The Eyes and Times of Frank and Lyn Corner

Frank Lyn Corner New Zealand Art Collection Art+Object

This essay was published in the catalogue of The Collection of Frank and Lyn Corner by Art + Object. My grandparents’ significant collection of New Zealand art was presented to the market on Sunday 18th March 2018.


Growing up with Frank and Lyn as parents and grandparents meant growing roots firmly in New Zealand, no matter where in the world we happened to be. Our eyes became tuned, through the art, books and conversation that surrounded us, to see New Zealand as a firm part of the modern international world, holding its own from the bottom of the South Pacific.

But this view of New Zealand’s place in the world wasn’t always so clear for Frank and Lyn. Their backgrounds—in 1920s and 30s Napier for Frank, and Hamilton, Masterton, and Whanganui for Lyn—were happy but not remarkable ones, apart from a very memorable earthquake and considerable academic self-discipline. Frank always maintained that “Life, for me, began when I came to Wellington.”

It has even been said that, in the 1940s—when Frank and Lyn came to Wellington, met, and started discovering art together—New Zealand didn’t exist yet: “it remains to be created—should I say invented—–by writers, musicians, artists, architects, publishers; even a politician might help”, went Curnow’s cry in 1945. That period between when New Zealand “didn’t exist yet”, and now, when New Zealand seems to stand upright here and when we can travel abroad, to Venice, to see our emissaries, is the period of Frank and Lyn’s lives.

When we stand amidst Frank and Lyn’s lifelong collection of artworks, in their lifelong home, we view a record of that invention of New Zealand, a visual and a personal history of New Zealand’s declaration of intellectual independence.

It is not the only record, and nor is it the largest; Frank and Lyn certainly never set out to create a survey collection, and in fact they long resisted entirely the idea that they were “collectors”. But theirs is a unique collection, and a significant one, because of the two sets of eyes that created it—and, as Frank and Lyn would be the first to point out, because of the sheer good fortune of the times that they happened to live in. Through this collection, and in the lives of Frank and Lyn, we see the abundance of New Zealand life.

— — — —

First, the eyes. Frank and Lyn always spoke of “having [their] eyes opened” to the world, and to art, during their years studying at Victoria University. From the time they met in 1941, at the Easter Tournament, theirs was a partnership of minds and of eyes. In their library one can see the intellectual efforts of their university years and of those afterwards. Frank was studying history, and Lyn French; but their books show little of this, so widely did they read. They studied the classics, but seemingly in equal measure would pick up all the latest books that arrived in Wellington from overseas (Forster’s What I Believe, for instance, they found as soon as it arrived, and his case for “tolerance, good temper and sympathy” seems to define Frank and Lyn’s outlook).

The great good fortune of Frank and Lyn’s university years was the intellectual stimulation provided by John Beaglehole and the circle of faculty and students he surrounded himself with. Their first invitation to the Beaglehole house in Messines Road, Karori, was also the occasion of their awakening to art. There, Lyn later recounted, “He [Beaglehole] had art hanging on the walls—including some of the very early breakthrough artists like John Weeks, Colin McCahon and Toss Woollaston. This was different from the tame drawing-room landscapes we’d seen before, and excited us.” It seems important to remember in this context, however, that art was always just a part of Frank and Lyn’s education and of their lives. Frank describes the kind of discussion they would have at the Beagleholes’ house:

“On some occasions he would play Bach’s preludes and fugues, share his delight in newly acquired paintings of John Weeks or Woollaston, or pewter plates, or great examples of typography, or would introduce us to the works of E. M. Forster, or Virginia Woolf and the Bloomsbury set.”

The Beaglehole influence extended through the full range of culture that Curnow described as necessary for the invention of New Zealand, down to architects, and even politicians. Frank and Lyn were later to copy the Beagleholes in their commissioning architect Cedric Firth to design modern cabinetry for their 1930s house; and it was likely in Messines Road that they first heard of the arrival of a distinguished Austrian architect, Ernst Plischke, to Wellington. Frank was intrigued; he arranged for Plishke to give a series of public talks, and they got to know one another. Plischke would later design the modernist pavilion across the garden from the Gray Young-designed, Cedric Firth-renovated house that Frank and Lyn lived in for the best part of their lives.

The Beagleholes and the Corners remained lifelong friends, but after graduating from Victoria in 1942 and joining the fledgling Department of External Affairs in 1943 Frank soon began travelling, and the couple continued their informal education overseas. Frank was one of the first to visit postwar Japan in late 1945, and Frank and Lyn both worked in Paris for several months in 1946 during the Peace Conference. Postings took them to Washington D.C. twice, to London and New York. They read widely and kept everything. In their attic are boxes of gallery catalogues, many in French, that they collected while haunting the galleries during their travels.

— — — —

And then there were the times they lived in—times so full of activity and excitement, in both art and world affairs, that from the perspective of grandchildren in 2018 they seemed always to be in the very middle of history in the making. They were in London for the Queen’s coronation, the same day Edmund Hillary summited Mount Everest; they were in New York during the fraught days of the Cuban Missile Crisis; they were in Washington D.C. when Lyndon Johnson visited New Zealand, with Frank overseeing the visit. Yet this was work and everyday life for this diplomatic couple, however thrilling it all may seem from a perspective half a century later.

The upheavals going on in the world of art were almost as grand and exciting as those happening in world affairs, so much so that Lyn later described art during this period being an “automatic, easy addiction.” They certainly appreciated their good fortune to live in London, New York and Washington during these formative decades. While Frank was busy at the United Nations, Lyn would head to the galleries, often with two young children in tow. In London, it was during a brief lunch break that Frank dropped by the Redfern Gallery and returned with Frances Hodgkins’ Pleasure Boat.

As with their eyes, for which art was just one of many great passions, the times they lived in seem to have blurred the boundaries between work and other parts of life. The eyes and the times are one and the same, in the end: so that social and political changes are reflected in the art they bought, and the art they bought influenced diplomatic and political advances. When Lyn was once asked if they had consciously bought artworks that would serve to represent New Zealand well abroad, she rejected any such idea: “We simply purchased the irresistible.” We have to take that statement at face value; and yet Frank and Lyn knew that the art they bought would be the backdrop to so many diplomatic functions, and that art has a unique power to represent and to find commonality. We have always thought of Lyn’s comment as a sign of how inseparable their lives were from the times they lived in, the work they did for New Zealand, and their passion for art, books, music and architecture. What was irresistible to Frank and Lyn Corner, a couple who spent their lives serving New Zealand abroad, was precisely the kind of art that represented the modern, confident and vibrant country they represented and spoke about to countless dignitaries every day.

So when Frank wrote in 1962 that “…for the greater part of the first half of the twentieth-century NZ turned its eyes away from the Pacific”, this was at once a statement of foreign policy and of national and personal outlook. He went on: “Has not a country become in some way unbalanced when it knows little and cares less about its own geographic environment?” He argued over many years, after New Zealand’s two great twentieth century crises—the fall of Singapore, and Britain’s decision to join the European Economic Community—that our future lay in this part of the world, in the Pacific. He made this argument formally for New Zealand’s foreign policy; but it was the argument that increasingly our writers, musicians, artists, architects, publishers, and, yes, even our politicians, were formulating in their own realms. For Frank Corner, the search for national security was also a part of the search for national and cultural identity.

— — — —

In the minds of diplomats one’s country can paradoxically seem closer while living in a foreign capital, for it is while there that your everyday experience is marked entirely by your nationality. You are only in Washington, London or New York by virtue of being a New Zealander; you only meet people as a New Zealander. In many ways you live through your country’s identity, and are forced to understand on a deep level what it is that you are representing. This seems different from the expatriate’s experience: he or she goes abroad by their own volition, and for the duration that they are away from home they are more or less cut off from home. They are expatrias. The point is the great extent to which Frank and Lyn’s life experiences were marked by being New Zealanders and, in turn, how their vision for New Zealand affected their art collecting.

To Frank and Lyn Corner New Zealand was a modern, vibrant, educated Pacific nation. Naturally, their art collection—much of which was bought while they were living overseas (including, notably, McCahon’s Landscape Theme and Variations, I and Angus’ Storm, Hawkes Bay)—should be informed by such a view. Now we today inhabit the New Zealand that was created and invented during their lifetimes. To look at the individual works in this collection is to see a New Zealand coming to its modernity, coming to terms with its geography, and coming to understand its identity. But to look at this collection as a whole: well, that is to see the modern, vibrant, educated Pacific New Zealand that we now know. To look at this collection is to see the abundance of New Zealand life.

The New Zealand Scholar: J. C. Beaglehole’s Essential 1954 Lecture

John Beaglehole The New Zealand Scholar lecture essay
John Beaglehole’s desk as he left it on 9 October 1971. Photograph by Lyn Corner.

If there is one New Zealander who has a claim to be the New Zealand scholar, it is John Cawte Beaglehole: authority on Captain James Cook, lifelong professor at Victoria University in Wellington, man of culture and letters. Beaglehole studied Cook, a man whose journeys and discoveries “enlarged the world”, as Allen Curnow’s poem put it, and in doing so Beaglehole both enlarged the world of knowledge and created a tradition of scholarship in this country.

117 years after Ralph Waldo Emerson delivered his lecture on the nature and aspirations of The American ScholarBeaglehole delivered his own lecture taking up the same question in the New Zealand context. The date was the 21st of April 1954; the occasion, the Margaret Condliffe Memorial Lecture at Canterbury University College. The lecture Beaglehole delivered, later turned into an essay, is a New Zealand classic. When I first read it a couple of years ago on a brief trip back to New Zealand while studying overseas I was stunned by how deftly Beaglehole took up Emerson’s challenge, moved beyond it, and seemed to embed all the while a sense of what New Zealand uniquely needs in its minds.

However, the lecture/essay is notoriously difficult to track down. There is certainly a Digital Emerson, but nothing similar for Beaglehole. The only stand-alone book produced with the essay was done in an edition of 100, and, so far as I can tell, the essay has never been published online. Your best bet in finding the essay has been a book published in 1969 on the occasion of John Beaglehole’s retirement: The Feel of Truth, edited by Peter Munz.

Like Emerson’s was to so many Americans, Beaglehole’s essay is a guiding beacon for New Zealanders wondering where and how to direct their mental energies. It was a particularly bright beacon during a time when New Zealand had little in the way of culture to speak of; but culture and tradition is never-ending, so the beacon should not be much less bright today. Beaglehole calls Emerson’s lecture America’s “intellectual Declaration of Independence”; and I hazard that Beaglehole’s own lecture might be seen in similar terms in this former colony.

Beaglehole’s description of the war of intellectual independence:

“A war of intellectual independence is, in the region of the mind, a pretty bloody, painful and wearing thing. It is a civil war; and it shocks into division not merely society—that would not matter so much perhaps—but also the mind of the individual.”

For America, before the declaration of intellectual independence, Beaglehole says that “Culture, the life of the mind, still came from the east.” Ambitious Americans travelled to England, to be “in contact with the heart of things”:

“The expatriates come not from the colony, but from the province. The individual becomes mature—or rather, the potentially mature individual has the unease, the discontent, the growing pains that afflict him in a limited society, and he turns his eyes and his feet towards the metropolis. Nor is this simply a matter of the ambitious young person wanting to make his fortune; not inadequate fortunes are to be made in the province, as every shrewd metropolitan businessman knows. It is a matter of the provincial wanting more life, as a writer perhaps or an artist—to be in contact with the heart of things, even if the heart of things is felt in poverty in a garrett.”

And for the New Zealander prior to 1954, Beaglehole says (though we can ask whether the same is still true today) that:

“For the New Zealander, to go home was to go into exile; the New Zealander was like an Antaeus who sucked up not life but death from the soil, the death of the mind. Is this too melodramatic? Then consider the plight of the sensitive and articulate New Zealanders who have lived much abroad. They are people torn in twain. They are a Katherine Mansfield, with “New Zealand in her bones”, but with New Zealand perforce taking on a rather romantic distant haze, of her own remembered childhood and youth; they are a Robin Hyde, who (to quote Mr McCormick) “knew her country with an intimacy and an understanding that few have equalled, but… was drawn by an irresistible compulsion to Europe where she was to meet her death”—her physical death; they are a John Mulgan, to the first few paragraphs of whose Report on Experience I refer you; they are others to whom I have talked within the last five years, and for whom it is, now, too soon, or too late, to come back.”

After that declaration of intellectual independence America had its own tradition, its own culture, that meant its citizens were not to go into exile should they come home—and it is that idea of how New Zealand might come to have the same thing that Beaglehole takes up in the rest of the lecture:

“Must we continue to consider him as a “post-graduate scholar”, fleeing to the other end of the earth for salvation, driven back only by circumstance to a state where he feels damned? My autobiographical fragment will show that my own answer to this has become No; and I think that the concept of tradition may give us a lead into the function that should be his.”

Beaglehole is using Emerson’s definition of a scholar as man thinking. This is a broad definition and allows for not only academics but writers and artists and musicians, people of any kind who use their minds to “enlarge the world”. And it is the creation of a tradition by people thinking that can allow life to be “rich and varied” in a place that is not already a cultural ‘centre’:

“Now existence in a provincial context can be very satisfying if the province communicates life: if the individual, however highly cultivated (I do not say the intellectual snob) can feel at home in it, and has demands made upon him that he feels it worth while to meet. The province will communicate life only if it has a rich and varied life; and the province that has a rich and varied life has a rich and varied tradition.”

How, then, can the province have a rich and varied life, and therefore a rich and varied tradition? This takes Beaglehole to the thrust of his lecture, of the very role of the scholar, of anyone thinking deeply in the country. It is this passage that stands out for me of the whole lecture, particularly where Beaglehole draws attention to the double role that thought must play, being both within the “old-world tradition” and the “tradition that is peculiar to ourselves”:

“A tradition is not a thing that just happens, and persists without the conscious knowledge of those it affects. If we are to profit from it in the best possible way, to extract from its riches the maximum nourishment, we must discover it. It needs critical enquiry, conscious exploration. It is the scholar’s job to make the tradition plain. As a scholar, he must be in the tradition; but he must also stand outside it, and with a double duty, to make real in New Zealand both the old-world tradition, that which we share with others, and the tradition that is peculiar to ourselves. He is concerned with the pattern of life we have got from our own past, as a community in this country, and so with our sense of the age we live in, in this place now. Our scholar, for this purpose, tended to be a literary critic; but in a broad sense he must be a historian, whether his subject-matter be literature, art, politics, economic development, social relations of any sort at all… Whatever he is, he must be conscious of what he is doing, he must be critical.”

Beaglehole draws attention to a tension in T. S. Eliot’s writing, where he says at one point that tradition must be “in the blood”, but that we must also obtain it “by great labour”. But, Beaglehole says,

“I do not think the paradox that emerges from the changed emphasis of the Eliotian mind is at all a real contradiction. For our scholar, our critical historian, is also according to the measure of his greatness in some sort a creator. As he disentangles our tradition, as he makes us conscious of ourselves, he gives us ourselves.”

The measure of success of New Zealand’s culture and tradition might be measured not in how many New Zealanders we manage to encourage to stay in this country for study and beyond, but, rather, how many of those New Zealanders who do leave happen to come back:

“We can, I think, discern with due joy some auspicious signs of the coming days. It would not be auspicious if fewer New Zealanders left New Zealand; I would increase the flow from the province to the metropolis… Obviously some, having gone, will never find it in their hearts to come back. But a province with a tradition rich enough, with a pattern of life varied enough, with a sense of its own identity and its own time lively enough, will always bring enough of them back.”


More on Beaglehole:

“I think I am becoming a New Zealander”: Letters of J. C. Beaglehole, edited by Tim Beaglehole

A Life of J. C. Beaglehole, by Tim Beaglehole

J. C. Beaglehole: Public Intellectual, Critical Conscience by Doug Munro