Student Artwork Guide
Copyright This work is in the public domain. nicholas chevalier died in 1902; copyright lasts 70 years after the artist’s death, so it ended in 1972.
In context
Kapiti — nicholas chevalier
Shaded: the lifetime of nicholas chevalier (1828–1902) ▲ this work, 1868
Pick one work above: name two things it shares with this one, and one thing that's different.
More works to set beside this one: originaluniqueart.com/en/art/similar/nicholas-chevalier-kapiti-D4B95H-en/
Measured from the image
Main colour
Putty #d7d6c6
Catalogued palette
About this artwork
Kapiti — nicholas chevalier
This essay originally appeared in New Zealand Art at Te Papa (Te Papa Press, 2018). Nicholas Chevalier is a rather glamorous figure in nineteenth-century New Zealand painting, having travelled widely in Europe and studied at the Academy of Munich and the Royal Academy, London. From Melbourne, he made his second visit to New Zealand, travelling around the lower North Island in November 1868 as part of the Duke of Edinburgh’s entourage on HMS Galatea. The two watercolours made on this journey, Near Paekakariki, Cook Strait and Kapiti, are directly associated with the larger watercolour Cook’s Strait, New Zealand and the oil painting Cook Strait, New Zealand. It was typical practice of nineteenth-century landscape artists to use the sketches and watercolours made on site as the basis for larger, studio-based watercolours or oil paintings. Both Cook’s Strait, New Zealand and Cook Strait, New Zealand were created in this way. The original watercolours are factual and topographical records of a first impression, from which the larger watercolour and the oil painting take their cues. The three Māori waka in Near Paekakariki, Cook Strait are reproduced in both later images. In the oil painting they have been transferred to a beach further up the coast to align them geographically with the view of Kapiti Island. Similarly, the pattern of waves in Kapiti has been repeated in the oil painting. In Near Paekakariki, Cook Strait, the figures engaged in a typical food-gathering activity add a picturesque element to the scene, which Chevalier has enhanced with a more detailed, colourful group of figures adjacent to the waka in the larger watercolour. The figure with the horse in Kapiti emphasises the breadth and depth of the seascape in the oil painting. In each of the watercolours the size of the figures in relation to their surroundings underlines the grandeur of nature and introduces an element of the sublime — the aesthetic quality inspiring awe and even fear. The larger formats and turbulent atmosphere depicted in both later works reinforce this aspect of the romantic landscape tradition. Though used as visual notes towards the oil painting, both Near Paekakariki, Cook Strait and Kapiti are finished works in their own right. Tony Mackle
Artist and museum
Born in Saint Petersburg, Russia
nicholas chevalier, a russian-born artist, left an indelible mark on the art world with his works in australia and new zealand. born on may 9, 1828, in st petersburg, russia, chevalier was the son of louis chevalier, who oversaw the estates of prince de wittgenstein in russia. his mother was russian. in 1845, nicholas left russia with his father, studying painting and architecture in lausanne, switzerland, and at munich.
chevalier's artistic journey took him to london in 1851, where he worked as an illustrator in lithography and watercolour. his designs included a fountain erected in the royal grounds at osborne, and two of his paintings were showcased at the academy in 1852. further study in rome preceded his move to australia in late 1854.
mount arapiles, a painting from this period, is one of his most recognized pieces.
he collaborated with lady barkly on a present for the princess of wales, featuring australian life icons.
in 1864, his oil painting the buffalo ranges was selected by the national gallery of victoria, making it the first picture painted in australia to be included in the melbourne collection.
chevalier's later life saw him commissioned by queen victoria to paint a picture of the duke of edinburgh's marriage. he made london his base, exhibiting at the academy from 1871 to 1887. though he practically gave up painting by 1895, his legacy endures.
nicholas chevalier married caroline wilkie in 1855, a relative of sir david wilkie.
he spoke fluent french, english, russian, german, italian, and portuguese, and was an amateur musician.
works by chevalier are held in public collections including the museum of new zealand te papa tongarewa, the dunedin public art gallery, and the national gallery of victoria.
for a deeper dive into chevalier's work, visit [https://AllPaintingsStore.com/@/nicholas-chevalier](https://AllPaintingsStore.com/@/nicholas-chevalier) to explore his paintings and learn more about his artistic journey. wikipedia also offers an in-depth look at his life and career: [https://en.wikipedia.org/wiki/nicholas_chevalier](https://en.wikipedia.org/wiki/nicholas_chevalier). discover the musée baron gérard (france) and its masterpieces, a must-visit destination for art lovers, showcasing works from prehistory to the 20th century: /en/art/show/art-d3cest-en/
On show in Wellington, New Zealand
The Museum of New Zealand Te Papa Tongarewa stands as a singular testament to a nation's cultural heritage and artistic evolution, acting as a luminous beacon that illuminates the past, present, and future of Aotearoa. Situated prominently on Wellington’s vibrant waterfront, the museum’s genesis is rooted in an ambitious vision of unity, born from the 1934 merger of the Dominion Museum and the National Art Gallery. This union was driven by a profound desire to forge a cohesive national identity through the dual lenses of art and science. Today, Te Papa is far more than a repository for relics; it is a dynamic cultural destination that welcomes over a million visitors annually, offering a space where history is not merely observed behind glass but actively experienced through immersive storytelling.
The architecture of the museum itself serves as a profound dialogue with the natural world. Designed by Jasmax Architects, the structure rises organically from the reclaimed lands of Wellington Harbour, its form mirroring the dramatic geological formations found throughout New Zealand’s landscapes. This design choice is a deliberate echo of Māori oral traditions and a deep reverence for
Papatūānuku
, or Mother Earth. As one moves through the expansive galleries, the spatial journey subtly incorporates Māori cultural motifs, utilizing light and shadow to evoke the sacred atmosphere of a
wharenui
—a traditional meeting house. For the art lover and the designer alike, the building offers an immersive environment where the boundary between the interior sanctuary and the external natural world begins to dissolve.
At the very heart of Te Papa’s collection lies the
Taonga Māori
, a collection of treasured artifacts that represent the spiritual beliefs and artistic mastery of New Zealand’s indigenous people. These works are not merely objects of beauty but living legacies that carry
mana
—spiritual power. From the intricate, rhythmic patterns of carved wooden sculptures to the delicate, disciplined precision of woven flax baskets, each piece offers an unparalleled window into Māori cosmology and the concept of
whakapapa
, or genealogy. To stand before these treasures is to witness a profound connection to ancestral lands and a continuity of culture that remains vibrantly alive.
While deeply rooted in tradition, Te Papa also serves as a bold stage for contemporary innovation. The museum champions the avant-garde, housing a dynamic range of works that span painting, sculpture, installation art, and digital media. This commitment to the new is perhaps most poignantly realized in exhibitions such as “Gallipoli: The Scale of Our War,” which utilizes life-sized figures and immersive environments to humanize the harrowing realities of conflict. By blending historical gravity with modern technological engagement, Te Papa ensures that its narratives resonate on a deeply personal level. For collectors and enthusiasts, the museum represents a unique intersection where the ancient weight of tradition meets the limitless possibilities of contemporary expression, making it an essential pilgrimage for anyone seeking to understand the evolving identity of New Zealand.
originaluniqueart.com/en/art/download/nicholas-chevalier-kapiti-D4B95H-en/
Look closely
Kapiti — nicholas chevalier
Answer in your own words. There are no wrong answers here — only answers you can explain.
Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.