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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. 1. Ronald Searle, La Vie de Bohème, 1961. Illustration from Tom Wolfe, Painted Word, p.16. 2. Claude Monet, Camille Monet on her Deathbed, 1869. Musèe d’Orsay, Paris. 3. Margaret Thomas, Portrait of Charles Summers, c.1886. State Librtary of Victoria. 4. Charles Condor, Self Portrait as Eugène de Rastignac, 1905, blue chalk on pale blue paper. National Portrait Gallery, London. 5. Norman Lindsay, Cora, a tribute to Vitalism, n.d. Illustration from Norman Lindsay, The Age of Consent, p.35. 6. Elioth Gruner, Over and Beyond, 1926. Owner not known. 7. Francisco Goya, Saturn Devouring his Children, 1821-3. Museo del Prado, Madrid. 8. Margaret Preston, Implement Blue, 1927. Art Gallery of New South Wales. 9. Ivor Francis, Speed, 1931. Art Gallery of New South Wales. 10. Raynor Hoff, Idyll: Love and Life, 1923-1926. Art Gallery of New South Wales. 11. Raynor Hoff, Sacrifice, 1931-34. Sculpture. The Anzac War Memorial, Sydney. 12. Norman Lindsay, Illustration to Tom O’Bedlam, n.d. Owner not known. 13. Raynor Hoff, Faun and Nymph, 1924. Sculpture. Art Gallery of New South Wales. 14. Margaret Preston, Banksia, 1927. Owner not known. 15. Elioth Gruner, Spring Frost, 1919. Art Gallery of New South Wales, Gift of F.G.White, 1939. 16. William Dobell, The Dead Landlord, 1936. Private Collection. 17. J.W.M. Turner, Interior at Petworth, (detail), c.1837. Tate Gallery, London. 18. Auguste Renoir, Bather (known as La Coiffure), 1885, Sterling and Francine Clark Art Institute, Williamstown, Massachusetts. 19. Odilon Redon, Chariot of Apollo, c.1912. Musée du Petit Palais, Paris. 4 20. Odilon Redon, Chariot of Apollo, c.1908. Musée des Beaux Arts, Bordeaux. 21. Albert Namatjira, Ghost Gum, Central Australia, c.1950. Art Gallery of South Australia. 22. James Gleeson, The Citadel, 1945. National Gallery of Australia, Canberra. 23. Peter Paul Rubens, Descent from the Cross, 1611-14. Cathedral, Antwerp. 24. Albert Tucker, Images of Modern Evil 24, 1945. National Gallery of Australia, Canberra. 25. Oskar Kokoschka, The Bride of the Wind, 1914. Kunstmuseum, Basel. 26. Albrecht Dürer, Lamentation over the Dead Christ, n.d. Pinakothek, Munich. 27. James Gleeson, The Sower, 1944. Art Gallery of New South Wales, 1966. 28. Roy de Maistre, The Studio, 13 Eccleston Street, n.d. Art Gallery of New South Wales, 1996. 29. Eugène Boudin, The Beach at Trouville, n.d. National Gallery, London. 30. Henri Matisse, Portrait of Madame Matisse. The green line, 1905. Statens Museum for Kunst, Copenhagen. 31. Pierre Bonnard, Nude in the Bath with Small Dog, 1941-46. Carnegie Museum of Art, Pittsburg. 32. Ernst Ludwig Kirchner, Self-portrait as a Soldier, 1915. Allen Memorial Art Museum, Oberlin College, Oberlin, Ohio. 33. Peirre Bonnard, Large Blue Nude, 1924. Private Collection. 34. Georges Rouault, Circus Woman (La Saltimbanque), 1906. Musée de Peinture et Sculpture, Grenoble. 35. Sidney Nolan, Temptation of St. Anthony, 1952. Art Gallery of South Australia, anonymous loan. 36. Max Ernst, The Elephant of the Celebes, 1921. The Elephant Trust, London. 37. Joseph Sacco, Oeil de jeune femme, 1844. The Ménil Collection, Houston-New York. 38. James Gleeson, Synaptic Displacement, 1958. Art Gallery of New South Wales. Gift of Patrick White, 1970. 39. René Magritte, The Rape, 1934. The Ménil Collection, Houston. 5 40. ‘George Grosz at work on his self-portrait’. Photograph from John Willett, The New Sobriety, p.189. 41. Max Beckmann, Self Portrait in Tuxedo, 1927. Busch Reisinger Museum, Harvard University. 42. Max Beckmann, Dance in Baden-Baden, 1923. Staatsgalerie Moderner Kunst, Munich. 43. Cycladic female figure, 2800-2200 B.C. Sculpture. National Museum, Athens. 44. Francisco Goya, The sleep of reason produces monsters, from Caprichos, 1799. engraving. 45. Roland Wakelin, The Skillion, Terrigal, c.1928. Collection J. Murray. 46. Lucas Cranach the Elder, The Three Graces, 1531. Collection Frau J. Siligmann, Paris. 47. Sidney Nolan, Rosa Mutabilis, 1945, Private Collection. 48. Sidney Nolan, Patrick White and The Galaxy, (1957-58. Art Gallery of New South Wales. Gift of Patrick White, 1974). Photograph, Axel Poignant, London. 49. Barbara Hanrahan, Floating Girl, 1963. Drypoint etching. 50. Barbara Hanrahan, Poppy Day, 1982. Colour screenprint. 51. Barbara Hanrahan, Diseased Boy, 1966. Colour lithograph. 52. Barbara Hanrahan, Iris in her Garden, 1979. Hand coloured etching. 53. Nicholas Poussin, The Realm of Flora, c.1631. Staatliche Kunstsammlungen, Dresden. 54. Antonio Joli, The Royal Progression at Piedigrotta, 18th century. Museo Nationale di San Martino, Naples. 55. Barbara Hanrahan, Adam, 1964. Etching. 56. Barbara Hanrahan, Anatomical Study, 1966. Etching. 57. Barbara Hanrahan, Wedding Night, 1964. Colour etching. 58. Barbara Hanrahan, Woman and Herself, 1986. Linocut. 59. Barbara Hanrahan, Doll Kewpie, 1983. Etching. 60. Barbara Hanrahan, Dear Miss Ethel Barringer, 1975. Etching. 61. Barbara Hanrahan, Michael and Me and the Sun, 1964. Colour etching. 62. Barbara Hanrahan, A Picture of Passion and Desire, 1964. Colour etching. 6 63. Arthur Boyd, The Orchard, 1943. National Gallery of Australia, Canberra. 64. André Derain, Portrait of Matisse, 1905. Tate Gallery, London. 65. Jon Molvig, The Lovers, 1955. Formerly Mertz Collection, now unknown owner. 66. Ian Fairweather painting Night Life, Bribie Island. 1962. Photo, Queensland Newspapers. 67. Davida Allen, Your Favourite Thing, 1991. Etching. 68. Davida Allen, These Parties are all the Same, 1991. Drawing. 69. Davida Allen, The Distress of space and barbed wire. 1991. Lithograph. 70. Davida Allen, This is not an old, long, colonial bath, 1991. Etching. 7 INTRODUCTION This thesis traces the development of the artist figure as a leading character in twentieth- century Australian novels. In Australia there have always been complex interconnections between the worlds of art and literature, perhaps the most obvious being the cluster of artists and writers centred on the journal Vision, co-edited by Norman Lindsay’s son Jack with Kenneth Slessor, who was heavily influenced by Lindsay. Slessor’s poem “Five Bells”, an elegy for his artist friend Joe Lynch, later became the subject of a mural painted for Sydney Opera House by John Olsen. Although this and other connections between poetry and art are of interest, this thesis concentrates on fiction only. Some years’ work as curator of a significant institutional art collection and as a lecturer in art history, together with a research degree in nineteenth-century art history, have provided me with the opportunity to write about both historical and living artists. This experience led me to the understanding that artists are often inarticulate or misleading about their own art, and the question arose as to what extent the reputation of artists depends on written discussion of their work. These thoughts were the genesis of the subject of this thesis, which asks whether a convincing artist character could be created in fiction and goes on to examine the means used to develop the fictional artist character. For the purposes of this study the figure of the imaginary artist as a character in a novel has been defined as a visual artist who produces easel paintings or artist’s prints. Sculptors, photographers and craft workers are excluded, although novels have been written about them. This thesis also excludes conceptual artists whose work relies solely on concepts that eliminate necessity for a concrete realization of their idea, although abstract concepts underpinning all art are referred to in discussion of the fictional artists. The characters analysed have much in common with the stereotype of the isolated artist figure with a privileged insight into the workings of society; an outsider who exploits 8 society through his or her art, who possesses an almost divine talent and is highly intelligent; however, this study also examines some exceptions to this type. The methodology followed in this thesis relies on a close reading and analysis of the selected texts, with detailed discussion of the novelists’ writing styles, utilizing elements of semiotic and structural analysis, and an iconological approach to some of the imagery. This is supplemented with reference to contemporary literary criticism, and argument from art history and theory, French philosophy, psychology, classical mythology and the preoccupations of society at the time the novels were written.
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