Harbour Cone from Peggy's Hill

Harbour Cone from Peggy's Hill
Harbour Cone from Peggy's Hill
Artist	Colin McCahon
Year	1939
Medium	oil on hardwood
Subject	New Zealand landscape
Dimensions	75 cm × 133.3 cm (30 in × 52.5 in)
Condition	Good
Location	Hocken Collections, Uare Taoka o Hakena, University of Otago, Otago
Owner	John & Ethel McCahon Bequest, 1973
Accession	73/86

Harbour Cone from Peggy's Hill (1939) is an early oil painting by New Zealand artist Colin McCahon.

Subject

Harbour Cone from Peggy's Hill is one of McCahon's earliest explorations of the Otago region. It depicts an elevated stance from the mountain tops, looking down towards Harbour Cone in the Otago Peninsula. This work is one of his more realistic creations - showing a clear landscape theme.

Harbour Cone, Otago Peninsula

In addition to this exoteric representation, Harbour Cone from Peggy's Hill also contains more esoteric meanings. McCahon wanted this artwork to express "the concept of nature as a spiritual and redeeming force."[1] In a letter to his friend Toss Woollaston he explained:

I imagined people looking at it then looking at the landscape and for once

really seeing it & being happier for it & believing in God & then the

brotherhood of men & the futility of war.
— Colin McCahon to Toss Woollaston (1939), [2]

Because of comments such as these, the painting has been read as an evangelical statement designed to connect together God, peace, and the landscape.[1]

Reception

Early Controversy

Harbour Cone from Peggy's Hill was behind one of the earliest controversies in McCahon's long career. It was excluded from the 1939 Otago Art Society exhibition, despite the fact that each member (including McCahon) was entitled to display one work. Linda Tyler believes that this rejection was due to the absence of support "from an interested and informed public."[3]

References

Alderton, Zoe (2015). The Spirit of Colin McCahon. Newcastle upon Tyne: Cambridge Scholars Publishing. p. 64. ISBN 978-1-4438-7232-4.
Brown, Gordon H. (2003). Elements of Modernism in Colin McCahon's Early Work. Wellington: Victoria University of Wellington School of Art History, Classics and Religious Studies. p. 34.
Tyler, Linda (2003). "A Matter of Taste: Charles Brasch as Art Collector". In Kerr, Donald (ed.). Enduring Legacy: Charles Brasch, Patron, Poet & Collector. New Zealand: University of Otago Press. p. 49.

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[Spirit-1] Alderton, Zoe (2015). The Spirit of Colin McCahon. Newcastle upon Tyne: Cambridge Scholars Publishing. p. 64. ISBN 978-1-4438-7232-4.

[Elements_of_Modernism-2] Brown, Gordon H. (2003). Elements of Modernism in Colin McCahon's Early Work. Wellington: Victoria University of Wellington School of Art History, Classics and Religious Studies. p. 34.

[3] Tyler, Linda (2003). "A Matter of Taste: Charles Brasch as Art Collector". In Kerr, Donald (ed.). Enduring Legacy: Charles Brasch, Patron, Poet & Collector. New Zealand: University of Otago Press. p. 49.