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Murder and Misdemeanour in Australian Art

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Murder and Misdemeanour in Australian Art TRUE CRIME murder and misdemeanour in Australian art Albert Tucker Sidney Nolan Charles Blackman Thomas Gleghorn Brett Whiteley Garry Shead Steve Cox Adam Cullen Nick Devlin Freddie Timms Timmy Timms Paddy Bedford Catherine Bell Damiano Bertoli Mark Hilton Richard Lewer Page 1 FOREWORD While visual artists have never been as 15 April, 1834 (1834) or Walter Sickert’s In particular we express our appreciation obsessed as writers and filmmakers with The Camden Town murder (1908), both to Philip Dunn QC, List Chairman, and the subject of crime as a focus for their of which exemplify artistic interpretations to Suzie Cameron of Foley’s List, who art, it is possible nonetheless to identify, of the more familiar type of brutal assault have been most accommodating of our virtually from the Romantic period that is grist to the mill for screenwriters requests for support and advice. While onwards, a stream of practice that engaged with the task of supplying copy acknowledging this extremely kind and concerns artists who find inspiration for the multitude of police dramas that timely assistance we also record our not merely in villainy per se, but more enjoy a stranglehold, if one may so speak, ongoing thanks to each of the Gallery’s specifically in the circumstances of actual, on television screens everywhere. Annual Program Sponsors whose names documented, and frequently notorious The first of its kind in an Australian or logos are published elsewhere in incidents of crime or, at the very least, public gallery, this exhibition, True crime – this catalogue. of serious mischief. murder and misdemeanour in Australian Likewise, the Gallery acknowledges In literature, a notable instance of art, examines Australian artists’ with appreciation that Indemnification great art arising from creative reflection interpretations of criminality and it does for this exhibition is provided by the on the perpetration of actual crime is so on the basis of a selection of paintings, Victorian Government. Robert Browning’s colossal poem of drawings, prints and screen-based As on other occasions, I gladly some 21,000 lines, The Ring and the Book images from mid-20th century date to pay tribute to Kate Rogers at Design (1868 – 69). This complex narrative was the present, including a DVD component By Pidgeon whose unerring eye and inspired by the poet’s discovery in a of supporting imagery of colonial and keen imagination are key to the design Florentine street market of a 17th century other historical subjects. of this catalogue, just as the expert legal record (the ‘Book’ of the poem’s We are profoundly grateful to a printing and generous partnership of title) of an actual murder trial conducted number of institutional and private lenders Adams Print is reflected in the production in Rome in 1698 following the death whose generous co-operation with quality of this catalogue. of Pompilia Comparini and her parents, information, images for reproduction Finally, all members of the Gallery’s allegedly victims of Pompilia’s jealous and highly significant loans has been staff have been involved, in one way husband, an impoverished Roman indispensable in preparing this exhibition or another, with the True crime initiative, nobleman who suspected his young and catalogue. Thus, I record thanks and my appreciation of this sterling team wife of adultery. to our colleagues at the Art Gallery of effort is placed on record here, while Arguably, the most famous example New South Wales, Benalla Art Gallery, special recognition — reserved for this of the ‘genre’ in the visual arts is Jacques- Heide Museum of Modern Art, National concluding statement in the interests Louis David’s justly celebrated if starkly Gallery of Australia, National Gallery of well-deserved emphasis — is due forensic portrait of that ‘martyr of the of Victoria and the TarraWarra Museum to my colleague, Lisa Sullivan, originator Revolution’, Jean-Paul Marat, dying in his of Art. In terms of contemporary loans, and curator of the exhibition, author bath, victim of Charlotte Corday’s knife we are similarly grateful to a number of the catalogue and indefatigable attack. To be sure, Goya’s prints that of distinguished private collectors, mastermind of the project overall. graphically depict disasters of war are and to the participating artists and their profoundly harrowing, as are paintings dealers or representative galleries. Geoffrey Edwards of murderers by Géricault and Cézanne, True crime – murder and Director but these works are not as pertinent to misdemeanour in Australian art is the focus of the present exhibition as are, generously sponsored by Foley’s List, say, Honoré Daumier’s Rue Transnonain an eminent Melbourne barristers’ group. Page 2 Page 3 TRUE CRIME murder and misdemeanour in Australian art ‘All art is a memory of age-old things, dark things, whose fragments live on in the artist.’ Paul Klee1 Graphic accounts of actual or true crimes particularly those associated with and descriptions of their perpetrators the New South Wales and Victorian gold have, for centuries, inspired great works rushes, provided a wealth of subject of literature and performance, and more matter. ST Gill’s Attacking the mail recently film and television. While much (Bushranging NSW) [PLATE II p. 4] is one is written in relation to crime ­— from of a number of lithographs completed police notes, to court transcripts for The Australian Sketchbook, and, most conspicuously of all, media published in 18 64, chronicling aspects reports — it is also appropriate that a of colonial life. range of visual images should interpret In the journal written during his time these same events. True crime – murder in Australia (from 1850 – 62), William Strutt and misdemeanour in Australian art transcribed newspaper accounts explores the abiding interest of Australian of ‘daring depredations’ on the St Kilda artists in responding to criminal activity and Brighton Roads: a hold-up by four and includes a number of extraordinary mounted and armed bushrangers on works — from the early-1940s to Saturday 16 October 1852.2 Thirty-five contemporary times — whose intrinsic years later, in 1887, Strutt painted visual appeal often belies the tragic, even Bushrangers, Victoria, Australia 1852 sordid events that have inspired them. [PLATE III p. 6]: one of several historical works Images depicting true crimes based on his colonial experiences, appeared in the earliest illustrated colonial completed after his return to England. newspapers (including The Illustrated While Strutt went to extraordinary Australian Mail, The Illustrated Melbourne lengths to achieve historical accuracy Post and The Illustrated Australian News) in his 1887 painting, the approach as a complement to written accounts adopted by Tom Roberts only a few 3 of criminal activity [PLATE I p. 4]. Bushrangers, years later was more broadly based. Below PLATE II Above PLATE I ST Gill (1818 –1880) Frederick Grosse (1838 –1894) Attacking the mail (Bushranging NSW) 1864 1 Cited in James Mollison & Nicholas Bonham, Albert Tucker, Robbery of the gold escort from the Lachlan, chromolithograph, printed in colour The Macmillan Company of Australia, Melbourne & Sydney, 3 In a letter to prospective buyer, CB Crawshaw (dated 6 July New South Wales 25 June 1862 19.8 x 25.0 cm (image and text) 1887), Strutt wrote: ‘I brought the costumes over from Australia 1982, p. 37. wood engraving from The Australian Sketchbook, and they are the very ones worn by the Colonists at that time …’ published in The Illustrated Australian Mail printed by Hamel & Ferguson, Melbourne 2 George Mackaness (ed.), The Australian Journal of William Copy in the archive of the Ian Potter Museum of Art, Pictures Collection, State Library of Victoria, Melbourne National Library of Australia, Canberra Strutt, ARA, 1850 –1862, Halstead Press, Sydney, 1958, p. 34. the University of Melbourne. Page 4 Page 5 CAT. NO. 23 Above PLATE III Below PLATE IV Sidney Nolan William Strutt (1825 –1915) Tom Roberts (1856 –1931) Kelly at the mine 1946 – 47 Bushrangers, Victoria, Australia 1852 1887 Bailed up 1895 /1927 enamel on composition board oil on canvas oil on canvas Heide Museum of Modern Art, Melbourne 75.7 x 156.6 cm 134.5 x 182.8 cm Purchased from John and Sunday Reed 1980 The University of Melbourne Art Collection Art Gallery of New South Wales, Sydney © Sidney Nolan Trust / Gift of the Russell and Mab Grimwade Bequest 1973 Purchased 1933 The Bridgeman Art Library Page 6 Page 7 Having determined the subject of his and their Pursuers (published in 1929) work, Roberts sought information about and the 1881 Royal Commission report the early bushranging history of New into the Victorian police force detailing South Wales to construct the narrative of the pursuit of the Kelly gang; as well the 1895/1927 painting Bailed up [PLATE IV p. 6]. as a trip to ‘Kelly country’ with author He was provided with an account of Max Harris in late-1945. hold-ups of the Inverell/Armidale mail coach Nolan’s iconic series of Kelly paintings by the infamous ‘Captain Thunderbolt’ of 1946 – 47 was completed at the home (Frederick Ward) in 1867 and 1870, of patrons John and Sunday Reed: and staged the scene in the landscape the twenty-seven works exhibited at of the bushranger’s earlier crimes.4 Melbourne’s Velasquez Gallery in 1948 — Of the artists represented in regarded as the core of the series — the current exhibition, Sidney Nolan were accompanied by quotations from also looked to an historical figure for the 1881 report, Keneally’s book and inspiration — Ned Kelly, the legendary late-19th century newspaper coverage.5 The various aspects of the Kelly story that these ‘Nolan was fascinated by the history works interpret (too numerous to detail here) of the Kellys in all its true-crime details.’ presented with the supporting texts suggests that ‘Nolan was fascinated horse thief and murderer who was hung by the history of the Kellys in all its at Melbourne Gaol in November 1880, true-crime details.’6 with whose helmeted visage the artist’s An additional work to the twenty-seven name is now synonymous.
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