442
Another sleeping out area on fine nights – below hospital – Changi.
Tompkins, Lilian Gladys, 1893-1984. Another sleeping out area
Prisoner of War with Mandolin 1943 Houses near POW camp, March 1943 on fine nights - below hospital - Changi. [1942?]. Collection. Ref:
Archives New Zealand Archives New Zealand C-095-012. Alexander Turnbull Library, Wellington, New Zealand. /
Getting ready to sleep in the courtyard on a fine night.
Tompkins, Lilian Gladys, 1893-1984. Getting ready to sleep in the courtyard records/22811419
on a fine night. [1942-1944]. Collection. Ref: C-095-015. Alexander Turnbull
Page 12 Watercolour New Zealand Inc. Library, Wellington, New Zealand. /records/23201879 Page 13
WORKSHOPS
The 3X3 Watercolour Challenge 2020
The planned workshop schedule had to be put on hold. Classes will be re-
scheduled once socialising rules allow and once the venue, Karori Arts Centre,
F OR THE 2020 CHALLENGE we reacted to the new life rules imposed in March
– the COVID-19 Lockdown. Realising members might enjoy a challenge to
occupy at-home hours, Charlotte Hird re-wrote the rules of last year’s Five Day
has workshop rules in place. We will give participants new dates at least three
weeks prior to each workshop.
Challenge to suit.
The 2020 Challenge was 3 Paintings each week for 3 weeks (4 – 25 April) Weekend Workshop Class 2020/1
Some found it took time to adjust to lockdown and painting was not a focus, oth-
ers found the wonderful weather beckoned for exercise or garden, but 40 artists
POWER OF TONE
took up the challenge and posted 172 artworks. Congratulations to Kasia Wiercin- Tutor: Min Kim – Guest artist for Splash 2019
ska who sent 14 paintings. She writes “That was a tough time of stagnation or even This workshop is full.
regression seen everywhere around. However I’m glad that as artists we could use This workshop was postponed. We hope to run it later in 2020.
it to grow and see progress in our art. It really helped me to stay positive.”
Thanks to Charlotte Hird for organising the 3X3 Watercolour Challenge 2020.
Weekend Workshop in association with Karori Arts Centre Class 2020/2
HOW TO DRAW BIRDS
Tutor: Kimbra Taylor
This workshop was postponed. We hope to run it later in 2020. We expect to
re-schedule Kimbra’s follow-up workshop, “Capturing Birds in Watercolour” also.
Dates: TBA Class level: All
Times: 9:30am–5:00pm Student fee: $180 ($95 for first day only –
Venue: Karori Arts Centre, 7 Beauchamp available only if space permits)
Street, Karori, Wellington
Kimbra will teach you to draw a bird using sighting to support accuracy. She will teach the
techniques used by professional artists to achieve proportion and guide you through the process
step by step. You will gain an understanding of construction drawing, which can be applied to
everything you draw. Kimbra is encouraging and supportive. You will gain the skills to proceed to
the workshop on painting birds in watercolour, later in 2020.
To book THIS workshop please email info@kacc.org.nz or phone 04 476 6817
Weekend Workshop in association with Karori Arts Centre Class 2020/3
PERSPECTIVE APPLIED EN PLEIN AIR
Tutor: Charlotte Hird
This workshop was postponed. We hope to run it later in 2020. Bookings can still be made as below.
Dates: TBA Class level: All
Times: 9:30am–5:00pm Student fee: $175
Venue: Karori Arts Centre, 7 Beauchamp
Street, Karori, Wellington
In this workshop you will learn techniques to use 1 point, 2 point and
3 point perspective en plein air. We will spend some time outdoors
sketching. Dress warmly and bring a stool. This workshop will appeal to
urban sketchers and artists, working in any medium, who are keen to improve their understanding
of perspective. Handouts will be provided. The tutor will use camera and projector to demonstrate.
In 2018 Charlotte taught architectural drawing at Wuhan University, China.
To book THIS workshop please email info@kacc.org.nz or phone 04 476 6817
Weekend Workshop Class 2020/4
FOR THE LOVE OF LANDSCAPE
Tutor: Bernadette Parsons
This workshop is full.
This workshop will be held as planned if rules allow. We will give those registered a
“yes” or “no” confirmation three weeks prior.
Dates: 27 & 28 June 2020 Student fee: $180
Times: 9:30am–5:00pm
Venue: Karori Arts Centre, 7 Beauchamp
Street, Karori, Wellington
Page 14 Watercolour New Zealand Inc. www.watercolournewzealand.nz Page 15
OUTDOOR PAINTING GROUPS
WELLINGTON GROUP 10:00am. Painting will be followed by
coffee/brunch at a nearby café, ideally with outdoor seating. We will
follow the Ministry of Health guidelines at the time.
Sunday 21 June Katherine Mansfield Park, Fitzherbert Avenue,
Thorndon
Sunday 19 July Bolton Street Cemetery (top end), next to
Anderson Park / Lady Norwood Rose Gardens
in the Botanical Gardens
Sunday 16 August Shelly Bay Airforce Base, Shelly Bay, Seatoun
KAPITI GROUP There are no organised outings for the Kapiti
group this quarter.
OTHER DATES for your Diary
WORKSHOPS
Details on page 15.
Dates in the next three months will be announced by email.
PAINTAWAYS
Autumn Paintaway to Methven
This gathering has been rescheduled for early May 2021. May is the best month for scenery and accommodation in Methven.
November Paintaway
We expect to organise a Paintaway in the North Island when rules allow. We anticipate going to Mount Ruapehu to stay in a ski
lodge and paint the spectacular scenery. The timing will need to work around Splash 2020. Details will be notified in the next
newsletter.
The Gordon Harris
Winter Watercolour Competition 2020
This is our annual competition of digital images of watercolour paintings. We have moved
the dates, so that we now have a summer competition and a winter competition. Paintings
will be exhibited online at www.watercolournewzealand.nz. Entries can be submitted up to
midnight 31 July 2020. A panel of selectors will award four prizes:
Gift Cards for Gordon Harris Stores
1st: $200 2nd: $100 3rd: $50 People’s Choice: $50
RULES
• Entry is open to current members of Watercolour New Zealand Inc. residing in New Zealand
• One entry per member
• Open theme
• The entry must be the original work of the member; must not be copied from another
person’s painting or photograph
• Entries must have been completed within the last 12 months
• Entries exhibited in any other public or online exhibition are eligible
• Digital images must be of publishable quality; approx. size 500kB.
• Entries may be used for promotion of Watercolour New Zealand and/or Gordon Harris Ltd.
• Entries close midnight 31 July 2020
• The decision of the judges is final and no correspondence will be entered into
To enter: Make a digital image of the painting only, with no mat or frame.
Name the image in this format: “Evening Glow by Casey Hamilton”.
Email the image to: charhird@gmail.com Subject line: “WNZ Winter Competition”.
The competition is managed by Watercolour New Zealand.
We wish to thank Gordon Harris Ltd for their sponsorship.
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