Girl in a Chair at Night 1947 (London) by Douglas MacDiarmid. Oil on canvas, 32 x 21cm. www.douglasmacdiarmid.com

Girl in a Chair at Night 1947


Girl in a Chair at Night 1947 is an early gem from Douglas MacDiarmid and a portrait of his Polish lover Danuta, a war refugee he met in London during his first overseas trip in 1946-47. During this time, MacDiarmid painted by day and taught conversational English to foreign students at night classes, including a group of
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Still Life 1972 by Douglas MacDiarmid. Oil on canvas 133x84cm. James Wallace Arts Trust collection, New Zealand. www.douglasmacdiarmid.com

Still Life 1972 by Douglas MacDiarmid


New Zealand expatriate painter Douglas MacDiarmid loves the beauty and sensuality of flowers. He has regularly painted them as a luscious still life when a particular arrangement or bloom takes his fancy – in this case a vase of glorious peony roses that have tempted his brush more than once. Peony roses are always something
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Ceylon VIIIA 3 1974 by Douglas MacDiarmid. Oil, 76x56cm. Private collection, New Zealand. www.douglasmacdiarmid.com

Ceylon 1974 by Douglas MacDiarmid


Ceylon VIIIA 3 is an oil painting by Douglas MacDiarmid dated 1974. Also known as ‘Girls after Bathing’, this languid scene was painted from sketches of daily living, made during a 1973 visit to the island state, then newly named Sri Lanka. A New Zealand-born expatriate painter, MacDiarmid spent a month in Sri Lanka at the time, travelling
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Aotearoa III 2000 by Douglas MacDiarmid. Acrylic on paper, 76 x 56 cm. Private collection, Belgium. www.douglasmacdiarmid.com

Aotearoa 1990 by Douglas MacDiarmid


New Zealand expatriate painter Douglas MacDiarmid may have lived abroad for many decades yet his homeland has steadily grown in importance in his work in the latter years of his career. During 1990, while in New Zealand as an official government visitor for the 150th anniversary of the founding of the nation, he started a series of
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Witnesses of the Same Event 1966


Whatever are they looking at? Was it shocking? Douglas MacDiarmid has no idea, he was “much more fascinated by the heads taking in something we can’t see”. As far as he is concerned “all that matters is that the painting speaks to the person looking at it. What it gives them is what is true.”
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