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Women of Substance: the Arrival

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Women of Substance: the Arrival MODERN ART WOMEN OF SUBSTANCE: THE ARRIVAL OF THE MODERN In a conservative Australian art world dominated by men and their landscapes, it was female artists who ushered in a brave new world of early 20th-century modernism. by MARGARET BARCA By the early 20th century, a The Australian artistic diaspora the key figures challenging the status quo seismic shift in painting was was already well entrenched in the early in art were often women. Well-travelled, sweeping away traditional 1900s, with a steady flow of established articulate, innovative, and in defiance of realism in Europe with avant-garde artists – George Lambert, Hugh Ramsay, the social norms, stereotypes and constraints artists seeking radical new ways of Max Meldrum, E. Phillips Fox, John of the day, these women led the way in expression – art for a new world. The Longstaff, Tom Roberts – making their way painting and printmaking in the radical Post-Impressionism of Cézanne, the to the UK and Europe, often for several new styles. fragmented picture planes of Cubism, years and sometimes forever. The first truly Post-Impressionist work the wild colours of Fauvism, and the They left behind a powerful group to be exhibited in Australia2, the daringly aesthetics of African and Oceanic of artists, critics and gallery directors who modern The Sock Knitter (1915), art emerging in Picasso’s work were were anti-modern, often vehemently so. was painted by Grace Cossington Smith shattering conventional notions of Bernard Hall, director of the National (1892–1984). The flattened picture plane, what could even be considered art. Gallery of Victoria and head of the colour blocking, broad brush strokes In Australia, however, the ‘Golden Art School from 1891, a position he held and stylised forms seem more typical of Summers’ school of painting, which had for more than four decades, was deeply a Matisse or a Cézanne than a painting given Australian painting ownership conservative; Lionel Lindsay deplored the emerging from the suburban Sydney of the landscape, cast a long shadow. ‘malady of modern art’; Howard Ashton was studio of a 23-year-old female artist. Landscape painting was still largely the an aggressive opponent of modernism; JS Cossington Smith had studied drawing dominant genre and was itself dominated MacDonald, a prolific art critic and director at Sydney’s Julian Ashton Art School under by men. Arthur Streeton, Hans Heysen, at the National Art Gallery of NSW and later Italian artist Antonio Dattilo-Rubbo, a Walter Withers, Frederick McCubbin the National Gallery of Victoria was, says progressive who introduced his students, and others continued to capture the historian Geoffrey Serle, “blindly hostile through reproductions, to aspects of light and the lay of the land but – with to nearly all 20th century painting and modernism. rare exceptions – these paintings were much before”1. After two years in Europe, she returned weighted by convention and seemingly Yet the tsunami of change could not be to Australia on the eve of World War I. She oblivious to the changing world. stopped. And whilst the old guard was male, resumed classes, set up a studio at her ▼ 20 ARTLIFE : Australian Decorative and Fine Arts Societies Australian Decorative and Fine Arts Societies : ARTLIFE 21 MODERN ART Previous page: Grace Crowley Miss Gwen Ridley 1930 Glen Riddle, Barraba, NSW Oil on canvas on board 72 x 53cm Purchased 1995 with the assistance of South Australian Government Grant Art Gallery of South Australia, Adelaide parents’ house on Sydney’s north shore painting traditional landscapes and and began painting in earnest. sentimental rural scenes. That was It’s uncertain how much of the all about to change. modernist movement Cossington Smith In 1926, she travelled to Europe had absorbed in Europe, but she had with artist Anne Dangar, who was on a certainly encountered modernism through pilgrimage in search of Cézanne. They lived another of Dattilo-Rubbo’s students, and studied with some of the foremost Norah Simpson (1895–1974). Simpson modernist teachers in Paris, met leading had visited London in 1912, studied at contemporary artists and theorists, visited the eminent Westminster School and met Cézanne’s studio in Aix-en-Provence, members of the progressive Camden and travelled extensively. Crowley Town Group. In Paris she’d encountered returned to Australia in 1930, well versed original works by Matisse, Picasso, in dynamic symmetry and Cubist theory Van Gogh and Gauguin. She returned to and proceeded to paint some of the most Sydney with reproductions and first-hand radical works of the time. knowledge about the latest art and artists Crowley’s Portrait of Gwen Ridley (1930) in London and Paris. Dattilo-Rubbo and was one of the earliest cubist paintings his students welcomed the information, done in Australia and an Archibald Prize but for Cossington Smith, the possibilities entry. It reflects the effect of her French of this modernism proved inspirational. studies with its emphasis on geometry, Cossington Smith was wide-ranging flattened planes and the rhythmic repetition in her subjects, tackling contemporary of curves with a wonderfully monumental interiors and still life, as well as landscape figure, in many ways reminiscent of and urban scenes. Her paean to the new Picasso’s Gertrude Stein portrait (1905–06). Sydney Harbour Bridge, The Bridge in In 1932, she established a studio in Curve (c1930), one of a series, is a deft George Street, Sydney with artist Rah modernist masterpiece. Brilliant colour, Fizelle, which became a hub for some of rhythmic patterns and radiating brush the more avant-garde of the modernists. strokes convey the energy and dynamism After closing the Crowley–Fizelle school of the construction. It is modernist in in 1937, Crowley and painter Ralph Balson technique, style and spirit. focused increasingly on abstraction. ▼ Cossington Smith may have led a quiet life in Sydney but her output was prodigious. Although her work was considered radical, especially in the 1920s and ’30s (The Bridge in Curve was rejected by the Society of Artists for the 1930 exhibition), she became Sydney’s pre-eminent painter between the wars. Her work became increasingly colour- and light-drenched, and her luminous Left: Above: works continued to evolve. For Margaret Rose Preston Clarice Beckett BECKETT’S WORK DEMONSTRATES Australia; England; France Wet Evening c.1927 decades, Cossington Smith captured (1875–1963) Oil on cardboard A RESTRAINED SENSIBILITY, WHICH both public and private moments with Implement blue 1927 25.7 x 30.4cm a rare gift for colour and unique vision Oil on canvas on hardboard Maud Rowe Bequest, 1937 COULD WELL BE VIEWED AS A of her world. 42.5 x 43cm Image courtesy Castlemaine Art Art Gallery of New South Wales Gallery and Historical Museum, FORERUNNER TO MINIMALISM Another artist who moved Gift of the artist 1960 Castlemaine, Victoria increasingly towards abstraction was Photo AGNSW Grace Crowley (1890–1979), who had © Margaret Rose Preston Estate/ Licensed by Viscopy 2015 been an exemplary student and then teacher at the Ashton Art School 22 ARTLIFE : Australian Decorative and Fine Arts Societies Australian Decorative and Fine Arts Societies : ARTLIFE 23 MODERN ART ELEURA A THEATRE OF THE PAST THE KLYTIE PATE TREASURY In 1941, Balson had the first exhibition of B entirely abstract paintings in Australia. Crowley showed her first abstract the following year. She continued to explore Q geometrical abstraction though she was n 1996 composer John Tallis not acknowledged for her work until the I bequeathed Beleura House and 1950s when a public gallery exhibited her Garden to the people of Victoria, with works for the first time. the aim of welcoming visitors to value Sydney Harbour Bridge: the lives of previous generations. reaching for the future Today at Beleura, talented young In Sydney in the 1920s, nothing symbolised progress and the city’s musicians are encouraged and headlong leap into modernity as presented, while the house and its powerfully as the construction of the Sydney Harbour Bridge. As it inched its splendid grounds, interiors and way across the water, transforming the archival material reflect the legacy city’s landscape, the bridge’s structural of John Tallis’ father, the well-known magnitude and vast forms inspired some of Sydney’s key modernist artworks. theatrical entrepreneur, Dorrit Black’s The Bridge (1930), Sir George Tallis. matched modernist technique to an emerging modernist icon. Black (1891–1951) exhibited the work, A small collection of work by ceramic considered Australia’s first cubist artist, Klytie Pate, was part of this landscape, at her debut solo show at Sydney’s Macquarie Galleries after legacy and has since expanded to returning from Europe in 1929. Finely become the Klytie Pate Treasury. balanced geometric forms, sharp edges, bold curves and harmonious, if unexpected, colours convey the rhythm of the monolith and the harbour landscape. Q For Information telephone Black had studied art in Adelaide or see our website. before arriving in Sydney in 1915 to study and teach at the Julian Ashton Art T: 03 5975 2027 F: 03 5977 1021 School. In 1927, she studied printmaking E: [email protected] W: www.beleura.org.au at London’s Grosvenor School of Modern Art. She went on to exhibit her linocuts at a significant exhibition in London and Above: Centre in 1933, eventually returning to then studied with Cubists André Lhote Grace Cossington Smith Adelaide to care for her mother. However, The Sock Knitter 1915 and Albert Gleizes in France. Oil on canvas she continued to paint and later resumed In 1930, Black opened The Modern 61.8 x 51.2 x 1.7cm teaching, with one of her best-known Art Centre as an alternative to the Art Gallery of New South Wales students, Jeffrey Smart, acknowledging Purchased 1960, Art Gallery of NSW traditional academies in Sydney.
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