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Artistic Identity in the Published Writings of Margaret Thomas (C1840-1929)
University of Wollongong Research Online University of Wollongong Thesis Collection 1954-2016 University of Wollongong Thesis Collections 1993 Artistic identity in the published writings of Margaret Thomas (c1840-1929) Lynn Patricia Brunet University of Wollongong Follow this and additional works at: https://ro.uow.edu.au/theses University of Wollongong Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorise you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: This work is copyright. Apart from any use permitted under the Copyright Act 1968, no part of this work may be reproduced by any process, nor may any other exclusive right be exercised, without the permission of the author. Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. A court may impose penalties and award damages in relation to offences and infringements relating to copyright material. Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. Unless otherwise indicated, the views expressed in this thesis are those of the author and do not necessarily represent the views of the University of Wollongong. Recommended Citation Brunet, Lynn Patricia, Artistic identity in the published writings of Margaret Thomas (c1840-1929), Master of Creative Arts (Hons.) thesis, School of Creative Arts, University of Wollongong, 1993. -
Art Collectors in Colonial Victoria 1854 - 1892
ART COLLECTORS IN COLONIAL VICTORIA 1854 - 1892 : AN ANALYSIS OF TASTE AND PATRONAGE. Gerard Vaughan B.A. Honours Thesis 1976 Volume I. TABLE OF CONTENTS VOLUME 1 Introduction i - v Chapter 1 The Loan Exhibitions before 1880 1- 8 Chapter 11 The Taste for Prints 9 - 11 Chapter 111 The Collectors 12-47 Chapter 1V Collectors and the International 48 - 51 Exhibitions - A Resume Chapter V The Interest in Foreign Art 52-62 Chapter V1 The Dealers 63 - 78 Conclusion 79 - 82 VOLUME 11 Footnotes - Introduction Chapter 1 1- 4 Chapter 11 5- 7 Chapter 111 8-24 Chapter 1V 25-26 Chapter V 27 - 30 Chapter Vi and conclusion 31-37 Appendix A Holdings of Major Art Collections 38-59 Appendix B Furniture and Sculpture 60-62 Appendix C List of Illustrations 63 - 66 Appendix D A Note on Picture Galleries 67 Appendix E Patrons of Melbourne Artists in 68 - 86 the 1880s VOLUME 111 Illustrations ART.COLLECTORS IN COLONIAL VICTORIA 1854-1892; an analysis of taste and patronage. INTRODUCTION My examination of the holdings of private art collections in Victoria before 1892 is confined to British and European art. It was to Britain that taste was oriented, and the emerging group of Australian painters made little impact upon those patrons and collectors recognized as being the cultural leaders of the community. It would have been difficult to incorporate my research on collectors of Australian art in an essay of this length. I have therefore confined myself to a number of general observations set out in Appendix E. These may be useful in better understanding a part of the background against which British and European art was collected. -
[email protected] Contact Phone Number
Name: * Chris Thrum Email address: * [email protected] Contact phone number 0422066973 (optional): Please indicate which Future Melbourne Committee meeting meeting you would like to make a submission to by selecting the appropriate button: * Date of meeting: * Tuesday 7 February 2017 Agenda item title: * Agenda Item 6.1 Metro Tunnel Project and Management of Burke and Wills Memorial Please write your submission in the space provided below and submit by no later than noon on the day of the scheduled meeting. We encourage you to make your submission as early as possible. Dear City of Melbourne Committee Meeting Group Officers This is a written submisssion in regards to the Future Melbourne Committee Meeting no. 5 , 7th February 2017 5.30pm. It is in regard to Agenda Item 6.1 Metro Tunnel Project (MTP) and Management of Burke and Wills Memorial (Memorial). The Memorial will have to be moved from its present location to a secure site, whilst the Metro Tunnel Project works are undertaken. I support the recommendation from the Management Group, to remove the Memorial and to have restoration work applied to this important Memorial (Key Issue 11) . The City of Melbourne Art and Heritage Collection Program Advisory panel, support the Memorial being returned to the current site, after the Metro Tunnel Project work at the City Square site is complete (Key Issue 8). The cost for the removal and restorative works, storage and re-installation will be met by the MTP (Key Issue 9). In regards to (Key Issue 11.3) the request by the Royal Society to have the Memorial re-located to a new location has merit, and further discussion on this may be appropriate. -
Atomic Thunder: the Maralinga Story
ABORIGINAL HISTORY Volume forty-one 2017 ABORIGINAL HISTORY Volume forty-one 2017 Published by ANU Press and Aboriginal History Inc. The Australian National University Acton ACT 2601, Australia Email: [email protected] This title is also available online at press.anu.edu.au All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior permission of the publisher. Aboriginal History Incorporated Aboriginal History Inc. is a part of the Australian Centre for Indigenous History, Research School of Social Sciences, The Australian National University, and gratefully acknowledges the support of the School of History and the National Centre for Indigenous Studies, The Australian National University. Aboriginal History Inc. is administered by an Editorial Board which is responsible for all unsigned material. Views and opinions expressed by the author are not necessarily shared by Board members. Members of the Editorial Board Maria Nugent (Chair), Tikka Wilson (Secretary), Rob Paton (Treasurer/Public Officer), Ingereth Macfarlane (Co-Editor), Liz Conor (Co-Editor), Luise Hercus (Review Editor), Annemarie McLaren (Associate Review Editor), Rani Kerin (Monograph Editor), Brian Egloff, Karen Fox, Sam Furphy, Niel Gunson, Geoff Hunt, Dave Johnston, Shino Konishi, Harold Koch, Ann McGrath, Ewen Maidment, Isabel McBryde, Peter Read, Julia Torpey, Lawrence Bamblett. Editors: Ingereth Macfarlane and Liz Conor; Book Review Editors: Luise Hercus and Annemarie McLaren; Copyeditor: Geoff Hunt. About Aboriginal History Aboriginal History is a refereed journal that presents articles and information in Australian ethnohistory and contact and post-contact history of Aboriginal and Torres Strait Islander people. -
Burke and Wills Conference 4 June 2011 Queensland History Journal
Queensland History TheRoy alRoyal Historical Historical Society Society Journalof Queensland Burke and Wills Conference State Library of Queensland, 4 June 2011. FEBRUARY 2012 VOL. 21, NO. 8 Queensland History Journal Policy The Royal Historical Society of Queensland welcomes papers on the history of Queensland as well as the Commonwealth of Australia and adjacent islands of the Pacific. However, unless the topic is of national significance, papers relevant solely to states other than Queensland are not normally published. Authors need not be members of the Society. Manuscripts should not exceed 6000 words (including endnotes) and the submission of short papers is encouraged. Papers are editorially reviewed. Peer review is available for academics on request. Manuscripts may be submitted by email to journal@queenslandhistory. org.au or by hard copy to the Editors, Queensland History Journal, PO Box 12057, Brisbane George Street, Qld, 4003. They should be typed using double spacing with ample margins. Hard copies should be printed on one side of the page. Maps, photographs or other illustrations may be submitted as hard copies or digitally as jpg files. Further requirements for submission are detailed in the Style Guide, which is available at www.queenslandhistory.org.au or on request from the Society. It is a condition of publication in the Queensland History Journal that the paper has not already been published or is not being published elsewhere. The author warrants to the Society that the article submitted to the Society for publication is an original work and does not contravene the Australian Copyright Act. Copyright in the original copy of any work published in the Queensland History Journal or published by the Society in any other form of work shall vest in and remain with the Society but the author shall have a licence to republish the work without permission from the Society. -
Finding Sir Redmond Barry Evidence of Zealous and Distinguished Labours Jason Benjamin
Finding Sir Redmond Barry Evidence of zealous and distinguished labours Jason Benjamin There are few who could claim looms large in the university’s early to have had such a fundamental history. He stamped his strongly held influence on the development of opinions on all aspects of the early Victoria’s cultural, educational and university, from its curriculum to its legal landscape as Sir Redmond Barry infrastructure. Barry’s enthusiasm, (1813–1880).1 A visionary with a dedication and hard work over the passion for the arts and learning, 27 years he served as chancellor were Barry was instrumental in establishing instrumental in building the strong some of Victoria’s most important foundations upon which today’s institutions, including the University university now stands. It is fitting then of Melbourne, the Melbourne Public that within the cultural collections Library (now the State Library of of the university can be found much Victoria) and the National Gallery evidence of Barry’s contribution to of Victoria. his adopted home. Archives, books, June 2013 witnessed the Barry was born in Ballyclough in furniture, artworks and other personal bicentenary of Barry’s birth. The County Cork, Ireland, in 1813, the objects give us an important glimpse occasion was marked by a number of third son of a well-established Anglo- of the man Barry was. events, public lectures and exhibitions Norman family.2 He graduated The University of Melbourne was organised by the University of from Trinity College, Dublin, with founded by an Act of the Victorian Melbourne, the State Library of a Bachelor of Arts in 1837 and was Parliament in January 1853. -
Society News
THE LINNEAN 1 Editorial The third issue of The Linnean contains the final part of last year’s Proceedings as well as the current Proceedings. From now on there will be more space available for members’ communications. In the last issue mention was made of the changing landscape. It now transpires that not only are our ancient woodlands under threat as a consequence of the EEC agricultural policy, but work is also soon to begin on draining and ploughing part of the largest expanse of wild wetland on the Norfolk Broads, the Halvergate Marshes, designated as a Grade 1 landscape. One farmer has agreed to refrain from ploughing for a year in return for compensation of E258 per acre, while a further proposal has been drawn up by the Environment Department to compensate another four landowners involved-by paying them E1.5 million! Perhaps Wallace was right in his proposition of 1880 that “Unrestricted private property in land is inherently wrong, and leads to grievous and wide-spread ills”. The attempts to develop land, however, do not always succeed, and it is good to learn that the green belts around our cities (the setting up of which was one of Wallace’s original suggestions in Land Nationalization: its Necessity and its Aims 1882) are still to remain sacrosanct. As you may have read in the last number during the 1982-83 Session the British Ecological Society took up residence with us at Burlington House and the Society for Experimental Biology joined us this January. The Mammal Society’s registered office has been here since last October. -
La Trobe's Garden City and the Lost Sculptures of Fitzroy Gardens
N J Caire, 1837-1918, photographer Fitzroy Gardens, central roundel, c.1880 Albumen silver photograph Pictures Collection, State Library Victoria, H87.269/21 Borghese Gladiator (Roman copy of a Greek original, now in the Musée du Louvre) La Trobe’s Garden City and the Lost Sculptures of Fitzroy Gardens By Dr Monique Webber Monique Webber is an Honorary Fellow, Classics and Archaeology, School of Historical and Philosophical Studies, The University of Melbourne. She held the C J La Trobe Society Fellowship for 2017/2018 at State Library Victoria. Her doctorate focused on visual culture and the analysis of Roman art and architecture. She teaches and writes about history, design, and visual culture; and is also active in art journalism, and academic community engagement. This is an edited version of an address given at the C J La Trobe Society Annual General Meeting, 1 August 2018 at the Lyceum Club, Melbourne. The presenter acknowledges the Traditional Owners of the lands on which she lives and works; and pays respect to the Elders past, present and to the future. In the context of this presentation, which discusses a post-settlement history of Melbourne and its physical environment, the term ‘Melbourne’ refers to the post-1836 city. hen La Trobe arrived in the My project, as the 2017/2018 State Port Philip District in 1839, he Library Victoria La Trobe Society Fellow, was declared the nascent colonial to uncover the history of these ‘lost’ sculptures. settlement to be ‘16,000 miles Installed in the mid-1860s as a collective Wfrom civilization’.1 He did not intend for it to emblem of cultural aspirations, and removed remain that way. -
Footprints JOURNAL of the MELBOURNE DIOCESAN HISTORICAL COMMISSION Volume 34, Number 1 June 2019
footprints JOURNAL OF THE MELBOURNE DIOCESAN HISTORICAL COMMISSION Volume 34, Number 1 June 2019 The Invention of Melbourne A Baroque Archbishop and A Gothic Architect James Goold, first Catholic Bishop of Melbourne. Portrait c1859 from the collection of the Religious Sisters of Mercy Melbourne William Wardell, Jesus in the Temple found by his parents, Architect c1858. by Jacques Stella 1642. Canvas 302 by 219 cm. Photo from the Baptistery of St Patrick’s Cathedral Melbourne MDHC Archive Old Treasury Building Museum 31 July 2019 – March 2020 IN TH I S ISSUE Catalogue for the Exhibition The Invention of Melbourne: A Baroque Archbishop and a Gothic Architect. Old Treasury Building, 31 July 2019–March 2020 With grateful acknowledgment to the Australian Catholic University Melbourne for financing the printing of this catalogue. A special acknowledgment to Paola Colleoni and Rachel Naughton who have compiled the catalogue. * Acknowledgments .......................................................................................... 2 * Editorial ......................................................................................................... 3 * The Invention of Melbourne: A Baroque Archbishop and a Gothic Architect ...................................................................................................... 4 * Room 1: Growing ambitions: Goold, Wardell and St Patrick’s Cathedral ... 4 * Room 2: A Baroque Picture Collection to Excite Devotion ....................... 18 * The Library of Archbishop Goold .............................................................. -
Public-Figures-Catalogue.Pdf
Front Cover Loretta Quinn Digital collage of Beyond the Ocean Burke and Wills by of Existence, 1993 Charles Summers bronze on granite and Vault by Ron plinth Robertson–Swann For the first time a selection of 20th century. Relevant books, maquettes and models of sculptures in catalogues, newspaper articles and central Melbourne, from the collection statements by the artists on display of the City of Melbourne, plus works give added information and touch on sourced from private collections and some of the controversies. various institutions, are on display in The exhibition catalogue contains a the City Gallery. The exhibits make simple map as a guide for those who, clear the emphasis on monuments and having seen the artist’s drawings or memorials during the 19th and early maquettes, wish to see the final work 20th centuries and the emergence of in situ. abstract public sculpture in the late Deborah Halpern Angel, 1987-89 SCULPTURE IN THE CITY steel armature, painted ceramic tiles KEN SCARLETT on ferro-cement In the collection of the National Gallery of Victoria This exhibition of maquettes, models The sculptor Charles Summers rose and artist’s drawings acts as a potted to the occasion with a larger than life- history of public sculpture in the sized depiction of Burke and Wills central area of Melbourne. It enables which, astonishingly, he cast himself the visitor to view the sculptor’s initial in a foundry he built at the top of ideas and compare with the finished Collins Street. The sculptor exhibited sculpture, particularly if they sally his knowledge of classical sculpture, forth, map in hand to inspect the work for the seated figure of Wills has in situ. -
National Gallery
I\) \ I 1871. VICTORIA. REPORT OF THE TRUSTEES OF THE PUB'LIO LIBRARY, MUSEUJ\fS, AND NATIONAL GALLERY OF VIOTORIA WITH THE REPORTS, OF THE SECTIONAL COMMITTEES, FOll. TEE Y1U,ll. 1870-1. PRESENTED TO BOTH HOUSES OF PARLIAMENT RY HIS EXCELLENCY'S COMMAND. PUll.SUANT TO ACT OF PARLIAMENT 33 VICT. No. 357, SEC. 7. \;)1 .utfJOtil~: JOHN FERRES, GOVERNMENT FRINTER, MELBOURNE. No.lS. APPROXIMATE COST. OF REPORT. :£ •• d. Preparation-Not given. Printing, with Plans, &c. (750 copies) 110 0 0 I lIt ; -U/,V'ij S V7YJ.L tUff.1Y ! ~ ~ ~.. ~ "'-"" J ,§~ ~ ~~ ...' ~ ~~ ~ ~ ~~ ~ iJg~ .~ , ~l. ~, j " '"~ 4~ " ki' ~ ~.::, ~ ~ ~ , , ~ ..,N , Nr- l·~ ;S % '~] . "-l ~ "'" ~ '" ~ ~Vj ~ "" ~ i~ ~ L ~ .~ ~ l~ .. lJ ~ ''i ~ ~~~ -- ~ /// I S'Yl'pni"""2f7VJl. ,- 1?JI:J::J FLIHrn,H, ~ r" , _ ;'lniLJ?4L qnp·./.fl~ ~ il.:cp()d, I "7£.Sl7:;1tU-fI ,--.." I '4;i,sV:;UiT r,j '1£!!r.~-iur:[ k1 N I ' , j , \ ~ 5']?~' os ~ I ~97p.Afl ~~ J 1'7Lnp..ifl'SZm.n~· \ ~S' .f l(£ ~~ fht.~<nfT 'rmy ''7fmufT' , ~J2l2I~ 1 '~ '\ ~, ~ ~ [_:::~,J ~ REPORT OF THE TRUSTEES OF TIlE PUBLIC LIBRARY, MUSEUMS, AND NATIONAL GALLERY OF VICTORIA. , •• ,' ,I J' A 2 THE TRUSTEES OF THE _uulic liuml'J11 ~USl£Umll, amI ~atimml &alluJJ D1f ttlfitnria. , ' President.-His Honor Sir REDMOND BARRY. Vice-President.-The Honorable ARCHIBALD MICHIE. For 1870-1871. I The Honorable Sir WILLIAlII FOSTER STAWELL. The Honorable Sir .JAlIlES F. PALMER, M.L.C. The Honorable Sir FRANCIS MURPHY, M.L.A. 'DAVID C. MACARTHUR, Esq. The Honorable ,Tnol\IAs HOWARD FELLOWS, M.L.A. The Honorable JOHN O'SHANASSY, l\LL.C. -
Art That Never Was: Representations of The
Great art is precisely that which never was, nor will be taught, it is pre-eminently and finally the expression of the spirits of great men. John Ruskin, Modern Painters (1843-60), Vol.3, 4.3.28. 1 Acknowledgements For guidance and support in writing this thesis I would like to thank my supervisor Professor Elizabeth Webby, particularly for her acute, scholarly advice on Australian literature and encouragement of my occasional excursions into art history. I would also like to acknowledge my association with the University of Sydney, particularly the University Art Collection, which has been a continual source of stimulating ideas. Thanks are also due to friends and collegues for their interest in this thesis, and to my husband and sons for their generous support and inspiration. 2 Table of Contents List of Illustrations 4 Introduction 8 1. The Artist Figure in International Literature 17 2. The Artist Figure in novels by Eleanor Dark and the Influence of Vitalism in Sun Across the Sky (1937) and Waterway (1938) 45 3. Patrick White’s Artist Figures in The Tree of Man (1956) and Riders in the Chariot (1961) 80 4. White’s development of the Artist Figure in The Vivisector (1970) 124 5. Barbara Hanrahan’s female Artist Figures in Sea-Green (1974), Kewpie Doll (1984), Michael and Me and the Sun (1992) and The Frangipani Gardens (1980) 179 6. Violence and Desire in Sue Woolfe, Painted Woman (1989); the female Artist Figure and her declining male counterpart 225 7. The Artist Figure as a vehicle for preoccupations of the author in David Malouf, Harland’s Half Acre (1984) and Davida Allen, The Autobiography of Vicki Myers (1991) 243 Conclusion 272 Bibliography 280 3 LIST OF ILLUSTRATIONS All works are executed in oil on canvas unless otherwise stated.