John William Coley, a revered New Zealand painter, art critic, and influential gallery director, passed away peacefully in Auckland on March 17, 2026, at the age of 91. Born in Palmerston North on January 28, 1935, Coley dedicated his life to the visual arts, leaving an indelible mark on the cultural landscape of Aotearoa. He was the dearly loved husband of Fay, a much-loved father to Simon, Jason, and Sam, and a treasured Grandad to Sofia, Lulu, and Thomas. His passing is a significant loss to the New Zealand art community and to all who admired his vibrant work and profound contributions.

Coley's artistic journey began early, attending Palmerston North Boys' High School and taking evening art classes. He initially worked as a cadet reporter for the Manawatu Evening Standard, where he also honed his skills as an art reviewer. This early exposure to both creation and critique laid the foundation for a multifaceted career that would see him excel in various roles within the art world.

In 1955, Coley enrolled at the Canterbury College School of Art in Christchurch, graduating in 1957. His time there was formative, studying under notable artists like Russell Clark and Bill Sutton. During his studies, the institution moved from its city site to Ilam, and his fellow students included a remarkable cohort of artists such as Ted Bracey, Pat Hanly, Gil Tavener (Hanly), Ted Bullmore, Hamish Keith, and Bill Culbert. Following his graduation, he embarked on a teaching career, sharing his passion for art at Papanui High School and later at the Christchurch Teachers' College. Numerous former students and colleagues have shared personal tributes, highlighting his impact as a beloved art teacher, praising his humor, support, and ability to instill a deep appreciation for art.

His talent as a painter quickly gained recognition, leading to his first solo exhibition at Gallery 91 in 1959. The Press art critic Nelson Kenny reviewed the show, praising Coley's 'gift of a colourist' and 'good unforced feeling for paint,' noting his particular success in larger canvases. The following year, he began exhibiting with The Group, a significant association he maintained annually, with the exceptions of 1966 and 1968, until their final show in 1977. A pivotal moment came in 1964 when he received a Queen Elizabeth II Arts Council grant, enabling him to travel to the United States and broaden his artistic horizons.

Upon his return to New Zealand, Coley was instrumental in forming 20/20 Vision, a collective of young Canterbury artists dedicated to making art more accessible. This group notably produced commercially screen-printed artist prints, a pioneering effort to democratize art ownership. In 1967, he commenced his acclaimed 'Abacus series,' which would become his most recognized body of work. Examples of his work are held in prominent collections such as the Dunedin Public Art Gallery, Christchurch Art Gallery, Museum Of New Zealand, and Auckland Art Gallery.

Beyond his painting, Coley was a respected art critic for the Christchurch Star throughout much of the 1970s and contributed to Art New Zealand. His administrative leadership shone during his tenure as director of the Robert McDougall Art Gallery (now Christchurch Art Gallery Te Puna o Waiwhetu) from 1981 to 1995. His arrival was described by artist Steve Furlonger as 'the kiss of life' for the gallery. During this period, he was a strong advocate for contemporary art, overseeing the establishment of the Robert McDougall Contemporary Art Annex in 1988, which focused on local and international touring exhibitions with an emphasis on Canterbury art.

In recognition of his extensive contributions to the visual arts, John Coley was appointed a Member of the Order of the British Empire (MBE) in the 1989 Queen's Birthday Honours. After retiring from the gallery in 1995 to focus on painting, he continued to contribute to the arts through writing, publishing two biographies in 2000: 'Jane Evans' and 'Charles Luney: The Building of a Lifetime.' In his later career, John Coley faced a loss of vision due to macular degeneration, which led him to adapt his artistic practice. He ingeniously created collages with cut colored papers to bypass some of the technical challenges of painting, showcasing his enduring creativity. This innovative work was notably showcased in an exhibition titled 'John Coley: Double Vision Cut Paper Collages and Nightlights paintings' in 2012.

In 2007, John Coley and his wife, Fay, moved to Auckland to be closer to family. He continued to paint and exhibit, with his later works, particularly his 'Nightlights' series, reflecting his childhood in Palmerston North. His watercolours and journals chronicled a life rich with travel and a deep appreciation for landscapes and cityscapes. John William Coley's legacy endures through his vibrant artworks, his insightful criticism, and his dedicated service to fostering New Zealand's artistic talent. He is survived by his beloved wife Fay, his children Simon, Jason, and Sam, and his grandchildren Sofia, Lulu, and Thomas.