Ellen von Meyern
Ellen Camilla von Meyern (26 December 1881 - 30 August 1912) was a New Zealand artist who is remembered for her portraits of Maori people.
Early life
[edit]
Ellen Camilla von Meyern was the daughter of portrait painter Charles Arthur von Meyern who was born in London, England and his Danish wife, Camilla Frederikke Hansine. Charles Alfred arrived in Victoria aged 23 on board the SS Northumberland in May 1877. He married Camilla, a musician born Copenhagen, Denmark, on 26 March 1881. The records of Dunedin, New Zealand, show details of the birth of their first daughter, Ellen Camilla von Meyern on 26 December 1881 (named Ellen after Charles Alfred’s mother). In 1884 their second daughter, Blanche Lillian was born (named Blanche after Charles Alfred's deceased sister). A third daughter, Norma Camilla was born on 18 January 1886 and a fourth, Victoria, on 27 April 1887.
Career
[edit]As with her father, Ellen von Meyern also worked as an artist. She lived with her family in Dunedin until shortly after her father's death on 29 September 1893. She arrived in Auckland around 1895 to study at the Elam School of Fine Art, specializing in portraiture. She was prolific in the early 1900’s. Exhibited ASA 1901-12, she was listed as an Auckland artist 1911-1912 (Wise’s). She shared a studio with her sister Blanche between 1901-1905, and painted Blanche’s portrait and another sister. Blanche also exhibited with ASA 1904/5. Ellen painted portraits of people in the music and theatre world, of Pope Pius (presumably from a photograph) and of Maoris.
A small booklet entitled ‘Early Identities’ An exhibition of portraits held at the Auckland City Art Gallery, December 19 to January 20, 1955/56 has this entry about Ellen von Meyern.
“Ellen von Meyern. Little is known of Ellen von Meyern even though many people remember her. She is remembered as a pupil of the Elam School of Fine Art, a young woman full of vitality and confidence. She had sisters whom she often painted, otherwise the names of her models often gave rather an exotic flavour to her catalogue – ‘Mam’zelle Nitouche’ Madam Boeufo’. 1901 was the first year in which Miss von Meyern exhibited with the Auckland Society of Arts, and in the (Auckland) Star’s review of the 1903 exhibition two of her portraits were praised. It was stated that she showed ‘a decided aptitude for this branch of art and with careful study should develop into a portrait painter far above the average’. It was pointed out that certain faults apparent, obviously of youth, were ‘compensated by promise of undeveloped power’. In 1905 there appeared a most enthusiastic notice of her portrait included in this exhibition, of Mr William Leys. Miss von Meyern showed ‘most progress of any of the young contributors. She had gone ‘far beyond last years’ promise’. The portrait of the late Mr William Leys, painted from a photograph after his death, was ‘an extraordinary example of success’ There is less said about Ellen von Meyern in the succeeding years except that in 1912 she painted a portrait of Pope Pius X, presumably from a portrait, and it was stated that it was decidedly the best canvas she had done. After 1912 little is known about her. She may have married and painted under another name, but those who remember her think of her as someone in Auckland only temporarily and it seems more likely that she moved away, perhaps out of the country.”
Ellen’s mother appears to have been a promoter of her daughter’s work. After a visit to Perth, Western Australia, the following press report was issued:
“Pictures from New Zealand. - Among present visitors to Perth is Mrs. Von Meyern, a New Zealand lady, who brings with her some paintings of New Zealand scenery and New Zealand native types, possessing quite exceptional interest and merit. The pictures are the work of her daughter, Miss Von Meyern, a very young lady, but seemingly one of the most promising artists that the land of the Maori has yet produced. The paintings, which are for private sale, are to be seen at the Church Offices, Cathedral-avenue. Among those who have taken the opportunity to secure examples of Miss Von Meyern's work are His Excellency the Governor - who speaks very highly of the specimens submitted to him - Dr. Hackett, M.L.C., and other prominent citizens."
Illness and Death
[edit]Tragically, Ellen’s promising career as an artist was all too short. She died in New Zealand on 30 August 1912. The Free Lance paper reported on 7 December 1912:
“Many a Wellington man and woman was sorry when the death of Miss Ellen von Meyern was wired from Auckland. Miss Von Meyern had at one time or another sketched and painted portraits of a lot of folk in this city, and as is always the case with artists’ work, the handicraft will be valued more now than when (she was) alive. Miss von Meyern was a pretty girl and a pleasant one, and her talent with brush and pencil a very considerable one. The scythe that the reaper used as labelled ‘appendicitis.”
Ellen Camilla von Meyern was buried in the Waikaraka cemetery (Onehunga, Auckland). Area 2, Block P, Lot no. 75. Her mother Camilla would later occupy the same grave. As of 2023 there was no memorial.
Examples of her paintings can be seen in the National Museum of New Zealand.[2][3] Von Meyern's Maori paintings are, like many by Gottfried Lindauer and Frances Hodgkins, associated with symbolist portraits of demure females with or without a child.[4]
Her portrait of Prime Minister Richard Seddon is in the collection of the Auckland Art Gallery Toi o Tāmaki.[1]
References
[edit]- ^ a b "Portrait of Richard John Seddon". Auckland Art Gallery. Retrieved 10 September 2017.
- ^ "VON MEYERN, Ellen d.1912?". Victoria University of Wellington: Nineteenth Century New Zealand Artists: A Guide & Handbook. Retrieved 9 September 2017.
- ^ Bell, Leonard (1980). The Maori in European Art: A Survey of the Representation of the Maori by European Artists from the Time of Captain Cook to the Present Day. REED. p. 116. ISBN 978-0-589-01281-6.
- ^ Leonard Bell (1 October 2013). Colonial Constructs: European Images of the Maori, 1840-1914. Auckland University Press. pp. 367–. ISBN 978-1-86940-640-0.
