Mary McIntyre

-biography
-retail price guide
-bibliography

 
   
Politicians Watching the PO All NZ Enterprise detail, 1984 Crown of Flags, 1984  
Two Leaders, 1982

Watching the Kawa Kawa Post Office, 1983

An All NZ Enterprise I, 1984
 
An All NZ Enterprise II
(detail), 1984
The Crown of Flags, 1984
 
  Wrong Way
adonis
Self-Portrait in Landscape

A Kiwi Adonis Arises
from a Teacup, 1984

Self-Portrait as a
Farmer's Wife, c. 1985
Only Wool Has
Natural Talent, 1984
Wrong Way, 1984
Skull Shop Model drawing Nude with Kiwi Nude, Man & Dog
Skull, c. 1986
French Mannequin, c. 1986
Nude and Kiwi, c. 1987
$12,000
Nude, Man and Dog,
c. 1987
Sleeping Nude & Mickey Mouse Waterworks
Sleeping Nude & Mickey Mouse,
c. 1987
Wellington Waterworks,
c. 1988
Study for Portrait of Louise Henderson, 1995
Portrait of Louise Henderson, 1995
Tribute to Louise Henderson,
1995
Sheep Scarf Two-headed Dog
Self-Portrait with Sheep Scarf, 1995
Two-Headed Dog, 1995
Seated, 1997.
Details from 'From the Utmost Ends of the Earth', 1997
   
Green Rug
Chimney, c. 1998
Green Rug, 1999
Red Room I, 1999.
Crucified, 1999.
Man Seated, 1999.
Michael Smither, 1999
Handstand, 2002
Bend, 2002
Three in One, (detail), 2002
© 2003. Copyright is held by the respective artists .
Images on this site may not be reproduced without written permission from the artist.

 

BIOGRAPHY

MARY MCINTYRE, born 1928, Auckland.

A self-taught painter, McIntyre has been a full-time artist since 1980, and is well-known for her realist works in which she creates ambiguous, often surreal, narratives. One of New Zealand’s foremost realist, figurative painters, she has a reputation for producing works that defy political correctness and usually contain barbed humour or shafts of discomfort.

Her knowledge of and interest in musculature and anatomy has been lifelong and she has the ability to render portraits with accuracy, capturing the essence of her models, particularly when she knows them well. She frequently paints herself as the protagonist in her works, the first such series being ‘Identity Parade’ in which she superimposed her face on the muscular figures of posing body builders. Over the years, we have observed her progress through life, from young bride to grandmother, in a string of works in which she has used herself as model.


McIntyre’s paintings depict with honesty what she sees. Through her own portraits we watch the aging process as she documents it. Her paintings of nudes do not conform to the ‘ideal’ stereotype of the lithe, young model, but portray women of all shapes and sizes. Her vision is clear-sighted. Sexuality is a recurring theme in her work and, she believes, is an under-acknowledged and important influence in our lives.


McIntyre's 2002 exhibition in Auckland was ambitious and successful. It included a painting divided into almost 100 separate, stand-alone images, many of which in some way spoke of her life. Hanging from the ceiling was another ‘multiple’ work, comprised of exquisitely drawn images set in plastic envelopes. The paintings, brought together from different periods in her life, showed a history of strong, uncompromising imagery with that unmistakeably McIntyre sense of humour.

 

RETAIL PRICE GUIDE
(approximate, as at February 2003)

Oil on board, 300 x 300mm $3,000

Oil on board, 1200 x 1200mm $8,500

Oil on board, 1200 x 2400mm $20,000

 

GALLERIES TO CONTACT:
Artis Gallery, Auckland

 

 

SELECTED BIBLIOGRAPHY
Art New Zealand 30 ‘The Team McMillan Ford Art Award’, Beverly Simmonds, 1984.
Content/Context (catalogue), National Art Gallery, 1986.
Art New Zealand 51, ‘Mary McIntyre’, Michael Morrissey, 1989.
A Concise History of New Zealand Painting, Michael Dunn, David Bateman Ltd/Craftsman House, 1991.
Art New Zealand 69, ‘The Male Nude’, D H Binney, 1993.
100 New Zealand Paintings, Warwick Brown, Godwit Press, 1995.
Art New Zealand 75, ‘Mary McIntyre’, John Daly-Peoples, 1995.

Contemporary New Zealand Art 4, Elizabeth Caughey and John Gow. David Bateman Ltd, 2005.