English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Tools annual

Global: Zendy Free Plan

Global: Zendy Tools monthly

Global: Zendy Plus monthly

Theodorus Johannes Schoon (1915–1985) was a pioneering painter, printmaker, photographer, gourd and jade carver, and ceramicist. A Dutchman born and raised in Indonesia, he arrived in Aotearoa in 1939, where he used his sense of difference and being out-of-place to make art that challenged Pākehā attitudes and cultural values. This article considers how Indonesian art and Dutch colonialism prepared Schoon for his encounter with Māori art, resulting in an extraordinary and complicated relationship that left its mark on the visual arts in Aotearoa. Figure 1: Theo Schoon, 13 December 1952. Photograph by Steve Rumsey. Te Papa Tongarewa, O.027677. Later in his life, when Theo Schoon would summarise his personal history for new acquaintances, his early years in Java were always foremost in his mind. He might say, for example, that he was born of Dutch parents in Indonesia, and trained as an artist in Europe, before returning to Java where he worked as a portrait painter, making paintings of court dancers and the concubines of the local Rajahs. He would emphasise his abilities as a Javanese dancer, which he learned alongside the princes who were his schoolmates. He might talk about visiting Bali, where he also painted portraits of dancers, and met some of the celebrities who in the 1930s were visiting the

Theo Schoon and the case of the Pink Venus De Milo