PROVENANCE
Private Collection, Wellington
Purchased from International Art Centre, 1992
The presentation of Barraud's 1870 depiction of Mt Earnslaw to the market is a truly special occurrence. Herein, all the technical finesse of the artist's style is exemplified, and the rare (for Barraud) oil paint medium instils a beautiful glassiness and microscopic incisiveness to the work which is striking to behold

The impressive scale of this painting immediately engages the viewer almost meditatively with the landscape, which is enhanced by Barraud's mastery of light. Framed by the lush greenery of native New Zealand bush, the eye is drawn to the centre of the painting where a majestic Mt Earnslaw has been captured in harmony with the lake and sky. A powerful sense of atmosphere has been realised through subtle tonal graduation and harmony, which sees the mountains lighten and gradually fade into the clouds, whilst the lake reflects both the mountains and sky

From 1850 onwards, Barraud had begun to cultivate an international reputation for his accomplished depictions of New Zealand landscapes, the majority of which were watercolours. The artist's oil paintings were highly sought-after by both the local and London-based audience for their value as objects of aesthetic and artistic merit, as well as for the fact that they offered superb insight into the natural beauty and topography of New Zealand

This work in particular is emblematic of the tradition of New Zealand regional painting in the 19th century: it is evident that concerns of topographical truth, formalism, and natural beauty have been placed at the forefront of the artistic process. In this sense, Barraud's work calls to mind the European romantic tradition of landscape painting, wherein allegorical references and subtle narratives would infuse the natural surroundings with something of a spiritual significance. As such, it also affords our own national topography the possibility of a richer, universal and philosophical sense of truth