For over sixty years British-born Alan Pearson has been one of the outstanding proponents of pure painting in New Zealand art. His work, densely complex, restlessly explorative, remains true to the ethos of Neo-Expressionism, alive with gesture, emotion and insight, rarely rivalled for technical mastery. A Liverpudlian outsider in an artistic climate still clinging to nationalism-as-landscape, the beginning of Pearson’s training at the University of Canterbury’s School of Fine Arts coincided with the arrival of the Lithuanian artist and educator Rudi Gopas there in 1959, placing Pearson in context with the likes of Philip Clairmont, Tony Fomison, and Allen Maddox, a veritable blossoming of Neo-Expressionists he has outlived, though in truth his highly idiosyncratic vision and individualism, further honed at London’s Royal Academy Schools in 1965-6 and a lifetime of development, makes him impossible to categorise with ease. Convenient labels refuse to stick as he ranges from abstraction to portraiture without any flagging of energy or confidence; everything is tackled with the same barely-restrained vigour and precision despite the constraints of the heart condition the artist has lived with for the last fifteen years or so.
There is a profound theatricality in Pearson’s art, not merely in the gestural bravura of his brushwork, but in the direct reference (the marvellous, immediate and intimate sketches of his beloved opera, reminiscent in spirit of similar sketches by Walter Sickert or Degas) and allusion (the framing proscenium arch that makes a stage of Pearson’s well-known 1986 self-portrait Exit from a Cold Theatre in the collection of Christchurch Art Gallery). If Pearson was an opera singer his Fach would be the Wagnerian Heldentenor; a powerful, rich, dark voice of tremendous stamina and theatrical persuasiveness, though capable of the lyric tenor requirements of Gounod’s Faust (author and musician Denys Trussell has described his work as “restless, questing, Faustian”). Pearson is passionate about opera and his painting captures that epic scale, expression, colour and tempo, though since moving to Queensland’s Sunshine Coast in 2000, dare one suggest a lighter, less sombre touch has entered his paintings? The angst and keen awareness of mortality associated with his New Zealand works are no longer quite so insistent.
Pearson’s portraiture is equally as compelling. The artist wields insight like a scalpel, fluently paring his sitters down to their essence. His technical virtuosity and generous ferocity invest the subject with a heightened reality rich in emotion, personality and metaphysical suggestion. The individuality and personality is communicated over the top of mere physical resemblance, or as Pearson once told an interviewer, “The aim, and the art, of the portraitist is not merely to produce a likeness but to reveal the mind and the being behind the human face ... I look for the moment below the public mask ... that conceals their innermost selves from view.” The inner life is brought to the surface; the inscape becomes landscape. This is no less true of the many self-portraits, which, like Rembrandt’s own project of introspective record, eschews vanity and defies the world with a defiant, Nietzschean statement of life: ego sum – I am! Ecce homo – behold the man! Trussell calls it “nature conscious of itself”. It is a legacy impossible to match that puts him in a direct succession with art’s great long conversation in a way not often seen now.
He is, without a doubt, an Old Master of the future.
Essay by Andrew Paul Wood
BORN: 1929, Liverpool, England
LIVES: Noosa, Australia/Auckland
EDUCATION: Diploma Fine Arts (First class Hons), University of Canterbury, Christchurch; Royal Academy Schools, London, England
AWARDS: Doug Moran Portrait Awards, Australia - Finalist (2006); Artist in Residence, Dunedin Public Art Gallery/Otago Polytechnic (1986); Artist in Residence, Tai Poutini Polytechnic, Greymouth (1993); National Bank Portrait Prize (1978, 1979); Queen Elizabeth II Arts Council Travel Grant (1976); Queen Elizabeth II Arts Council Scholarship (1964-65)
COLLECTIONS: Museum of New Zealand Te Papa Tongarewa, Wellington; Auckland Art Gallery Toi o Tamaki; Hocken Pictorial Collections, University of Otago; University of Otago Medical School, Auckland; Dunedin Public Art Gallery; Christchurch Art Gallery Te Puna o Waiwhetu; Te Manawa, Palmerston North; The James Wallace Arts Trust, Auckland; Waikato Museum, Hamilton; Alexander Turnbull Library, The National Library of New Zealand, Wellington; Aigantighe Art Gallery, Timaru; Chartwell Collection, Auckland; Forrester Gallery, Oamaru; The Suter Te Aratoi o Whakatu, Nelson; The New Zealand Portrait Gallery, Wellington; The Rutherford Trust Collection, Wellington; The Todd Corporation Art Collection, Wellington; Middlesbrough Institute of Modern Art, England
SELECTED PUBLIC EXHIBITIONS: New Zealand Collection, Auckland Art Gallery Toi o Tamaki, Auckland (2017-18); A Life Lived Intensely: Alan Pearson Portraiture, New Zealand Portrait Gallery, Wellington (2016); Draw the Line, The Suter Te Aratoi o Whakatu, Nelson (2014); Drawings, Forrester Gallery, Oamaru (2014); Tender is the Night, City Gallery, Wellington (2011); The Captain, Tauranga Art Gallery (2009); Likeness and Character, Auckland Art Gallery Toi o Tamaki (2007); Sofa 125, Christchurch Art Gallery Te Puna o Waiwhetu (2007); Portraits and Personalities, Christchurch Art Gallery Te Puna o Waiwhetu (2004); Heaven and Blood: Alan Pearson, Christchurch Art Gallery Te Puna o Waiwhetu (1999); Self Portrait Retrospective, Manawatu Public Art Gallery (1995); Visitations, Manawatu Public Art Gallery (1991);Paintings and Drawings: 1980-1985 by Alan Pearson, Dunedin Public Art Gallery (1987); Time Away, Robert McDougall Art Gallery, Christchurch (1986); Anxious images, Auckland City Art Gallery Toi o Tamaki (1984), Headspace: Portraits from the Dunedin Public Art Gallery Collection, Dunedin Public Art Gallery, 2018
SELECTED BIBLIOGRAPHY: A little book of Black, Christchurch Art Gallery, Te Puna o Waiwhetu, 2017; McEwan, Ann, Treasures of the Waikato, Trust Waikato, Hamilton, 2017; People, places, perspectives: Artworks from the Collection, The Suter Te Aratoi o Whakatu, Nelson, 2016; Trussell, Denys, From the Balcony: Alan Pearson at the Opera, Auckland: Sanderson Contemporary, 2015; Crighton, Anna, English, Colonial, Modern and Maori: The Changing Faces of the Robert McDougall Art Gallery, Christchurch, New Zealand, 1932-2002, Newcastle: Cambridge Scholars Publishing, 2014; Pearson, Alan, A Painter’s Poems 1961-2014, Auckland: Alexandra Stewart Press, 2014; Paton, Justin, How to Look at a Painting, Desert Road Productions, 2011 (documentary); Pearson, Alison,Alan Pearson: Expressionist Portraits, Auckland: Alexandra Stewart Press, 2010; The Todd Corporation Art Collection, Wellington: Grantham House Publishing, 2010;Oil Paintings in Public Ownership in Northumberland, Tees Valley & Tyne and Wear, London: The Public Catalogue Foundation, 2010; Johnstone, Christopher,The Painted Garden in New Zealand Art, Auckland: Godwit, 2008; Trussell, Denys, The Expressive Forest: Essays on the Arts and Ecology in Oceania, Auckland: Brick Row, 2008; Wolfe, Richard, New Zealand Portraits, Auckland: Penguin/Viking, 2008; Eggleton, David, Towards Aotearoa: A Short History of 20th Century New Zealand Art, Auckland: Reed Publishing, 2007; Finlayson, Claire, This Thing in the Mirror: Self Portraits by New Zealand Artists, Nelson: Craig Potton Publishing, 2004; Chesterman, Sandra, Figure Work, Dunedin: University of Otago Press, 2002;Heaven and Blood: Painting and Drawing by Alan Pearson 1959-1999, Christchurch: Robert McDougall Art Gallery, 1999; Trussell, Denys, Alan Pearson: His Life and Art, Christchurch: Hazard Press, 1991