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PRIMARY Education Resource A break away! painted at Corowa, New South Wales, and Melbourne, 1891 oil on canvas 137.3 x 167.8 cm Art Gallery of South Australia, Adelaide, Elder Bequest Fund, 1899 PRIMARY Education resource Primary Education Resource 1 For teachers How to use this learning resource for primary students Tom Roberts is a major INTRODUCTION exhibition of works from the National Gallery of Australia’s ‘All Australian paintings are in some way a homage to Tom Roberts.’ Arthur Boyd collection as well as private and Tom Roberts (1856–1931) is arguably one of Australia’s public collections from around best-known and most loved artists, standing high among his talented associates at a vital moment in local painting. Australia. His output was broad-ranging, and includes landscapes, figures in the landscape, industrial landscapes and This extraordinary exhibition brings together Roberts’ cityscapes. He was also Australia’s leading portrait most famous paintings loved by all Australians. Paintings painter of the late nineteenth and early twentieth such as Shearing the rams 1888–90 and A break away! centuries. In addition he made a small number of etchings 1891 are among the nation’s best-known works of art. and sculptures and in his later years he painted a few nudes and still lifes. This primary school resource for the Tom Roberts exhibition explores the themes of the 9 by 5 Impression Roberts was born in Dorchester, Dorset, in the south of exhibition, Australia and the landscape, Portraiture, England and spent his first 12 years there. However he Making a nation, and Working abroad. studied at the National Gallery School, Melbourne and spent almost half of his life in Australia. Australia was the key subject of his art, and indeed, he made a major The work in this exhibition has strong curriculum contribution to the creative depiction of this land and connection for Years 3–6 of the Australian Curriculum. of our understanding of it. This learning resource includes background information on each of the themes for teachers along with curriculum Working together with Frederick McCubbin, Arthur links across the learning areas Visual Arts, Media Arts, Streeton and Charles Conder from 1885 to 1897, Roberts Humanities and Social Sciences, General capabilities and was part of the legendary group of Australian artists: the Cross-curriculum priorities when relevant. Australian Impressionists. With one or another of them he painted outdoors at Box Hill, Mentone (Beaumaris), Each thematic page designed for students begins with Eaglemont (Heidelberg) and Little Sirius Cove, producing a reproduction of Roberts’ paintings followed by a brief some of Australia’s most loved works of art. overview, activities and questions. Roberts travelled widely around Australia, and particularly to sheep stations in rural New South Wales. There he produced some truly iconic works—Shearing the rams, A break away!, The Golden Fleece 1894 and Bailed up 1895—works that are now embedded in the Australian psyche, as he intended. An original thinker, Roberts had a breadth of view. He was a born leader and mentor to younger painters, having an impact on his contemporaries, McCubbin, Streeton, Conder and Jessie Traill, and also on later Australian artists such as Elioth Gruner, Lloyd Rees, Arthur Boyd and Fred Williams. Primary Education Resource 2 FURTHER READINGS The catalogue for this exhibition is recommended as an additional resource as it includes an introduction to the exhibition by Anne Gray as well as themed chapters and catalogue entries. OTHER RESOURCES • R Radford, Tom Roberts, Art Gallery of South Australia, 1996 • Art Gallery of New South Wales website, Tom Roberts • A ustralian National Maritime Museum website, immigration history • A ustralian Curriculum Primary Education Resource 3 The Arts – Visual Arts: Year 3 and 4 AUSTRALIA AND THE LANDSCAPE • Explore ideas and artworks from different cultures and times, including artwork by Aboriginal and Torres Strait ‘There was something in the artist that, seeing beauty, Islander artists, to use as inspiration for their own could communicate it to those with him—never looked representations (ACAVAM110) hills so blue and dreaming distant; never trees on the • Use materials, techniques and processes to explore nearer slope so finely traced; never clouds massed so visual conventions when making artworks (ACAVAM111) bold and luminous as when his appreciation beside one seemed to see it into one’s own eyes …’ • Present artworks and describe how they have used Australian artist Jessie Traill describing Roberts, 1935 visual conventions to represent their ideas (ACAVAM112) When Roberts visited Melbourne for about a year at the • Identify intended purposes and meanings of artworks end of 1919 he wrote that: using visual arts terminology to compare artworks, ‘It all came back to me when I sat there with the blue starting with visual artworks in Australia including sweep of the [Dandenong] Ranges before me, and the visual artworks of Aboriginal and Torres Strait Islander sunshine warm and golden and the dear remembered peoples (ACAVAR113) beauty.’ The 1880s and 1890s were a time of change in Australian The Arts – Visual Arts: Year 5 and 6 art and a period when artists began to talk about an Australian tradition. They sought to portray subjects that • Explore ideas and practices used by artists, including they believed would distinguish Australian life from that practices of Aboriginal and Torres Strait Islander lived elsewhere. Roberts sought to create majestic images artists, to represent different views, beliefs that recorded the hard work of European settlers in and opinions (ACAVAM114) ‘taming’ the land. • Develop and apply techniques and processes when making their artworks (ACAVAM115) Movement, or its absence, is also central to these works. • Explain how visual arts conventions communicate The two shearing pictures are careful arrangements of meaning by comparing artworks from different social, figures in motion, in which he used the ideas of Eadweard cultural and historical contexts, including Aboriginal Muybridge to convey movement, while A break away! is an and Torres Strait Islander artworks (ACAVAR117) action picture that dramatically conveys man and animals in motion, counterpointed against the verticals and diagonals of the landscape. General capabilities Bailed up and In a corner on the Macintyre (The • Critical and creative thinking bushranger) 1895 form a pair, with the bushranger ‘bailing • Personal and social capabilities up’ the coach in one work and being ‘bailed up’ himself in the other. Roberts depicted these scenes in a matter-of- • Literacy fact manner, uninterested in creating a false sense of drama. They depict movement as stilled for a moment, a sense of breath held while under attack. In both works, Roberts also conveyed the glare and intense heat of summer in the Australian bush. Roberts returned to Australia permanently in 1923, and purchased a property at South Sassafras (later renamed Kallista) in the Dandenong Ranges, Victoria. There, he painted intimate landscapes in a low-key palette; works with sustaining qualities. As a commentator wrote in April 1932, in the catalogue foreword to Roberts’ posthumous exhibition at the Melbourne Fine Art Gallery, his late paintings ‘represent his love and poetic vision for all that is beautiful in Nature and his sympathy with the Australian landscape in its tenderest moods’. Primary Education Resource 4 • Explore ideas and practices used by artists, including PORTRAITURE practices of Aboriginal and Torres Strait Islander artists, to represent different views, beliefs and opinions (ACAVAM114) ‘… the subtlety of it & the way the pigments have been floated & flickered on I grasp all that the painter meant, no brush work no cleverness.’ The Art – Media Arts: Year 5 and 6 Roberts on Velásquez’s approach to paint in his portraits, 14 November 1909 • Explore representations, characterisations and points of view of people in their community, including In 1877, while studying in Melbourne, Roberts started themselves, using settings, ideas, story principles and working for Stewart’s Photographic Studios. At these genre conventions in images, sounds and text studios Roberts was responsible for arranging lighting (ACAMAM062) and posing sitters for portraits, as well as painting some backdrops. This experience had an impact on his own portraiture and he adopted the idea of using native plants Humanities and Social Sciences: Year 4 as a part of the backdrop for his own sitter in An • Pose questions to investigate people, events, places and Australian native 1888. issues (ACHASSI073) Roberts was Australia’s leading portrait painter of the • Locate and collect information and data from different late nineteenth and early twentieth centuries. For many sources, including observations (ACHASSI074) years, portraiture was a principal source of income, and it • Draw simple conclusions based on analysis of was 40 per cent of his oeuvre. information and data (ACHASSI079) Roberts’ portraits include a wide range of subjects, some ‘official’ and some of friends: pastoralists, businessmen, General capabilities politicians, fellow artists, musicians, actors, fashionable • Critical and creative thinking ladies, children, and Aboriginal people. As is the case with many portraitists, the commissions are often more • Personal and social capabilities impersonal and those of friends show more flair and greater empathy. Many of his portraits of women and girls also demonstrate a sensitivity to
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