With the release of Colin McCahon: Is This the Promised Land? Vol 2 1960-1987, eight months after the first volume, it can now be seen that Peter Simpson has produced the exemplary exploration of the New Zealand painter's creative thought and career. Set in a biographical framework, Simpson's work allows
By dealing with McCahon chronologically instead of thematically, Simpson's narrative has an organic structure and the complex interplay between the man and his creations is made clear. The two volumes are not technically a "life" of McCahon, although they contain many fresh personal revelations. McCahon's letters, fulsomely quoted, open up access to his thoughts. No other book on McCahon has mined the written archive to such effect. The letters are human, perceptive, diaristic, sometimes wry and always of interest. They deserve complete publication.
Simpson gives the reader a privileged over-the-shoulder view of the work of a man at the peak of his powers. McCahon's Victory Over Death 2 (now in the Australian National Gallery), the Urewera Mural, Walk (Series C), The Song of the Shining Cuckoo, A Letter to the Hebrews (Rain in Northland) are all fully backgrounded and described. The ability to flip between text and finely reproduced full-page images is immensely helpful. The inclusion of associated materials like photographs, gallery announcements, sketches, and relevant historic images enrichens the book and completes the reader's immersion.
McCahon's mid-career subjects, from Te Urewera to Parihaka, from Māori canoe genealogies to West Coast beaches – along with the constancy of the "despair and hope" of religion - are all fully explored. Simpson provides a guide to the creation of every key work and theme. He makes the previously unobserved note-worthy and connects his insights. McCahon, despite the continual controversies and the zig-zags of his public valuation, easily remains the single great visionary New Zealand painter.
But Colin McCahon: Is This the Promised Land? ultimately plays as a tragedy. The painter's decline into alcoholism and dementia is made plain in the increasing darkness of his canvases – with the caveat that McCahon's last works possess a potency akin, in some ways, to the Spanish painter Goya's final "Black Paintings" in the 1820s. They are stripped back to the bare bones and open on to the void. With its spare text from the biblical book of Ecclesiastes, I considered all the acts of oppression, found face-down on McCahon's studio floor after his death in 1987, might be minimal in its simplicity but its impact is maximal.
In one of the strangest recent decisions of literary committees, Simpson's first volume did not make the list of finalists for the 2020 Ockham New Zealand Book Awards, while Justin Paton's "once over lightly", essayistic McCahon Country inexplicably made the cut. The release of Colin McCahon: Is This the Promised Land? Volume 2 simply re-emphasises this bewildering error of judgement. Simpson's readable perceptions and his ability to create an effective narrative, coupled with in-depth research and high production-values, makes his book one of the finest and most fundamental recent New Zealand art publications.
Reviewed by David Herkt
Colin McCahon: Is This the Promised Land? Vol 2 1960-1987 (Auckland University Press, $80).