Ruapehu (1945) by Douglas MacDiarmid. Oil on board. Private collection, New Zealand

Ruapehu (1945) by Douglas MacDiarmid


As a child growing up in Taihape, Douglas MacDiarmid was surrounded by a dramatically broken land of blackened bush, shaped by the three active volcanoes that dominate the centre of the North Island. Ruapehu, the nearest and largest, was visible from nearby hilltops and was the source of occasional showers of ash that spelt instant
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Megapolis III 1992 Douglas MacDiarmid

Megapolis (1992) by Douglas MacDiarmid


Human forms seen in a context of confining walls whose dark recesses channel doubtful air enough to maintain interdependence and create beauty of rhythm. The Megapolis series is a further variation on one of Douglas MacDiarmid’s main preoccupations – the human form – shown in Paris during November 1992 as his first home exhibition at
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Twenty-Four Play (2006-2008) Douglas MacDiarmid

Twenty-Four Play (2006-2008) by Douglas MacDiarmid


This painting is one of a number that greets visitors in the hallway of Douglas MacDiarmid’s apartment on rue Cavallotti – a semi-abstract image he dreamed of after having dinner in Paris with a cousin visiting from New Zealand . A colourful 116x89cm acrylic on canvas, it has multiple forms in sets of four – 20 exploitations

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Hills from Annat (1946) by Douglas MacDiarmid

Hills from Annat (1946) by Douglas MacDiarmid


This tranquil little landscape was one of two Douglas MacDiarmid painted on a leisurely horse and cart holiday through the rolling farmland of the Canterbury Plains. World War II had just ended in the Pacific and he was soon to head off on a grand overseas adventure but first, the freedom of the road.   Christchurch

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Metro 1979 Quai de la Rapee by Douglas MacDiarmid www.douglasmacdiarmid.com

The Metro is not always as it seems


The unexpected often has its place in Douglas MacDiarmid’s work. Quai de la Rapée is a superficially straightforward pastel of a train at one of the few above-ground metro stations in Paris becomes more intriguing the longer you look at it, for mythology has invaded the subway. “On the point of trundling back down into

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