Francis McCracken 1879-1959

Most of the major painters in New Zealand working between 1900 and 1930 either emigrated to Britain and Europe or spent an extensive amount of time there. Among the most prominent of these expatriates was Francis McCracken and it would seem the taste of European art and the lure of modernism was enough to keep him in Europe for most of his painting life.

Born in Northern Ireland, McCracken came to New Zealand in 1903 where he received his first lessons in art at the Elam School of Arts under Charles Friström. He remained here until the outbreak of World War I when he left with the New Zealand Expeditionary Forces for Ypres, France. Returning to New Zealand after the war, he exhibited his paintings with two other soldier-artists, W. Robert Johnson and John Weeks, in a show which came to be called the "Soldiers' Exhibition". The success of this show and the critical acclaim that McCracken's work received encouraged the artist to continue his studies in Edinburgh, where he was taught by the Scottish colourists including S.J. Peploe, who was known for working with a bright and lively palette. McCracken also became strongly influenced by the School of Paris and the modernist teaching of André Lhote.

While he never returned to New Zealand to live, feeling that "it's a great drawback living so far from the hub of things" (Frank Rogers, "My Old Cobber Frank: Francis McCracken 1879-1959" in Art New Zealand, no. 38, Autumn 1986, p.51), he maintained his New Zealand connection by sending back paintings to various galleries for exhibition. Overseas he exhibited widely and won a number of awards which enabled him to continue travelling.

McCracken was known for his exceptional "ability in organising surfaces with the greatest variety in theme." (A. Graham Munro, "Catalog of the Memorial Exhibition 1959", The McCracken Collection, Webbs, 1985, p.38.) Still life with apples is an outstanding example of this skill. The balance of objects illustrates his ability to create beautiful harmony in his compositions. Each strategically placed element is captured in full detail, yet is integrated into the overall scene. This technique is traditional in that the objects are readily identifiable and also have a sensual and tactile appeal. The heavily considered use of line, light and shade aligns itself with traditional still-life painting techniques, and accurately depicts the colour and form of each object.