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Rhona Haszard : an experimental expatriate New Zealand artist / Joanne Drayton.

By: Drayton, Joanne.
Contributor(s): UNITEC Institute of Technology | UNITEC Institute of Technology.
Material type: materialTypeLabelBookPublisher: Christchurch, N.Z. : Canterbury University Press in association with UNITEC, 2002Description: 125 pages, [20] pages of plates : illustrations (some color) ; 24 cm.Content type: text Media type: unmediated Carrier type: volumeISBN: 1877257184 (pbk.) :.Subject(s): Haszard, Rhona, 1901-1931 | Painters -- New Zealand | Painting, Modern -- 20th century -- New Zealand | Women artists -- New Zealand -- Biography | Art, New ZealandDDC classification:
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Item type Current location Collection Call number Copy number Status Date due
Heritage & Archives Alexander Library | Te Rerenga Mai o Te Kauru
Heritage Collections
Heritage Collections (Mainroom) 759 HAS 1 Available
Non-Fiction Davis (Central) Library
Non-Fiction 759.993 HAS 1 Available
Reference: Gallery & Museum Sarjeant Gallery Library

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Sarjeant Gallery
Sarjeant Gallery 759.993 HAS 1 Not for loan

Enhanced descriptions from Syndetics:

During Rhona Haszard's short life she distinguished herself as a "New Woman" whose social and sexual behaviour was highly controversial. She worked as an artist on the Channel Island of Sark, in France, Alexandria and London. She dressed eccentrically, recommended Radclyffe Hall's lesbian novel The Well of Loneliness, spoke positively of de facto relationships and advocated vegetarianism and unprocessed food. Most significantly, she wanted to paint innovatively and professionally. Born in Thames in 1901, Haszard studied at Canterbury College School of Art and worked with fellow students Ngaio Marsh, Evelyn Page, Rata Lovell-Smith and Olivia Spencer Bower. Even in this talented company she established a promising reputation. A successful future seemed assured by her marriage in 1922 to Ronald McKenzie, but her traumatic elopement with Englishman Leslie Greener seemed to threaten it all. Escaping with Greener to France in the 1920s, her brighter, Post-Impressionist style rapidly brought international recognition, and in London she participated in a number of significant exhibitions. Her life was tragically cut short at the age of thirty.

Includes bibliographical references (p. 120-121) and index.

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