MASTERPIECES FROM PARIS FROM MASTERPIECES NEW DISPLAYS AT THE NATIONAL GALLERY OF AUSTRALIA OF GALLERY NATIONAL THE AT NEW DISPLAYS
ISSUE 61 • autumn 2010 artonview ISSUE 61 • AUTUMN 2010 NATIONAL GALLERY OF AUSTRALIA The National Gallery of Australia is an Australian Government Agency Issue 61, autumn 2010
published quarterly by 2 Director’s foreword National Gallery of Australia GPO Box 1150 4 Masterpieces for the Nation Fund 2010: Canberra ACT 2601 Robert Dowling’s Miss Robertson of Colac (Dolly) nga.gov.au ISSN 1323-4552 Anne Gray Print Post Approved 6 Foundation pp255003/00078 © National Gallery of Australia 2009 7 Sponsorship and Development Copyright for reproductions of artworks is exhibitions and displays held by the artists or their estates. Apart from uses permitted under the Copyright Act 1968, 12 Masterpieces from Paris: Van Gogh, Gauguin, no part of artonview may be reproduced, transmitted or copied without the prior Cézanne and beyond permission of the National Gallery of Australia. Lucina Ward Enquires about permissions should be made in writing to the Rights and Permissions Officer. 16 New look National Gallery of Australia The opinions expressed in artonview are not p 16: overview, Ron Radford p 18: ‘Sidney Nolan’s Ned Kelly paintings’, necessarily those of the editor or publisher. editor Eric Meredith Deborah Hart p 20: ‘Photography’, Gael Newton p 22: ‘Asian designer Kristin Thomas costume’, Beatrice Thompson p 24: ‘Fashion’, Robert Bell photography Eleni Kypridis, Barry Le Lievre, p 26: ‘Jewellery’, Robert Bell p 28: ‘Polynesian art’, Michael Gunn Brenton McGeachie, Steve Nebauer, David Pang, John Tassie p 30: ‘Melanesian art’, Crispin Howarth p 32: ‘Australian Surrealism’, rights and permissions Nick Nicholson Deborah Hart advertising Erica Seccombe printed in Australia by Blue Star Print, 34 Robert Dowling: Tasmanian son of Empire Melbourne Ron Radford enquiries acquisitions The editor, artonview National Gallery of Australia 36 Japan Miyuki: the imperial outing and hunt GPO Box 1150 Canberra ACT 2601 Lucie Folan [email protected] advertising 40 Thomas Bock Portrait of two boys Tel: (02) 6240 6557 Gael Newton Fax: (02) 6240 6427 [email protected] 41 Portrait of three Californian goldminers RRP $9.95 includes GST Gael Newton Free to members of the National Gallery of Australia 42 Philip Wolfhagen Autumn equinox; the loss of the sun For further information on Miriam Kelly National Gallery of Australia Membership: Membership Coordinator 44 Murray Griffin Self-portrait GPO Box 1150 Emma Colton Canberra ACT 2601 Tel: (02) 6240 6504 45 Fiji A priest’s fork [email protected] Crispin Howarth programs and events 46 Faces in view 48 Art and about with the Wolfensohn Gift suitcases Mary-Lou Nugent
(cover) 49 Travelling exhibitions Vincent van Gogh Van Gogh’s bedroom at Arles 1889 (detail) 50 Mandala workshops in rural schools oil on canvas 57.5 x 74 cm Musée d’Orsay, Paris, transferred in application of the Peace Treaty with Japan, 1959 © RMN (Musée d’Orsay) / Hervé Lewandowski Director’s foreword
Our summer exhibition, Masterpieces from Paris: Van permanent showcases for costumes. Importantly, we also Gogh, Gauguin, Cézanne and beyond—Post-Impressionism opened Australia’s first gallery, be it small, devoted to from the Musée d’Orsay has already attracted over 220 000 Polynesian art and directly upstairs above it a new display visitors from around Australia and the world to the National devoted to Melanesian art. The space in the Australian Gallery of Australia. On Boxing Day alone, over 6000 people displays where the Ned Kelly series used to hang is now came to see the masterpieces from the Musée d’Orsay. devoted to Australian Surrealism, the Gallery having been The beautifully designed exhibition book has so far sold given, fairly recently, the large Agapitos/Wilson collection over 22000 copies. of Australian Surrealism. Surrealism, particularly from The decision by the Orsay to tour many of their Australia and Europe, is one of the great strengths of the Post-Impressionist works while renovating their Post- national collection. Impressionist galleries presented an extraordinary A new acquisition, a Japanese screen titled Miyuki: the opportunity for us to exhibit these treasures from the imperial outing and hunt 1600–10, has already become a beginning of European Modernism for an Australian favourite in our downstairs East Asian gallery. The screen audience. Post-Impressionism is not well represented in is a fine example of the superb achievements of painters Australian collections and there has never been a during Japan’s Momoyama period with its delicate and Post-Impressionist exhibition in Australia before. refined painting of details of this tale of Gengi. Acquiring That the Orsay decided on Australia as the first of two this work would not have been possible without the very international venues for the exhibition was a great coup generous support of Andrew and Hiroko Gwinnett, who for Australia and for the National Gallery of Australia. continue to show their dedication to bringing the best of Thérèse Rein eloquently opened this important exhibition Japanese art to Australian audiences. on 3 December. In the Australian Contemporary space, Tasmanian In preparing for the opening of Masterpieces from landscape painter Philip Wolfhagen’s Autumn equinox; Paris we were very excited about the arrival of so many the loss of the sun 2009 evokes an earlier era of landscape important Post-Impressionist works from the Musée painting in Australia. Wolfhagen builds up his rich d’Orsay. But, now that the exhibition is here, it has painterly surfaces layer upon layer to reveal atmospheric surpassed our wildest expectations. The works are truly aspects of his local environment such as seasonal revealed under the National Gallery of Australia’s lighting. particularities and subtle nuances of light at particular Guy Cogeval, president of the Musée d’Orsay, called it times of day. a ‘revelation’ to see them here. Having often seen these We have recently acquired two early daguerreotypes works in Paris, I have to agree they have never looked which are among the Gallery’s earliest photographs. The better. Of course one of the reasons the Musée d’Orsay first photograph is a double portrait of two young boys is lending the works is that they are renovating their by Tasmanian colonial portrait painter Thomas Bock, Post-Impressionism galleries, including the installation executed around 1848–50. The second is a portrait of of a new lighting system. three Californian gold miners by an unknown American Masterpieces from Paris has just over month before photographer and also dated from the late 1840s. Bock it ends and already promises to be our most popular was an accomplished engraver and portrait painter and exhibition ever. Do make sure you see it! turned his hand to photography in the mid 1840s, soon A week before the opening of Masterpieces from Paris, after the first daguerreotype demonstrations in Australia. the Hon Peter Garrett, Minister for the Arts, announced These works add to the Gallery’s significant collection of another important milestone in the Gallery’s history—the photographs from the first century of photography in Asia opening of the final phase of the planned new collection and the Pacific, helping to illustrate the vibrant history of displays in our current building, which completes the photography in the region. four-year program of relocation, refurbishment and A recently acquired nineteenth-century Fijian priest’s redisplay of the collections. The most recently opened fork is a provocative addition to the new Polynesian gallery. spaces include a new purpose-designed oval gallery for Used for the ritual consumption of animal and human our Sidney Nolan Ned Kelly series, our first permanent flesh, this exquisitely decorated object joins other finely space designed especially for the art of photography, crafted works in Australia’s first gallery dedicated to the arts our first permanent jewellery displays, and our first of Polynesia.
2 national gallery of australia The Gallery’s Masterpieces for the Nation Fund program had its most successful year in 2009 with the acquisition of Tom Roberts’s Shearing shed, Newstead 1893–94. I would like to thank those who generously donated to this vibrant colonial-period Australian landscape painting. The subject of the 2010 Masterpieces for the Nation appeal is the evocative portrait Miss Robertson of Colac (Dolly), painted in 1885 and 1886 by Australia’s first locally trained artist, Tasmanian painter Robert Dowling. It was painted at her family’s Colac property on Dowling’s return to Australia after 27 years abroad. It is one of the artist’s last works and perhaps the finest and most engaging of his late portraits. Miss Robertson of Colac (Dolly) was briefly on display in the Australian gallery before its inclusion in the National Gallery of Australia’s travelling exhibition Robert Dowling: Tasmanian son of Empire, which fittingly begins its tour in Launceston—at the Queen Victoria Museum & Art Gallery on 6 March—where Dowling grew up and began his career. The exhibition then travels to Geelong Gallery in Victoria, where the artist set up practice in the mid 1850s, before the exhibition comes to Canberra to the National Gallery of Australia. This exhibition highlights a significant but neglected figure of the late colonial period and shows his importance in the development of Australian art. The book accompanying the exhibition, written by the exhibition curator John Jones, will be the first publication dedicated to Dowling’s work and includes the full range of his much-lauded Oriental, biblical and social-commentary subjects and, importantly, his Aboriginal subjects. It is a major contribution to the history of nineteenth-century Maurice Denis Australian art. Landscape with green trees (Green trees) With the exhibition Masterpieces from Paris and the (Procession under the new collection displays, the National Gallery of Australia trees) 1893 oil on canvas confirms its place as a leader in the Australian art museum 46 x 43 cm world. Through the extraordinary efforts of the National Musée d’Orsay, Paris, accepted in lieu of tax, 2001 Gallery of Australia Council and the Gallery staff, we will © RMN (Musée d’Orsay) / Hervé Lewandowski continue to present the very best of the world’s art to © Maurice Denis. ADAGP/ audiences in Australia and beyond. Licensed by Viscopy, 2009
Ron Radford AM Director
artonview autumn 2010 3 Masterpieces for the Nation Fund
Robert Dowling’s Miss Robertson of Colac (Dolly)
Since it was initiated in 2003, the Masterpieces for the Nation Fund has assisted the Gallery in acquiring seven significant works for the national collection. Last year was our most successful campaign to date, and we hope to improve on this record with this year’s appeal for Robert Dowling’s fascinating nineteenth-century portrait of Miss Robertson of Colac.
Robert Dowling Miss Robertson of Colac (Dolly) 1885–86 is a large and re-painted the work as it now exists, with Dolly in a dark Miss Robertson of Colac (Dolly) 1885–86 impressive portrait by Australia’s first locally trained artist, brown dress. Family tradition has it that Dolly insisted she oil on canvas Robert Dowling. It conveys Dolly’s sense of shy reserve, be repainted in brown to make her look more grown up. 91 x 120 cm as well as her latent sensuousness—with the toe peeping It has also been proposed that the dress was changed to out beneath the dress, the steam rising from the teapot brown after Dolly’s father rejected one of her most recent and the flowers in full bloom behind her. and dearly loved suitors. ‘If I am never to marry,’ she is John Jones, the expert on the artist and curator of the reputed to have stormed ‘then I will be in mourning for the Gallery’s Robert Dowling touring retrospective, has written rest of eternity’. the first major book on the artist, published in conjunction Dowling made a number of other changes in this with the exhibition, in which he writes: portrait. He provided welcome comfort by depicting her
… this image of a young Miss Robertson of Colac is a before a tea table with her favourite Japanese tea service refreshing change. The artist must have enjoyed the and vanilla slices, holding a book in her right hand. experience of depicting someone youthful and engaging, Her loving black-and-white spotted border collie at her after painting so many old and sometimes dead men side provides companionship. Previously, her right arm had … The portrait displays a new informality, a feature of been outstretched on the side of a garden bench and there Royal Academy portrait exhibits in the 1880s and seen was no dog or tea table. in the work of Dowling’s English contemporaries James The painting has some similarities with the work of the Sant (1820–1916), John Dicksee (1817–1905) and James British artist John Everett Millais, whose jewel-like paintings Hayllar (1829–1920). of the 1850s–80s created a vision of Victorian womanhood, Dolly, or Elise Christian Margaret Robertson, was the eldest and of the French-British artist James Tissot, who made his daughter of William and Martha Robertson of The Hill, reputation with images of charming women. It also makes a property near Colac in Western Victoria. William was an interesting comparison with the work of John Longstaff, a prominent grazier from Colac, active in the Victorian and in particular his group portrait Motherless 1886, in the Parliament and public life generally. National Gallery of Australia’s collection, painted at around Dolly was born in 1866. She spent most of her younger the same time. Longstaff created a scene of melodrama years at the family property and, although she was courted and sentimentality, using a sombre brown tonal palette. by a number of suitors, her strict father considered none While there is an element of wistfulness in Dowling’s good enough for his daughter, and she never married. portrait of Dolly, there is no sentimentality; and, although She died in Melbourne in 1939. Dowling’s palette is limited, it goes far beyond the brown Dowling visited The Hill in 1885 and painted three tonality of Longstaff. Thus, while Longstaff is the younger portraits of three generations of Robertsons: one of William artist, Dowling’s is the more vital work. Robertson, one of William’s late father (painted from a We hope that people will be generous so that this photograph) and this portrait of Dolly. portrait of Dolly will be secured for the national collection. At the time of Dowling’s visits to The Hill, William Robertson had recently taken up photography, and his Anne Gray Head of Australian Art photograph album includes a photograph of Dowling with this portrait of Dolly, taken in 1885, showing her wearing For further information about the Masterpieces for the Nation Fund or to make a donation, please contact the Foundation on a white dress. Dolly was nineteen at the time. In Melbourne, (02) 6240 6454 towards the end of 1885 or early in 1886, Dowling
4 national gallery of australia artonview autumn 2010 5 Foundation
Foundation gala dinner and weekend The annual fundraising dinner and weekend will be held on 20 and 21 March 2010. Experience a weekend of behind-the-scene tours, a private viewing of the exhibition Masterpieces from Paris: Van Gogh, Gauguin, Cézanne and beyond and a gala dinner on Saturday evening, as well as brunch at the French Embassy on Sunday. For further information regarding purchasing tickets, please contact Annalisa Millar, Executive Director of the National Gallery of Australia Foundation, on (02) 6240 6691.
Masterpieces for the Nation Masterpieces for the Nation is an annual appeal organised by the Foundation that enables a number of benefactors to donate; their combined donations then make it possible for the Foundation to acquire a work of art for the national collection. Last year was our most successful campaign ever and through the generous assistance of many donors, we acquired Tom Roberts’s magnificent painting Shearing shed, Newstead 1893–94. The Gallery is delighted to announce that Robert Andrew Barr, John Hindmarsh Founding Donors 2010 program Dowling’s superb portrait Miss Robertson of Colac (Dolly) and Ray Wilson at the 1893–94 has been selected for this year’s Masterpieces for opening of Masterpieces from Do not miss this rare opportunity to become involved in the Paris, 3 December 2009. Founding Donors 2010 program, which concludes on 30 the Nation Fund. An article about the work is featured on June 2010. The program aims to raise $1 million by June pages 4–5. 2010 through the assistance of 100 donors contributing For further details regarding the Masterpieces for the at least $10 000 each—contributions may be made over Nation Fund or to donate, please contact the Foundation two financial years. The funds raised from this program will on (02) 6240 6454. assist the Gallery to acquire works of art for the national National Gallery of Australia Bequest Circle collection to be exhibited in the galleries and displays of the A bequest to the National Gallery of Australia is a new building. significant and lasting contribution to the future of the Undoubtedly, the opening of the original building in national collection. As, at times, you would have felt 1982 was the most significant event in the Gallery’s history. captivated, excited, challenged or inspired by a work of art, At the time, wide support was given by the Founding please consider making a bequest to the National Gallery of Donors, whose outstanding contributions continue to be Australia. Further information is available at nga.gov.au. acknowledged by the Gallery. Now, the Founding Donors The annual event for the Bequest Circle will be held 2010 program provides a means for today’s supporters to shortly and you would be most welcome. Please contact Liz play their part in this new milestone event for the Gallery. Wilson, Development Officer, on (02) 6240 6781. Supporters of the Founding Donors 2010 program will be recognised through the inclusion of their name on the Founding Donors 2010 honour board, which will be placed in the Gallery foyer. In addition, supporters will be invited to a special preview of the new Gallery spaces. If you are interested in becoming a Founding Donor 2010, please contact Annalisa Millar, Executive Director of the National Gallery of Australia Foundation, on (02) 6240 6691 or [email protected].
6 national gallery of australia Sponsorship and Development
Masterpieces from Paris: Van Gogh, Gauguin, Supporters Michael Chaney, Chairman, National Australia Bank, Ron Cézanne and beyond ABC Radio, WIN Television, Accor Hospitality (Novotel Radford, Director, National Presented in association with Musée d’Orsay. An exhibition Canberra), Champagne Pol Roger, Yalumba Wines Gallery of Australia, and John Simpson, Strategic Adviser, of this scale cannot be realised without the generous The gala opening of Masterpieces from Paris was Office of the CEO, National support of our partners. We extend our great appreciation Australia Bank, at the opening generously sponsored by Ten and a half catering, of Masterpieces from Paris, to the following organisations: George P Johnson, Champagne Pol Roger, Yalumba 3 December 2009. Wines and Coopers Brewery. Their catering and events Presenting Partners support provided greatly assisted in making the opening ACT Government through Australian Capital Tourism, night truly memorable. Australian Government through Art Indemnity Australia
Principal Partners McCubbin: Last Impressions 1907–17 National Australia Bank, Nine Network Australia, JCDecaux R.M.Williams, The Bush Outfitter, generously partnered with the Gallery for McCubbin: Last Impressions 1907–17. Major Sponsors This exhibition is currently in Perth at the Art Gallery of Qantas, The Yulgilbar Foundation, National Gallery of Western Australia until 28 March, before travelling to Australia Council Exhibitions Fund, The Age, The Canberra the final venue, the Bendigo Art Gallery, where it will be Times, The Sydney Morning Herald
artonview autumn 2010 7 The Department of the Environment, Water, Heritage and the Arts supports the Gallery through Visions of Australia, an Australian Government program supporting touring exhibitions by providing funding assistance for the development and touring of Australian cultural material across Australia, and through the Visual Arts and Craft Strategy, an initiative of the Australian Government and state and territory governments.
Council Circle The Gallery welcomes The Age and The Sydney Morning Herald into the Council Circle. Thanks go to the following Council Circle members for their continued support: National Australia Bank, Wesfarmers, Nine Network Australia, JCDecaux, Qantas, The Yulgilbar Foundation, Accor Hospitality (Novotel Canberra) Champagne Pol Roger, The Canberra Times, WIN Television and Mantra on Northbourne. Our thanks also to long-term supporter The Brassey of Canberra for supplying accommodation for the students who were at the Gallery in January for the National Summer Art Scholarship program in 2010.
National Australia Bank Art Education and Access Partnership As part of its Art Education and Access Partnership, National Australia Bank (NAB) supported the 2010 National Summer Art Scholarship. In January, 16 visual art students starting Year 12 spent a week at the National Gallery of Australia discovering the national collection, learning about how works of art are acquired, exhibitions developed, going behind the scenes to see how the Gallery works and participating in workshops with gallery staff, professional artists and educators. Like the National Gallery of Australia, NAB is passionate about supporting Australian communities and helping young people reach their creative potential. We are grateful to NAB and staff for their generous support and involvement in this important annual art education program.
Wesfarmers Arts Indigenous Fellowship Fairfax Media’s David Hoath, on display from 24 April to 25 July 2010. We thank the Sales and Marketing Director, Wesfarmers Arts has provided unwavering and enthusiastic R.M.Williams team for their energy and commitment and Ryan Almeida, Sales support in the consultation and development of the Development Manager, and towards the exhibition. We greatly value the ongoing Shaun Morgan, Manager, Wesfarmers Arts Indigenous Fellowship. This initiative will Fairfax 360, at the opening of partnership between our organisations. reap important and ongoing outcomes to encourage the Masterpieces from Paris, We also extend our gratitude to long-term supporter 3 December 2009. professional development of Indigenous professionals of the Gallery the Hon Mrs Ashley Dawson-Damer as the Thérèse Rein with in the visual arts sector. The partnership represents Exhibition Benefactor for the McCubbin exhibition. His Excellency Mr Michel Filhol, two iconic Australian organisations committed to the French Ambassador in Australia. Australian Government long-term development, training and mentorship of Visions of Australia Indigenous people and the Indigenous arts sector. The Visions of Australia has provided funding for the National Wesfarmers Arts Indigenous Fellowship will focus on the Gallery of Australia’s travelling exhibitions In the Japanese professional development of Indigenous people in roles manner: Australian prints 1900–1940, Robert Dowling: supporting the visual arts such as curatorship, marketing, Tasmanian son of Empire and Australian street stencils. exhibition management, art handling, registration,
8 national gallery of australia publishing, photography, digital image management and The National Gallery of Australia is very grateful to Deborah Eburne and Max Eburne, General Manager, fundraising. This partnership is one that is valued highly the American Friends for their continued and unwavering JCDecaux, at the opening of support of the collection and of many of the Gallery’s Masterpieces from Paris, by the National Gallery of Australia and we are grateful 3 December 2009. to Wesfarmers Arts for making it possible. exhibitions and programs. National Australia Bank’s Greg Sutherland, Executive American Friends of the National Gallery of Australia We would like to thank all our partners. If you would General Manager Strategy and like more information about Sponsorship at the National Marketing, and Jacinta Carboon, The American Friends of the National Gallery of Australia’s Senior Sponsorship Manager two grants were made possible with the very generous Gallery of Australia, please contact Frances Corkhill Arts and Community, at the opening of Masterpieces from support of important benefactors Elaine and James on +61 2 6240 6740 or [email protected]. Paris, 3 December 2009. Wolfensohn KBE, AO, and Dr Lee MacCormick Edwards. For information about Development at the National The first grant will go towards the National Gallery of Gallery of Australia, please contact Belinda Cotton on Australia Travelling Exhibitions program for projects +61 2 6240 6556 or [email protected]. developed for improving disability access and remote access. The second has been put towards publishing the catalogue for the National Gallery of Australia Travelling Exhibition Robert Dowling: Tasmanian son of Empire. Acknowledgements to Kate Flynn, who resigned as Treasurer from the Board of Directors last November, for her longstanding contribution to the American Friends of the National Gallery of Australia. The Gallery looks forward to her continuing friendship and advice as a member of its Advisory Board. We welcome Murray Regan and Chris Beale as directors of the American Friends as well as Brad Haynes and Francesca Macartney Beale Esq as members of the Advisory Board.
artonview autumn 2010 9 credit lines
Includes donations received until NewActon Paul and Catherine Morton 22 January 2010. Nine Network Australia Peter Blackshaw Real Estate Qantas Dick Smith AO and Pip Smith Grants R.M.Williams, The Bush Outfitter David Smithers AM and Isabel Smithers The American Friends of the National The Sydney Morning Herald and family Gallery of Australia with the very Ten and a half catering TransACT Communications generous support of Elaine and James Wesfarmers Limited Dr Caroline Turner AM and Dr Glen Barclay Wolfensohn KBE, AO, and Dr Lee WIN Television Lyn Williams AM MacCormick Edwards Yalumba Wines Ray Wilson OAM The Gordon Darling Foundation Yulgilbar Foundation Kaely and Mike Woods Australian Government: ZOO Mark Young Masterpieces from Paris has been indemnified by the Commonwealth Donations Gala dinner through the Australian Government’s Jane Flecknoe Philip Bacon AM Art Indemnity Australia program, Jason Prowd Julian and Annie Beaumont administered by the Department of Peter Webster Andrew and Kate Buchanan the Environment, Water, Heritage and Peter Clemenger AM and Joan Clemenger the Arts. Gifts Charles Curran AC and Eva Curran Department of Health and Ageing‘s John Beard Rosemary Foot AO Dementia Community Grants The Hon Ian Callinan AC, QC Dr Colin Laverty OAM and Elizabeth Laverty Program The Hon Ashley Dawson-Damer Peter Hack and Carole Lawson Department of the Environment, Gordon Darling AC, CMG, and Peter Mason AM and Kate Mason Water, Heritage and the Arts Marilyn Darling AC Roslyn Packer AO through Visions of Australia, an Peter Fay Lou Westende OAM and Mandy Australian Government program Dr Tom Ferrier Thomas-Westende supporting touring exhibitions Dr Paul Gerber Masterpieces for the Nation 2009 by providing funding assistance Dr Anna Gray Ross Adamson for the development and touring Pamela Griffith Margaret Aston of Australian cultural material William Hamilton Andrew Freeman across Australia, and through Art bequest of Margaret Louise Jarrett Joseph Gani Indemnity Australia, the Australian Christopher Langton Michael and Doris Hobbs Government’s art indemnity John McPhee Libby Hathorn scheme through which loans to the The estate of Andrew Paterson Masterpieces from Paris exhibition Lynda Scmedding Members Acquisition Fund have been indemnified Bruce Searle Deborah Allen Ross Searle Bill Anderson Sponsorship Philip Toyne Margaret E Anderson ABC Radio Murray Walker Quentin and Jan Anthony Accor Hospitality (Novotel Canberra) Merrilyn Woodland Isabelle Arnaud ACT Government (through Australian Monica Clare Attridge Founding Donors 2010 Capital Tourism) Professor Peter Bailey Geoffrey and Vicki Ainsworth ActewAGL Dr Lesley Baker Antoinette, Emily and Anna Albert The Age Suzanne J Baker-Dekker Robert Albert AO, AM, and Libby Albert AO apARTments Estelle and Christopher Barnes In memory of John David Andrew OBE The Brassey of Canberra Mrs Judith Barnes David Baffsky AO The Canberra Times Helen Barnett Julian and Annie Beaumont Casella Wines Sam and Lois Bateman Alfonso and Julie del Rio Champagne Pol Roger Maria Bendall Dr Murray Elliott AO and Gillian Elliott Coopers Brewery Professor Jeff Bennett and Ngaire Bennett Ganter family Diamant Hotel Virginia Berger Dr Gregory Gilbert and Kathleen Gilbert Eckersley’s Art & Craft Sheila Bignell Sue Griffin Forrest Hotel and Apartments Noel Birchall Neil Hobbs and Karina Harris JCDecaux Phoebe Bischoff OAM Meredith Hinchliffe George P Johnson Robert Blacklow Helen Eager and Christopher Hodges Mantra on Northbourne Susan Boden Parsons in memory of Claudia Hyles National Australia Bank Dr Robert Boden OAM Gail Kinsella National Gallery of Australia Council Gillian Borger Beverly and Anthony Knight Exhibitions Fund Vera Brain Hamish Mackinnon
10 national gallery of australia Cheryl Bridge M Ilbery Shirley Richards Margaret and Geoffrey Brennan Anthony and Lynette Irwin Lyn Riddett AW Buckingham John and Ros Jackson Mary E Riek Dr and Mrs Miles Burgess Lynette James Janet Roberton John and Judtih Caldwell Wayne Joass Dr Alan Roberts Rear Admiral David J Campbell Judy Johnson William Robertson Robert and Helen Campbell Mary Johnson Paul and Hanan Robilliard Stewart and Iris Campbell In memory of Garry John Robinson Susan S Rogers Daphne Carlson In memory of Ernest Edward and Alan and Helen Rose Philomena Carnell Kathleen Veronica Jones Dr James Ross Maureen Chan Mrs Jurkiewicz Roslyn Russell Museum Services Elaine Colson Joan Kennedy in memory of Raoul Salpeter Graham Cooke John Grant McCredie Mark and Ruth Sampson Dr Brian Crisp AM D and R Kennemore Robin Schall Georgia Croker Sir R Kingsland AO, CBE, DFC, and Alison Scott Peter Curtis Lady K Kingsland Paul and Linda Selzer Henry Dalrymple Lois Michell Kenneth and Audrey Shepherd Kathy Davis Harald and Sieglinde Korte AD and ML Smith JW de B Persse Ann Mabel Lancaster Elizabeth Smith Debby Cramer Research Services Robert Laurie AM and Diana Laurie Phyllis Somerville Dr Maureen P Dee Judy Laver Simone Spano James Dittmar Dr Colin Laverty OAM and Elizabeth Laverty David and Anne Stanley Stuart Dixon-Smith Marion Rose Lê Stefanoff family Helen Douglas In memory of Dora Margaret Lewis Spectrum Consultancy Pty Ltd Mr and Mrs SB Duffy Dr Frederick and Penelope Lilley Joy Stewart Katherine Engel Dr Stephen List Ned Storey Valerie M Farthing-Bennetts Audrey and Edward Maher Susanne Storrier Emeritus Professor Frank Fenner AC, Mr and Mrs AB Maple-Brown Lady Synnot CMG, MBE Brenda McAvoy Jason Thomas Cherylllee Flanagan Diana McCarthy Helen Topor Jo-Anne Flatley-Allen PF McCormick Ms Janice C Tynan Bert Flugelman Selma McLaren Dr Nancy Underhill Ernest Franks Geoffrey and Rhonda Miller Morna Vellacott Morag Fraser Bevan Mitchell Darren Viskaich John BR Gale John Mitchell Rosemary Walsh Joseph Gani Dr John Morris Helen Watson J Giddens and EA Last Elizabeth Morrison Madeleine Welsh Lindsey and David Gilbert Janet M Moyle Guy Werner Elizabeth Gilchrist Dr Angus M Muir Murrealia Wheatley LF Gillard Joahanne Mulholland and David Rivers John White and Eileen White Max and Monica Glenn RD and A Munro Mandy White Robert and Moya Gnezdiloff Claude Neumann Shelagh Whittleston Richard and Maryan Godson SP and BM O’Halloran Julia Wilson Ian and Shirley Gollings Milton Edgeworth Osborne Gwen Wilton Ross Gough Luciano Padina and Ingrid Padina Tessa and Simon Wooldridge Peter J Hack Angus and Gwen Paltridge Diana Woollard William Hamilton Kim Paterson Micke and Robyn Wright Frank and Pat Harvey Marion Platt-Heppworth Ron Wright In memory of my parents Meg and Bill Ron and Fay Price Evelyn and Graham Young Pearce Anne Prins Giovanna Zeroni Suzanne Herfort Wendy Rainbird Katrina Higgins Ronald B Raines Treasure a Textile Marian Hill John Ramsay Brian O’Keeffe AO and Bridget Janet D Hine Rear Admiral Max Reed O’Keeffe AM Bob Hitchcock Emeritus Professor Tom Reeve and Graham C Hobbs Mary Jo Reeve Beatrice Margaret Hunt OAM W Reid and J Reid Claudia Hyles Joan Richards
artonview autumn 2010 11 exhibition
Masterpieces from Paris: Van Gogh, Gauguin, Cézanne and beyond
4 December 2009 – 5 April 2010 | Exhibition Galleries
‘Certainly, the future for painting is very much in the tropics, in Java or in Martinique, Brazil or Australia, not here …’
Vincent van Gogh, letter to Theo van Gogh, 17 June 1890
At the official opening on a delightful summer evening Relationships were maintained over substantial distances, in the National Gallery of Australia’s Sculpture Garden, from different countries, and over extended periods. Thérèse Rein launched Masterpieces from Paris: Van Gogh, Indeed, the wealth of correspondence remaining from this Cézanne, Gauguin and beyond. In her speech, she engaged period—when rail transport was widespread and the postal the audience with recollections of her own visit to the services frequent—is extremely valuable to researchers, not Musée d’Orsay as well as talking about several intriguing only in Europe but worldwide. journeys made by nineteenth-century painters. While Paris, Van Gogh was musing about Gauguin fleeing from of course, remained the centre for most artists, many Paris—from its increasing industrialisation and its busy, travelled extensively, searching for new environs and fresh competitive art world—and thought he might even travel inspiration. to Madagascar, where Gauguin planned an artists’ studio. One of the most fascinating aspects of Masterpieces But just one month later, on 29 July 1890 in Auvers, from Paris is the way the exhibition explores the where he was living under the care of Dr Gachet, van connections between the artists we now classify as Post- Gogh died from self-inflicted gunshot wounds. He had Impressionist. Many of these relationships were very close; never really given up the idea that he and Gauguin might some, such as that between Vincent van Gogh and Paul work together again, just as they had for nine intense, Gauguin, were taut, combative and highly competitive. tumultuous weeks in Arles.
12 national gallery of australia Van Gogh dreamt of gathering his fellow painters trip through Normandy and Brittany. On this first visit he Masterpieces from Paris, room 4: Gauguin and the around him in a ‘Studio of the South’ and his plans found the older artist unresponsive. Two years later, urged Pont-Aven School/Toulouse- dominate his letters to Theo, Gauguin and Emile Bernard on by van Gogh, he again approached Gauguin, and this Lautrec: (from left to right) Henri de Toulouse-Lautrec’s in 1888. In May, he rented four rooms in a building, the time the two artists worked side-by-side, developing the Woman with a black boa 1892 and The clown Yellow House, and set up his home with much care. On Synthetist style of painting. They emphasised an extreme Cha-U-Kao 1895; Paul the upper level were two tiny adjoining bedrooms and it simplification of forms, the expressive purification of colour, Gauguin’s Tahitian women 1891, Portrait of the artist was with great anticipation that he welcomed his friend large-scale pattern and decorative qualities inspired in part with ‘The yellow Christ’ Gauguin to Arles early in the morning of Tuesday 23 by the local crafts, cloisonné enamel and stained-glass 1890–91, Les Alyscamps 1888 and Yellow haystacks October 1888. Gauguin’s room, entered by passing through windows. (The golden harvest) 1889; van Gogh’s via the door shown at the left in Van Gogh’s Gauguin fell in love with Madeleine Bernard—portrayed Charles Laval’s Landscape 1889–90; Gauguin’s bedroom at Arles 1889, was decorated with canvases of by her brother in Madeleine in the Bois d’Amour Seascape with cow (At the edge of the cliff) 1888; sunflowers. Between October 1888 and September 1889, 1888—and sent her the ‘primitive’ ceramic shown in Emile Bernard’s The harvest van Gogh drew and painted several views of his own room. his painting Portrait of the artist with ‘The yellow Christ’ (Breton landscape) 1888 and Bathers with red The ‘Studio of the South’ was intended as an 1890–91. Madeleine, for her part, preferred the younger, cow 1887. Pierre Puvis alternative, even rival group to the artists gathered around more romantic Charles Laval, Gauguin’s companion on de Chavannes’ The poor fisherman 1881 is visible in Gauguin at Pont-Aven. Gauguin had travelled to Brittany his 1887 trip to Panama. Later, however, the relationship the next room. in July 1886, an existing artists’ colony since the 1860s, between Bernard and Gauguin soured, as Bernard searching for somewhere to work and live cheaply as well increasingly felt that his role in the development of as a way to consolidate his style. The eighteen-year-old Synthetism was being ignored. Madeleine, on the eve of Bernard arrived in Pont-Aven in August that year, having Gauguin’s 1891 departure for Tahiti, accused him of being set off from Paris several months earlier on a walking a traitor: ‘… you have broken your pledge and done the
artonview autumn 2010 13 Emile Bernard greatest harm to my brother, who is the real initiator of the and he was increasingly isolated from the art world after Madeleine in the Bois d’Amour or Portrait of art that you claim as being your own’. 1886. In Aix-en-Provence, he repeatedly painted the my sister 1888 In April 1891, Gauguin sailed from Marseilles to Tahiti, dramatic limestone peak of Mont Sainte-Victoire. Ever the oil on canvas 138 x 163 cm his plans for a ‘Studio of the Tropics’ in Madagascar having painter’s painter, Cézanne’s work was well known and Musée d’Orsay, Paris, purchased 1977 come to nothing. In his first months on the island, he much respected by other artists. In Homage to Cézanne © RMN (Musée d’Orsay)/ painted the magnificent Tahitian women 1891. En route, 1900, Maurice Denis shows himself and his contemporaries Hervé Lewandowski © Emile Bernard. ADAGP/ the steamer Océanien docked in Adelaide, Melbourne and admiring a still-life by Cézanne, while, elsewhere, Cézanne Licensed by Viscopy, 2009 Sydney. Shortly after leaving Australia, some 400 kilometres records his own tribute to the great nineteenth-century Paul Sérusier from Sydney, Gauguin described his experiences to his wife painter Eugène Delacroix. The talisman, the Aven at the Mette in a letter of 4 May 1891: In Paris, Georges Seurat developed a ‘scientific’ Bois d’Amour 1888 Many calls on the way. The last two were truly astonishing, approach to painting: his monumental A Sunday afternoon oil on wood panel 27 x 21.5 cm Melbourne and Sydney. Imagine two towns hardly 50 on the island of La Grande Jatte 1884–86 stole the show Musée d’Orsay, Paris, years old, of 500 000 inhabitants, with houses of 12 when included in the final Impressionist exhibition of purchased with assistance from PM Through Fondation storeys, steam trams and cabs as in London. The same 1886, and gathered him admirers further afield when seen Lutèce, 1985 smart clothes and abounding luxury. Fancy coming 12 000 in Belgium the following year. Established artists such as © RMN (Musée d’Orsay)/ Hervé Lewandowski miles to see that! At Sydney a dock labourer earns 20 to Camille Pissarro and Maximilien Luce also came under the 25 francs a day and meat costs 4 sous a pound. It is very spell of Pointillism. Paul Signac expanded Seurat’s ideas easy to earn money in Australia, but even on 25 000 francs even further, especially when he moved to the south of a year, you can only live very modestly. In spite of all these caustic remarks, I am obliged to admit that the English France in 1892, where he used larger dots of saturated people have truly extraordinary gifts for colonising and colour and his technique became freer. running up great ports. A burlesque of the grandiose! Another of Gauguin’s encounters launched a new Paul Cézanne also fled Paris, but for quite different reasons. group of artists. Paul Sérusier arrived in Pont-Aven in His contributions to the Impressionist exhibitions of 1874 September 1888, and the painting he produced there and 1877 were singled out for particularly harsh criticism, under the guidance of Gauguin, The talisman, the Aven
14 national gallery of australia at the Bois d’Amour 1888, proved a revelation to his fellow students back in Paris. Calling themselves the Nabis, this group of young artists gathered as a secret society, influenced by idealist philosophies and Symbolist literature. They took Gauguin’s lessons in the use of unmodulated colour and the simplification of forms, and emphasised art not as an imitation of reality but as an expression of the artist’s subjective, even interior experience. Painting, according to the Nabis, should move beyond the easel to become part of the architecture, to become pure décoration. Masterpieces from Paris includes tiny, painted, jewel-like vignettes of everyday life, as well as large-scale panels commissioned for specific domestic interiors, muted palettes and fresco-like surfaces. In Masterpieces from Paris, works by Pierre Bonnard, Maurice Denis, Ker-Xavier Roussel, Félix Vallotton and Edouard Vuillard are juxtaposed against those of older Symbolists painters such as Pierre Puvis de Chavannes, Gustave Moreau and Odlion Redon to suggest the range of influences on the Nabis. Sérusier shows Paul Ranson elaborately costumed in mystical garb, while Bonnard’s portrait of Vuillard is shaped to fit in an architectural setting, perhaps around a chimney. Vuillard painted his brother-in-law Roussel, his friend Vallotton, sleeping figures or children playing in the public gardens, watched over by their nannies and the ladies who converse on park benches. Two women named Marthe—Denis’s wife and Bonnard’s life-long companion—are painted over and over again: at the piano, as muses, or as a luxuriously reclining nude. Post-Impressionism, as an umbrella term, provides a useful way of understanding the complexity of the art world at the end of the nineteenth century. Movements such as Pointillism, Synthetism and Symbolism developed from this intricate web of friendships, exchange and rivalry. Post-Impressionism also suggests the ways artists built on, and reacted against, the Impressionist painters. As well as famous painters like van Gogh, Cézanne and Gauguin and groups such as the Nabis and the School of Pont-Aven, Masterpieces from Paris includes marvellous works by individuals such as Henri de Toulouse-Lautrec and Henri Rousseau. We experience pure colour, great handling of paint and a certain exoticism; we discover the reduction of forms to their simplest components: the surface of the Edouard Vuillard Pierre Bonnard In bed 1891 Woman dozing on a bed water becomes an arabesque, an apple becomes a circle. oil on canvas (Indolent woman) 1899 Masterpieces from Paris shows how these artists’ radical 73 x 92.5 cm oil on canvas Musée d’Orsay, Paris, verbal 96 x 106 cm experiments in Paris and elsewhere are the basis of Modern bequest of Edouard Vuillard Musée d’Orsay, Paris art in the twentieth century. executed by Mr and Mrs Ker- purchased ex Félix Fénéon Xavier Roussel, 1941 collection, 1947 © RMN (Musée d’Orsay)/ © RMN (Musée d’Orsay)/ Lucina Ward Hervé Lewandowski Thierry Le Mage Curator, International Painting and Sculpture © Edouard Vuillard. ADAGP/ © Pierre Bonnard. ADAGP/ Licensed by Viscopy, 2009 Licensed by Viscopy, 2009 The book Masterpieces from Paris, published in conjunction with the exhibition, is available at the Gallery Shop for $39.95 and at selected bookstores nationally for RRP $49.95.
artonview autumn 2010 15 display
New look National Gallery of Australia
Southeast Asian gallery at the National Gallery of Australia, Canberra. November 2009 was an important moment for the Yohji Yamamoto and Rei Kawakubo. We also show some National Gallery of Australia and the end of a four-year of our significant traditional Asian costumes. The costume journey to relocate and refurbish most of the Gallery’s displays are complemented by a new large showcase to collection displays. In addition to our earlier relocation permanently display highlights from the National Gallery of of the Indian, Southeast Asian and refurbished East Australia’s extensive Australian and international jewellery Asian displays, the realignment and refurbishment of our collection. International Modernist galleries and the re-established The Gallery is also breaking new ground by dedicating and restored National Australia Bank Sculpture Gallery, we an entire gallery (be it small) to the art of Polynesia, recently opened eight new displays, most of them made the first in Australia. Immediately upstairs above it is a possible by the relocation of the Gallery Shop. gallery devoted to our larger collection of Melanesian In my vision statement of 2005, which can be viewed art. These regions have been underrepresented for so on the Gallery’s website, I wrote about how vital a long in Australian art museums. We have a small but collection and its display are to any national gallery in the very high-quality collection of art from our neighbouring world. Indeed, a gallery’s permanent collection is, and must Polynesian nations and islands, including Maori New remain, the core focus of the institution. For this reason, Zealand, the Cook Islands, Marquesas Islands, Fiji and the the highest standards have been set for the acquisition, Austral Islands. This is also important as there are so many conservation, protection, interpretation and of course, Polynesian people now living in Australia. The Polynesian relevant here, the display of the collection. gallery takes the place of the small Childrens Gallery. Earlier In Australian art, we have changed many of the spaces this year, we opened a bigger Childrens Gallery upstairs, and wall arrangements and used historic wall colours more conveniently located near the Small Theatre, where for nineteenth-century works. We have also finished events and activities for children can be held. Directly above restoring, partitioning and re-lighting gallery 3 on the main the Polynesian gallery is our new display of Melanesian art, entry level, which is now used again for contemporary which includes such treasures as the enigmatic Ambum international art, bringing our international collection stone, the oldest object in the national collection. This and displays to the present day. our Lake Sentani figures are our most significant Pacific Our most popular and famous Australian work, Sidney Arts works. In this small gallery we feature works from Nolan’s Ned Kelly series, always deserved a specially Papua New Guinea, Solomon Islands, Vanuatu and New designed space and now the series is among the first works Caledonia. you see when you enter the National Gallery of Australia on These refurbished spaces now allow the Gallery to show the principle display level. They are now in a newly created an extra 400 works, a significant increase from the 1000 oval space. The Australian furniture designer Khai Liew has works for which the Gallery was originally designed to designed two refined ottomans especially for the space. show. It is a momentous achievement for all involved and The upstairs space in the Australian galleries where the I would like to express my appreciation to our own staff Ned Kelly series used to hang is now devoted to Australian and contractors for their great efforts and whose great Surrealist works, the Gallery having been given, fairly professionalism, teamwork and camaraderie have helped recently, the large Agapitos/Wilson collection of Australian realise, in four short years, the vision for the Gallery’s Surrealism. collections. In the area where the Gallery Shop once was, we In addition to these new displays, as part of our also opened our first permanent space for the art of Stage 1 building project, this time last year, we opened photography, which has long been a significant part of the vitally needed new spaces for registration, mount cutting, collection, made more significant by the recent extensive exhibition preparation, quarantine, packing, a new art acquisitions of early Asian and Pacific photography. Our loading dock and a new goods loading dock, and other first photography display in this new space is the gift by the essential behind-the-scenes functions. eminent photographer John Gollings of his own striking Noticeably absent from these new displays is the iconic New Guinea series of the early 1970s. presence of our significant collection of Aboriginal and Also in this space, we have new showcases dedicated Torres Strait Islander art. This will only be temporary. When to decorative arts that highlight aspects of the Gallery’s the new building opens later this year, we will have ten collection of twentieth-century fashion by some of the new Indigenous galleries for the dedicated display of the field’s leading designers. The first display focuses on the world’s largest collection of Indigenous Australian art. work of three of the most influential figures in fashion in Ron Radford AM the late twentieth century: Japanese designers Issey Miyake, Director
artonview autumn 2010 17 Sidney Nolan’s Ned Kelly paintings
Sidney Nolan’s Ned Kelly paintings are among the first horse in the open sun-drenched landscape. As Nolan said works that visitors now encounter when they visit the in a conversation with Elwyn Lynn in 1984, ‘This is Kelly National Gallery of Australia. The recently opened, oval the defiant. I put Kelly on top of the horse in a particularly space on the entry level was specially constructed to display orderly manner. I wanted an air of perfect authority, so these iconic paintings—some of our most significant the cloud appears through the aperture of the mask’. One Australian works—to best advantage and to make them of the distinguishing aspects of Ned Kelly was his feel easily accessible to local and international visitors alike. for symbolism. His homemade armour, now housed in Highlighting these works makes the point that the State Library of Victoria, concealed and transformed Australian art is part of the world, with its own stories his image. It became his image. It is this idea that Nolan to tell. This dual emphasis of connectedness and captures brilliantly. One of the astonishing things about distinctiveness in relation to culture and place is integral to the painting Ned Kelly is that we believe in Nolan’s Ned, Nolan’s Ned Kelly series. On one hand, Nolan was keenly even though he has an aperture in place of eyes. This aware of European Modernism; on the other, he tapped poetic transformation is symbolic not only in terms of Kelly into a quintessential local legend: the escapades of the as an individual but also in the way it unites him with the anti-authoritarian nineteenth-century bushranger, Ned environment. Kelly, and his gang. While Nolan’s paintings are by no The landscape is often the backdrop for Nolan’s means literal, blow-by-blow depictions of the story, the take on the stories and conflicts of a settler society that group is held together by key aspects of the drama and by in turn reflect broader concerns. He understood the the now iconic imagery Nolan developed for Ned Kelly. human condition as profound and absurd. He grasped Centred in the new gallery space is Nolan’s classic the tension between the hero and anti-hero in Kelly and image of Ned Kelly wearing his armour and seated on his recognised Kelly as a distinctly Australian symbol of anti-
18 national gallery of australia authoritarianism and anti-convention with a keen eye for (from left to right) Sidney Nolan’s Constable history—attitudes mirrored in aspects of his own life and Fitzpatrick and Kate Kelly personality. While Ned Kelly is ultimately centre-stage in this 1946, Morning camp 1947, Township 1947, Steve Hart story, Nolan’s approach is not one-dimensional. His own dressed as a girl 1947, Quilting the armour 1947, grandfather was a member of the police in pursuit of the Death of Constable Scanlon Kelly Gang and he depicts the tribulations of the various 1946, Stringybark Creek 1947 and Death of Sergeant protagonists. As we take in the final scenes, including the Kennedy at Stringybark trial when the young Ned Kelly was sentenced to hang, we Creek 1946 in the Sidney Nolan – Ned Kelly series find tragedy and defiance. gallery near the main foyer Taking an overview of the Kelly paintings on display, of the National Gallery of Australia. we can marvel at the inventiveness of the imagery and the way the works are painted: the boldness of forms and landscape; the intricacy of patterning; the way the shiny, dense surface of the enamel matches the stark, unflinching bravura of execution and imagination. In doing so, we come to realise that this new gallery space provides a wonderful new arena for reconsidering Nolan’s Ned Kelly works, for appreciating the interrelated drama of the paintings and for contemplating our stories afresh.
Deborah Hart Senior Curator, Australian Painting and Sculpture post-1920
artonview autumn 2010 19 Photography
The National Gallery of Australia’s photographic art daguerreotypes from 1847 and 1848 by Douglas Kilburn in collection, comprising 25 000 Australian and international Victoria and Thomas Bock in Tasmania, which are among photographs, acquired since collecting began in 1972, is the earliest portrait photographs made in Australia. The the most extensive in Australia. It includes works dating pioneer generation of Asian-born photographers from back to the beginning of photography in the 1840s, and the mid to late nineteenth century—such as Francis Chit major names and developments in the history of the of Thailand, Kassian Cépahs of Indonesia, Kusakabe medium as an art form are well represented. Kimbei of Japan and Lala Deen Dayal of India—are now Australian, European and American photographs well represented in the national collection. Works by dominated the acquisition program until 2006, when a photographers of the twentieth century have also been new vision for the collection was introduced recognising sought after so that studies by Sri Lankan Modernist Lionel Australia’s position in the Asia–Pacific region. The first Wendt in the 1930s join the well-known works of his phase of this new program, the first in the world to Australian and American contemporaries Max Dupain and show the history of photography as an art across the Edward Weston. Asia–Pacific region, has significantly expanded the Gallery’s What has been lacking until now is a space in which photography collection by over 8000 works. to show the Gallery’s Australian, European and American Since 2006, special efforts have been made to acquire photography, as well as the more recently acquired works works from the first century of photography in the Asia– that reveal the rich heritage of photography in the Asia– Pacific region, from the 1840s to the 1940s. Significant Pacific region. works by the first generation of Australian photographers The first display in the new Photography gallery is of a of the 1840s and 1850s have been acquired, including selection of large colour prints by Melbourne photographer
20 national gallery of australia John Gollings from his New Guinea suite 1973–74, which John Gollings’s New Guinea suite is the first display in acquired in 2008 under the Australian Government Cultural the Photography gallery. Gifts Program. Gollings is best known for his photographs (opposite) of contemporary Australian architecture and of the ancient John Gollings Mt Hagen (woman having monuments of Southeast Asia. His interest in ancient her face painted for a sing cultures came early in his career, following trips made in sing) fromNew Guinea suite 1973–74 1973 and 1974 to Papua New Guinea, where he stayed colour ink jet photograph with villagers in Mt Hagen in the Western Highlands, on Hahnemuhle photo rag paper Goroka in the Eastern Highlands and Morobe on the north- image 59.6 x 84.4 cm east coast. During his time there, he photographed the sheet 61 x 93.9 cm National Gallery of Australia, tribal dance performances known as ‘sing-sings’. While Canberra gift of John Gollings, 2008 Gollings has researched Papuan culture, these photographs are not anthropological records. He used wide-angle and telephoto lenses and special processing to heighten colour and background effects and to give viewers a sense of being there.
Gael Newton Senior Curator, Photography
artonview autumn 2010 21 Asian costume
The new showcases near the Gallery foyer provide an at the Talpur Mir courts is on display. The costume opportunity to display the Gallery’s diverse collection of comprises a very ornate robe (angarakha), waist wrap Asian costume and accessories for which there has never (lungi), trousers (shalwars) and hat (topi). The combination been a suitable space to exhibit in three-dimensional form. of bright bold colours and gold threads in the brocades and The costumes in the national collection are drawn from embroideries evokes the splendour of South Asian royal many cultural locations across a wide geographic region. attire in the nineteenth century. For the initial displays, costumes from Central, South and The Gallery’s significant collection of costume from Central Southeast Asia have been selected to illustrate the breadth Asia is characterised by boldly coloured dramatic designs. of the Gallery’s Asian art collection. Together the garments, A key element of the traditional dress of Tekke Turkmen each distinct and beautiful in its own way, reveal the great women of Uzbekistan, Turkmenistan and Afghanistan is variety in forms of dress and adornment to be found across the chyrpy, a loose-fitting cloak worn over the head and the region. shoulders. A unique feature of the chyrpy is the purely Recently the Gallery acquired its first items of royal decorative vestigial sleeves that hark back to an earlier use by costume from Pakistan. The Talpur Mirs who ruled Sindh, Turkmen women of coats and robes as head coverings. The a province in southern Pakistan from 1783 to 1843, were art of embroidery suited the nomadic lifestyle of the Turkmen famous for their sumptuous court apparel. Under the peoples and was their dominant textile technique. The motifs dynasty’s patronage, the arts and crafts flourished and royal embroidered on the cloaks range from geometric shapes to workshops, particularly in the important court centre of stylised flowering shrubs, simple tree of life forms and tulips Hyderabad, produced fine cottons, silks and brocades for (often associated with fertility). The colour of a chyrpy is closely extravagant royal attire. A rare complete court ensemble related to the age of the wearer: dark blue or black for young worn by a nobleman for ceremonies and public receptions women, yellow for a mature woman and white for the elderly.
22 national gallery of australia Drawn from the Gallery’s world-class collection of Showcases displaying (from left to right) costumes from Uzbekistan, Indonesian textiles are examples of traditional ceremonial Pakistan and Indonesia. costume from Lampung, south Sumatra. There, Abung Talpur Mir dynasty noblewomen wear heavily ornamented cylindrical skirts (1783–1843) Hyderabad, Sindh, Pakistan (tapis) as symbols of wealth and high status at ceremonies Nobleman’s ceremonial hat that celebrate rites of passage. Such skirts, typically formed (sindhi topi) early–mid 19th century from narrow bands of striped hand-woven cloth in muted silk, cotton, gold and silver colours, are sumptuously embroidered with gold threads, thread, sequins; embroidery 13 x 25 x 25 cm sequins and mirrors. Geometric designs and stylised ships, National Gallery of Australia, Canberra animals and human forms decorate the surfaces. The small purchased 2009 creatures on one of the skirts appear to represent water Tekke Turkmen people Uzbekistan buffaloes—a symbol of wealth. Woman’s mantle (chyrpy) The garments in the new showcases mark the 1950–1960 rayon, silk, cotton lining, braid, beginning of rotating displays that aim to reveal the fringing; embroidery diversity of costume in Asia, and to demonstrate the 110 x 64 cm National Gallery of Australia, Canberra complex textile techniques used to create sophisticated and purchased 2008 culturally significant forms of dress.
Beatrice Thompson Assistant Curator, Asian Art
artonview autumn 2010 23 Fashion
The selection of fashion on display in five large showcases century: Japanese designers Issey Miyake, Yohji Yamamoto highlights aspects of the National Gallery of Australia’s and Rei Kawakubo. Six garments from the 1980s and extensive collection of late-nineteenth- and twentieth- 1990s show their radical approach to design for the body. century fashion and textiles by some of the field’s leading Rei Kawakubo created her brand name Comme designers and couturiers. Their work reflects wider social des Garçons in 1969 through which she revolutionised change and shows how fashion has interconnected with concepts of fashion. By the late 1970s, and by then other arts as an expressive, challenging and entertaining well known in Europe as part of a group of avant-garde form of contemporary design practice. Japanese fashion designers, her radical designs for Responding to advances in textile technology and crumpled, torn and asymmetrically-shaped garments manufacturing processes, twentieth-century European, in black and sombre tones and coarse materials gained American, Japanese and Australian designers have been acceptance in the fashion world. Her designs for women’s innovators in fashion’s core disciplines of cutting, tailoring and men’s clothing and accessories shared these concepts and construction and in the commissioning, management and were translated into more marketable ready-to-wear and orchestration of craftworkers and technicians in areas ranges. such as textile printing, embroidery and beading. Selections Yohji Yamamoto’s first fashion collection, shown in of their work will be supported by displays of fashion Japan in 1976, established his unique approach to design illustration and accessories such as costume jewellery, shoes based on loose, unstructured and asymmetrical elements. and hats. Avoiding decoration and using coarse, textured and dark The current display focuses on the work of three of materials not previously associated with high fashion, the most influential figures in fashion of the late twentieth Yamamoto crafted a radically different clothing aesthetic
24 national gallery of australia that blended abstraction, asceticism and modesty with Fashion display, including (from left to right) Yohji Yamamoto’s technological modernity. Spring/Summer outfit 1986, Issey Miyake established his Miyake Design Studio Issey Miyake’s Minaret, dress spring–summer 1995 (purchased in 1970 and showed his first collection in New York in 1995 with funds donated by Eva and Marc Besen through the 1971. His design work revolutionised fashion through Besen Charitable Foundation) his unconventional construction techniques, production and Plastic body, bustier 1980, and the design collaboration processes and use of materials. Tightly pleated fabrics used between Issey Miyake and in myriad forms have become a specialty of the design Yasumasa Morimura, Dress from Pleats Please Issey Miyake Guest work for his Pleats Please brand. Miyake has created a new artists series no 1 autumn–winter language of fashion that fuses Eastern and Western design, 1996–97 (gift of Issey Miyake and Yasumasa Morimura, 1997). drawing inspiration from sources as diverse as African tribal (opposite) design, Japanese origami and vernacular clothing, industrial Rei Kawakubo designer work wear and the organic forms of nature. Comme des Garçons manufacturer Dr Robert Bell Ensemble 1983 wool Senior Curator, Decorative Arts and Design centre back 68 cm National Gallery of Australia, Canberra purchased 1983 with funds donated by Eva and Marc Besen through the Besen Charitable Foundation
artonview autumn 2010 25 Jewellery
Jewellery forms a significant part of the Gallery’s Decorative use of newer technologies, such as computer-aided Arts and Design collection, with 565 Australian and design and production and the innovative exploration 65 international works demonstrating the design and and manipulation of industrial and synthetic materials, craft skills of Australia’s and the world’s most innovative continually extending the practice and understanding of jewellers. The first display in a sweeping new jewellery jewellery. showcase is a selection of 108 pieces of historical and Gallery visitors will see how these practices have contemporary jewellery from the mid nineteenth century allowed some jewellers to explore themes of environmental to the present. This group introduces Gallery visitors to a and social narrative, history, memory, intimacy and humour, part of the collection that until now has had little regular while other jewellers explore structure, assemblage and the exposure. expressions of colour and texture to create new territories The works on display show the result of the changing of thought and design. creative engagement with materials and with the human Highlights of the current display include selections of body as a site and point of reference. While intimate in Australian gold and silver jewellery from the late nineteenth scale, these works command our attention through their and early and mid twentieth centuries by makers such as unconventional approaches to form and function and the Henry Steiner, Jochim Wendt, Charles Brown, James Linton, sometimes surprising juxtaposition of materials. Many Dorothy Wager, Emily Hope and Matcham Skipper. These of the works celebrate the visual qualities of rare and works form a historical context for a number of large and precious materials and the exercise of traditional skills complex works from the inventive Australian crafts revival such as silvermithing and goldsmithing, forging, casting, period of the 1970s and 1980s. carving and stone setting that form the foundation Recent works by contemporary Australian jewellers of the jeweller’s craft. Other works demonstrate the have expanded the conceptual framework, including those
26 national gallery of australia by Marian Hosking, Mari Funaki, Bridie Lander, Helen Jewellery gallery, highlighting works by the world’s finest designers. Aitken-Kuhnen, Margaret West, Sally Marsland and Dulcie Greeno. Among the contemporary New Zealand jewellery Wendy Ramshaw White Queen’s neckpiece 1975 on display are works by Warwick Freeman, Alan Preston, 18 carat yellow gold, sapphires, moonstone, agate, amethysts and Paul Annear and Hamish Campbell, revealing their strong white vitreous enamel commitment to the use of indigenous materials. 25 x 14.8 x 0.6 cm National Gallery of Australia, Canberra Late-nineteenth- and twentieth-century European purchased 1979 jewellery is represented with works by the Italian firm of Hermann Jünger Castellani, William Comyns from Britain and the Danish Boxed necklace with four designers Georg Jensen and Henning Koppel. Major interchangeable pendants c 1990 stainless steel, tombac, silver, works from 1980 to the present by some of the world’s lapis lazuli, haematite, granite, brass, lacquered medium density most influential contemporary jewellers—Arline Fisch, fibreboard Robert Smit, Giovanni Corvaja, Giampaolo Babetto, David case 1 x 15 x 15 cm National Gallery of Australia, Canberra Watkins, Wendy Ramshaw, Georg Dobler, Daniel Kruger, gift of American Friends of the National David Freda, Peter Chang, Hermann Jünger, Tone Vigeland, Gallery of Australia, Inc, New York, NY, USA, made possible with the generous Svenja John, Nel Linssen, Gerd Rothmann—show how support of Helen Drutt English, 2005 the traditions and conventions of jewellery are continually Helen Aitken-Kuhnen being interrogated and transformed though complex Ocean blue (necklace) 2009 sterling silver, cast glass pâte-de- narratives and explorations of material and form. verre, stainless steel circumference 65 cm Dr Robert Bell National Gallery of Australia, Canberra Senior Curator, Decorative Arts and Design purchased 2009 with funds from the Meredith Hinchliffe Fund
artonview autumn 2010 27 Polynesian art
In a first for Australia, the National Gallery of Australia has A number of visitors to the Gallery have already opened a gallery dedicated to the art of Polynesia. The experienced a presence that is much greater than the first display in this new space will go beyond considering figure’s physical size. But perhaps this presence is a trick of Polynesian art as purely anthropological objects to light reflecting off the surface of the work. Whatever the showcasing them in the context of world-class art. From case, it is undoubtedly the work of a master carver. the Gallery’s small but very fine collection of works A more recent figure attributed to the gifted Maori from the nineteenth century or earlier, 22 of the most carver Raharuhi Rukupo, who died in 1873, stands alone interesting Polynesian pieces have been selected. These on a plinth at the end of the gallery. This pensive character are complemented with eight contemporary prints by stands with his head bent in respect, his hands clutching John Pule, Patrice Kaikilekofe and Shane Cotton from the his chest, his tattooed body braced to support the weight Australia Pacific Print collection. of the post which once soared above his head. He has The display is dominated by intricately carved strength and dignity, balance and poise and a powerful Maori objects and includes works from New Zealand, Fiji, ethereal presence. the Cook Islands, the Marquesas Islands, Hawai‘i and the Other superbly carved objects populate the long display Austral Islands. Some of the older objects in this first display case. Works of art from a number of different regions were used in rituals—the newly acquired Fijian bulutoko highlight the cultural and artistic practices that many sanctified fork for instance (see p 45)—or were imbued Polynesian islands share, despite the distance between with spirit beings or gods (atua)—which may be the case them. The most meaningful group is dominated by a deeply for the eighteenth- to nineteenth-century Maori war carved, long, horizontal panel of the type generally known canoe figure that stands at the entrance to the gallery. to the Maori as paepae, which means ‘threshold’—as in
28 national gallery of australia ‘threshold to another world’. Underneath this is a group Polynesian gallery, including (from left to right) of three lively hei tiki, almost dancing in their bright green Poutokomanawa (attributed to nephrite, and two whalebone clubs. the 19th-century carver Raharuhi Rukupo), a central door panel The Maori treasure box is itself a treasure. The Hawaiian c 1885, a Maori cloak and a showcase of objects from various necklace (lei niho palaoa), the paddle from the Austral Polynesian peoples. Islands, the no’oanga (seat for a noble) from the Cook (opposite) Islands and the fan from Marquesas Islands are all finely Maori people, Aotearoa crafted, world-class works of art. The Maori cloak, which New Zealand Canoe guardian (huaki) 17th– stands apart in its own showcase is exquisite in its detail 18th century and has the unique feature of three taaniko decorative totara pine, ochre 43.5 x 49.5 x 46.4 cm borders—most cloaks of this kind only have two. The cloak National Gallery of Australia, Canberra purchased 1978 is very delicate so, to keep it on display for as long possible, while preserving it, a timer to control the light has been Marquesas Islands, French Polynesia installed. Fan (tahi’i) 1800–1850 The contemporary prints are also exquisite in their detail wood, pandanus, coconut fibre 38 x 30 x 2 cm but they depict a very different side of Polynesia, a side that National Gallery of Australia, Canberra is more intellectual, more pensive, more questioning. These purchased 1972 are the images of Polynesia today.
Dr Michael Gunn Senior Curator, Pacific Arts
artonview autumn 2010 29 Melanesian art
The National Gallery of Australia fulfilled one of its long- that one was in the presence of entities from other realms. term aims when it opened this gallery space solely for Often, the idea behind these works was to leave a life- the display of Melanesian. By doing so, the Gallery has long impression on the viewer, so there is great care taken distinguished itself among the world’s art museums, only a to create works that can seize and hold your gaze. Some few of which have similar focused displays. visitors to the Melanesian gallery may feel certain works still Melanesia covers the nations of Vanuatu, the Solomon posses a resonance or energy of a spiritual nature, which is Islands, New Caledonia and Papua New Guinea, and the not entirely unexpected. arts from the region have been considered a priority for The Double figure from Lake Sentani exudes a particular the national collection since 1966. To describe concisely calmness, or perhaps an empathic serenity, in its gentleness the traditional arts of Melanesian communities is difficult of form and the physical stances of the couple. Quite the as there are at least 400 distinctive art traditions on the opposite, the Spirit mask from the lower Sepik River has an Island of New Guinea alone; however, there are a number air of malevolent foreboding befitting its purpose as the of commonalities. carved face of a spirit capable of inflicting great illness to Many of the works in the Pacific arts collection are those who did not give it the appropriate respect. connected in someway to religious and social activities. The majority of works in the Melanesian gallery were Some works were quite literally the abodes of spirits, made for indigenous use, even the colossal disc-eyed tree- ghosts and ancestors. Masks of bark cloth and carved fern figure Mague ni hirwir, which was created only a few wood were danced to great effect and sculptures of years ago to celebrate the successes of a chief on the Island impressive size were revealed to audiences in elaborate of Ambyrm in Vanuatu. Only one sculpture on display was ceremonies designed to build up the a very real anticipation not created for indigenous use, The drummer. It is the work
30 national gallery of australia of the artist known as Mutuaga, the only identified artist Melanesian gallery, featuring (from left to right) Mogulapan active in Papua New Guinea during the nineteenth century c 1600–1900, a spirithouse post whose body of work is known. Mutuaga was a master from the 1950s–60s, a prehistoric mortar, a 20th-century decoration carver of the highest order. He carved possibly the earliest for a ridge pole, Gilbert Bantor’s grade figure and a centrepost for ‘souvenir’ arts in Papua New Guinea for visiting Westerners, a ceremonial house. and his work can now been found across the world in Kapriman people important museum and gallery collections. Chambri Lakes area, East Sepik The National Gallery of Australia’s collection of province, Papua New Guinea Female figure 1850–1950 Melanesian art is quite large at around 1700 works. Now wood, fibre, pigment, patina that there is a dedicated gallery for Melanesian arts, the 70 x 16 x 10 cm National Gallery of Australia, Canberra display will periodically change to ensure audiences have Purchased 2008 the opportunity to see as many of these works as possible. Mutuaga The drummer Crispin Howarth ebony, lime Curator, Pacific Arts 36.5 cm National Gallery of Australia, Canberra Purchased 2009
Iatmul people Tambanum village, East Sepik River, Papua New Guinea Gable mask from a Haus Tambaran cane, sago leaf fibre, pigment 124 x 100 x 50 cm National Gallery of Australia, Canberra purchased 2008
artonview autumn 2010 31 Australian Surrealism
André Breton, the great French Surrealist thinker, come to the National Gallery of Australia. Agapitos and famously remarked, ‘The marvellous is always beautiful.’ Wilson had carefully considered the new home for their For Breton, the idea of the marvellous related to dreams collection. They had been excited by the Surrealism by night and imaginings that could be grotesque, erotic, visceral, exhibition held here in 1993 and by the accompanying or confronting. For European Surrealists the imaginative catalogue. Their collection was truly national in scope, possibilities of the mind were endlessly fascinating, corresponding with the aim of the national collection. They transcending fixed notions of beauty. The pre-eminent were also mindful of the ways in which their collection Australian Surrealist, James Gleeson, concurred. In 1940, would complement the Gallery’s important holdings of he wrote in Art and Australia: ‘The theory of Surrealism international Surrealism to make this the foremost Surrealist is based upon a belief that the logical mind, with its collection in Australia, drawing the attention of local and prescribed formulas of thought, is incapable of expressing international visitors, curators and scholars. the entire range of human experience and aspiration’. While the Gallery already had a very strong collection Some of Gleeson’s major paintings are on display in a of Australian art from the 1940s, there were significant dramatic new space dedicated to Australian Surrealism. gaps in Surrealism. It was also recognised that works This space has been made possible by the perspicacity and from the Agapitos/Wilson collection would correspond generosity of Ray Wilson OAM and the late James Agapitos brilliantly with some Surrealist works already in the Gallery’s OAM. Since 1990 they focused on acquiring works from collection. This integration is evident in the current display. the Surrealist movement, homing in on well-known and For instance, powerful works by Gleeson such as Neo- lesser-known artists to amass a particularly fine collection organic figuration describing entities 1939 and Spain 1951 of paintings, drawings, photography, collage, sculpture work well with the Gallery’s earlier acquisition The citadel and prints. After more than 15 years, they made the 1945. Many works from the Agapitos/Wilson collection momentous decision for the majority of their collection to dramatically strengthen and deepen our holdings, including
32 national gallery of australia paintings, drawings and collages by Sidney Nolan and Australian Surrealism gallery, highlighting works highly evocative photographs by Max Dupain. by James Gleeson on the While some artists, such as Dupain, Nolan, Albert far wall (right), Inge King on the plinth nearest the far Tucker and John Perceval drew upon Surrealism sporadically wall, Dusan Marek on the plinth in the foreground and for specific subjects; others, such as Gleeson and Dušan Herbert McClintock, Jeffrey Marek, remained committed Surrealists throughout their Smart, Hein Heckroth, Douglas Roberts, Sydney artistic lives. Marek is an artist who deserves to be much Nolan, John Perceval and better known. While his works are often intimate in scale, Albert Tucker. they are among the treasures of the Surrealist collection. Taking an overview of all the works on display in the new Gallery confirms Breton’s idea of the power of the fantastic or the ‘marvellous’, transporting us from the ordinary to the extraordinary and unveiling a surreal feast of visual and psychological possibilities.
Deborah Hart Senior Curator, Australian Painting and Sculpture post-1920
artonview autumn 2010 33 exhibitions and displays
Robert Dowling: Tasmanian son of Empire
A travelling retrospective of Australia’s first home-grown artist
architecture, furniture makers, silversmiths, frame makers and, importantly for Dowling, a surprising number of portrait painters—as well as still-life, marine and landscape painters. Indeed, Tasmanian art from the 1830s to the early 1850s was richer and more diverse than that of any other Australian colony. Dowling’s interesting early portrait oils and miniatures executed in Tasmania appear superficially sophisticated, yet their often oversized heads and undersized hands betray the fact that he was deprived of the benefits of academic training and life drawing. Even so, his understanding of modelling and use of colour at this early stage of his professional career and his grasp on the character of his subjects was already more advanced than that of many of his colonial forebears and contemporaries. John Jones curated the exhibition and is the author of the accompanying book published by the National Gallery of Australia. The book is the first dedicated to the work Robert Dowling Robert Dowling was Australia’s first major colonial-trained of this central and critical figure in late colonial art. Jones Tasmanian Aborigines 1856–57 oil on canvas professional artist. Within Australian art historical terms, delves into Dowling’s early career in Tasmania (1850–54), 63.6 x 118.6 cm this was a milestone of great significance. It may seem his time in Victoria (1854–57), his London years (1857–84), National Gallery of Victoria, Melbourne surprising, then, that the National Gallery of Australia and his return to Victoria (Melbourne) (1884–86) before purchased 1949 travelling exhibition Robert Dowling: Tasmanian son of he died back in London in 1886. He is now placed highly Robert Dowling Empire is the first retrospective of the artist’s comprehensive as Australia’s major portrait and figure painter of the late Egyptian banana seller 1878 watercolour with bodycolour body of work. This exhibition shows his portraits, colonial period of around 1850–85. over graphite on paper on board including his portraits of pastoralists and their properties, The exhibition has been sponsored by the National Gallery 71.7 x 50.7 cm private collection portraits and compositions of Indigenous people, biblical of Australia Council Exhibitions Fund, which is based upon subjects, social history subjects and his Oriental subjects. generous personal donations from members of the Gallery The exhibition opens on 6 March at the Queen Victoria Council made for the particular purpose of sponsoring Museum & Art Gallery in Launceston, Tasmania, where special exhibitions. The publication has been generously Dowling arrived in Australia in 1834 at the age of seven. sponsored by the American Friends of the National Gallery Dowling gave up his saddlery trade to launch himself of Australia Inc, New York, with the special support of Dr as a professional portrait painter in Launceston in 1850. It Lee MacCormick Edwards. was still pre-gold rush Australia, and our first locally formed The exhibition also has generous support from the Federal professional painter emerged at the age of 23. Dowling Government’s Visions of Australia and the National made claims of being self-taught but, despite the fact that Collecting Institutions Touring and Outreach Program. the colonies had no academies of art for formal training I sincerely thank these funding bodies. or public art collections to study, the young artist had opportunities to learn from other colonial artists, including Ron Radford AM Frederick Strange and Thomas Bock, and from the work of Director Henry Mundy. Excerpt from the introduction to the book Robert Dowling: In Tasmania, a balanced colonial microcosm of Tasmanian son of Empire, published in conjunction with a major travelling retrospective and available at the Gallery and exhibition late-Georgian English culture supported sophisticated venues for $39.95 and at selected bookstores nationally for $49.95.
34 national gallery of australia artonview autumn 2010 35 acquisition
Miyuki: the imperial outing and hunt
Momoyama period The Gallery has recently acquired a spectacular pair of six- is widely considered a masterpiece of Japanese literature. (1573–1615), Japan Miyuki: the imperial outing fold screens (rokkyoku byobu) inspired by an episode of the Its narrative centres on the talented and extraordinarily and hunt 1600–10 (details) classic Japanese novel Tale of Genji. Created in the early attractive aristocrat Genji, son of an emperor, and several pair of six-fold screens (rokkyoku byobu), colour seventeenth century, their subject matter attests to the generations of his family. While Genji is a fictional and gold on paper 168 x 366 cm (each) enduring popularity of the court epic and the great skill of character, Lady Murasaki’s tale was likely based on real National Gallery of Australia, Momoyama-period artists. people and events. Her text conjures up the atmosphere of Canberra purchased with the generous Genji Monogatari or Tale of Genji was written in the Heian court life, particularly the great appreciation of the assistance of Andrew and Hiroko early eleventh century, at the height of the Heian period arts, beauty and courtly refinement for which the period is Gwinnett, 2009 (794–1185), by a noblewoman known as Murasaki renowned. Divided into 54 chapters, the novel relates Shikibu. Although scholars disagree on the details of Lady court events, complex social relationships, love affairs, Murasaki’s real identity (such as her first name), she was scandals and political intrigues. Heian-period courtiers, born into the powerful Fujiwara family in the late tenth the author’s contemporaries, eagerly sought instalments century and became a lady-in-waiting to Empress Akiko. of the novel as they were written. Images from the tale Tale of Genji, often referred to as the world’s first novel, became an important theme in Japanese art and were
36 national gallery of australia
Momoyama period especially prevalent in the later Momoyama period Oharano. A crowd of children, farmers, samurai and (1573–1615), Japan Miyuki: the imperial outing (1573–1615). aristocratic men and women has gathered to enjoy the and hunt 1600–10 The Gallery’s screens illustrate Miyuki: the imperial colourful spectacle. In contrast to the stately procession, pair of six-fold screens (rokkyoku byobu), colour outing and hunt, chapter 29 of the epic tale, and capture the right screen shows the chaos of the hunt. Falconers, and gold on paper 168 x 366 cm (each) the rich pageantry of Japanese court life. The magnificent men on horseback, and courtiers in ornate dress pursue National Gallery of Australia, procession that appears on the left screen is a royal deer, pheasants and wild boar across an atmospheric Canberra purchased with the generous hunting party travelling from the Imperial palace to visit landscape. assistance of Andrew and Hiroko a shrine at Oharano, west of old Kyoto. The emperor, While Tale of Genji describes an earlier time, the scene Gwinnett, 2009 Genji’s illegitimate son, is hidden from public view inside presented on this pair of screens is set in the seventeenth a bullock-drawn carriage. As the excursion was a major century. Despite the temporal shift, the painting retains official and social court event, the emperor is accompanied much of the essence of Murasaki’s novel, particularly in by an impressive entourage of mounted guards, servants terms of an overall sense of elegance, and attention to and costumed courtiers. Dressed in white, a group of the details of ceremonial events and personal adornment. attendants carry large parasols to unfurl on arrival in All the characters are in exquisite Momoyama-period
38 national gallery of australia dress, with textile designs and hairstyles represented in of the clouds gives the landscape a luminous quality. stunning detail. The blossoming cherry trees are another Purchased with the assistance of Andrew and Hiroko embellishment to the original story, reflecting the growing Gwinnett, generous supporters of Japanese art in Australia, popularity of cherry blossom viewing in seventeenth- Miyuki: the imperial outing and hunt enhances the Gallery’s century Japan. small but fine collection of Japanese screens. It is currently In the Momoyama period, painted screens were on display in the gallery of East Asian Art. generally commissioned by wealthy patrons and designed Lucie Folan to appeal to individual interests and social position. The Curator, Asian Art creator of this painting was likely an artist of Japan’s celebrated Kano school, which was established in the sixteenth century and thrived for over 300 years. Kano paintings are characterised by sweeping abstracted natural settings, detailed depictions of figures and animals, and the use of gold leaf. Here, the extensive gilding and embossing
artonview autumn 2010 39 acquisition
Thomas Bock Portrait of two boys
Sydney, claiming to have an exclusive license to use the daguerreotype in the colonies. Goodman was working in Hobart in August 1843, where he came in direct competition with British convict artist Thomas Bock. Although an engraver by trade, Bock had a keen interest in photography and, in the Hobart Town Advertiser of 29 September 1843, he advertised that ‘in a short time he would be enabled to take photographic likenesses in the first style of the art’. Infuriated, Goodman threatened legal action and Bock promptly withdrew until five years later when he opened a portrait photography studio in Hobart. Bock’s stepson Alfred assisted him in the photography- side of the studio business. They had seen daguerreotype portraits brought from London by Reverend Francis Russell Nixon in Hobart in June 1843—before Goodman’s arrival in Tasmania—and had purchased a camera from a Frenchman in Hobart so that they could learn the new art form using photographic formulas published in English magazines. Their lack of proper training, however, shows in Hobart dignitary GTYB Boyes’s records of August 1849, in which he comments, ‘Bock understands the nature of his apparatus but very imperfectly!’ Despite this and other unfavourable remarks between 1849 and 1853, Boyes continued to visit Bock’s studios for daguerreotype portraits. Bock’s portrait of two freckle-faced boys dressed in matching outfits shows that he was a skilled photographer by 1848—a year before Boyes’s initial disparaging remark. Any parent would have been thrilled by such a vivid image of their sons, especially as, like many colonial sons, they might be getting ready to be sent ‘home’ to the United Kingdom for schooling. The image of the boys was a memento for their parents as well as proof for relatives in Thomas Bock The first commercially available photographic portraits in Britain that colonial society could produce the same Portrait of two boys 1848–50 daguerreotype the 1840s were daguerreotypes. By the mid 1850s, a wide well-dressed and well-bred young boys as the old country. plate 7 x 6 cm range of middleclass sitters across the world could have a National Gallery of Australia, Canberra The sitters are as yet unidentified but the daguerreotype purchased 2009 high-quality image—often beautifully hand-coloured—of has been dated by comparison with several identified themselves and their loved ones. These images were examples of double portraits of children that have survived especially poignant in distant European colonial societies out of the hundreds of images made by the Bock studio. where settlers might rarely or never again see their families. Gael Newton The daguerreotype was first demonstrated in Australia Senior Curator, Photography in Sydney in May 1841. Late the following year, London’s George Goodman set up the first commercial studio in
40 national gallery of australia acquisition
Portrait of three Californian goldminers
Americans embraced the daguerreotype from its first appearance in New York in the early 1840s and, in the West in particular, hundreds of thousands of daguerreotypes were made in California during the peak gold rush years of 1849 to 1864. This output was far greater in number, quality and variety of examples than for any other place in the Asia–Pacific region. The first generation of miners in California, known as 49ers, created a particular style of occupational portrait in which they were portrayed in confident, even swaggering poses—wearing their working gear of wool over-shirts, buckskin trousers, bandannas and special miners buckles. The miners were often shown holding their tools, pans, gold nuggets, pistols and knives. Many miners portraits were made outdoors on the diggings. The example, recently acquired by the National Gallery of Australia, is identifiable as a miners portrait by the buckles and shirts. However, it is distinctive because of the male camaraderie or brotherly affection that is shown. Double or triple portraits were cheaper but it is perhaps that desire to show their bond that made these three burly young men have their collective likenesses taken. Their hair is longish, a practical choice on the fields but this also imparts a rather romantic air to the young men. The image is both very attractive and of a high level of clarity and brightness. Possession of such an image became a badge of fraternity among the miners or an essential proof of wellbeing and success to send back home. The genre was so popular that photography studios began supplying clothes for tourists to have their pictures taken as ‘miners’. No similar genre of miners daguerreotypes is known in Photographer unknown Australia—or even any single identified miners portrait. not titled (portrait of three Californian gold miners) Gael Newton 1/4 plate daguerreotype Senior Curator, Photography plate 10.6 x 8.1 cm case 11.7 x 95 cm National Gallery of Australia, Canberra purchased 2009
artonview autumn 2010 41 acquisition
Philip Wolfhagen Autumn equinox; the loss of the sun
Philip Wolfhagen Philip Wolfhagen is widely regarded as one of Australia’s Across the darkened paddock depicted in Autumn Autumn equinox; the loss of the sun 2009 most significant contemporary landscape painters. He won equinox; the loss of the sun, our eyes are drawn to the oil and beeswax on canvas the prestigious Wynne Prize in 2007 and is part of a new glimmer of a fire and wisps of smoke—a suggestion of 200.4 x 160.3 cm National Gallery of Australia, generation of painters who are presenting fresh visions of distant human activity. In his 2005 monograph on the Canberra the Australian landscape and rethinking the traditions of artist, Peter Timms states that Wolfhagen is one of few purchased 2009 this age-old genre. His works, inspired by the atmospheric contemporary Australian painters to explore ideas of landscape of northern Tasmania, explore the representation the picturesque within the cultivated landscape, despite of time and natural phenomena. there being little romance left in rural toil. Wolfhagen’s Autumn equinox; the loss of the sun 2009 is an atmospheric explorations of this subject are underpinned by outstanding and powerful work from his latest series. It a love of both the wild and changed landscape and, most highlights Wolfhagen’s skill and sensitivity in rendering significantly, a strong sense of our responsibilities towards the subtleties and emotive qualities of light, mood and the natural world. texture. During a fleeting moment of mid-autumn twilight, This work is on a scale just large enough to envelope Wolfhagen has captured the view over a darkened our vision and provokes an immediate reaction from the domestic garden and beyond into a farmed landscape. senses. We are momentarily transported from the gallery by The large trees in the foreground are silhouetted against the illusion of realism. Yet, the sense of profound mystery the cloudless sky—a velvety, glowing surface of cool blue this work also possesses gives us the impression that and the fading remnants of a golden sunset. Wolfhagen’s Wolfhagen is seeking to draw us further beyond the realm characteristic combination of oil paint and beeswax creates of the physical world. On close inspection, the initial illusion a luscious surface and adds a physical quality to the work. is dissolved and abstracted by the exquisite painterly quality The spindly branches of the largest tree are scored into of Wolfhagen’s mark making. this surface, to reveal a charcoal-coloured, darker under- Autumn equinox; the loss of the sun is an important layer. There is a sense of both melancholy and romance in new work by this prominent Australian painter. It is a the title and tonality of this landscape; a scene infinitely superb addition to the National Gallery of Australia’s suspended between night and day, during the short collection of recent landscape painting and to our passage of time when both are roughly equal in length, representation of contemporary Tasmanian artists. and on the verge of the colder darker months of winter. Miriam Kelly Wolfhagen draws inspiration from the regions Assistant Curator, Australian Painting and Sculpture surrounding his home in northern Tasmania, many of which he has known since childhood. For example, the domestic garden in the foreground of Autumn equinox; the loss of the sun is the artist’s own and the trees all planted by his hand. However, rather than painting en plein air, Wolfhagen works primarily in the studio from photographs and from what he identifies as an ‘imagined or partly remembered space’. He begins to paint after contemplating and absorbing his observations and emotional responses to a certain landscape. In this regard, his works simultaneously embody and transcend a specific place.
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acquisition
Murray Griffin Self-portrait
with different printing techniques in the 1920s and soon focused on the linocut process as it was simpler than woodcut, with the lino easier to use and more obtainable. In 1932, Griffin produced two self-portraits, the first of which was a forceful direct frontal portrayal. The second, Self-portrait, is a three-quarter profile reminiscent of the glamorous photographic studio portraits of the 1920s and 1930s. The print explores a range of tonal techniques, with the definition of the artist’s cheekbones emerging from the stippled surface of shadow, while delicate cross- hatching is employed to indicate the contours of the face. The artist has picked out sweeps of hair in sinuous curved lines and uses strong hatching on the casually upturned collar. The un-inked background creates a luminous halo effect, hinting at later works that were deeply influenced by his anthroposophical beliefs based on the teachings of Rudolf Steiner. Griffin was more approving of this second representation, having destroyed all but one impression of the first. Born in Melbourne on 11 November 1903, Griffin studied drawing from 1919 to 1920 and painting from 1921 to 1922 at the National Gallery School. His first experiments with linocuts were in 1921, but these did not reach fruition until the early 1930s, when he learnt the process of multiple-block colour printing from Napier Waller. It is possible Self-portrait was made under the direction of Waller as studies such as this were often set as student exercises. During this time, Griffin also became familiar with Japanese woodblocks through exhibitions held in Melbourne, the collection of American architect Walter Burley Griffin and the work of Austrian printmaker Norbetine Bresslern-Roth, who had a decisive effect on his later work. Though Griffin is primarily known for his luminous, glossy-inked colour prints of birds and animals, Self-portrait Murray Griffin Murray Griffin’s early linocut Self-portrait 1932 captures is an accomplished and engaging work that shows the Self-portrait 1932 linocut, printed in black ink the confident, debonair attitude of the artist through a vitality of line and attention to detail so celebrated in his from one block, on paper distinctly modern articulation of classical form and Art linocuts. 21.5 x 16.5 cm Deco stylistic devices. Griffin was an innovative printmaker, National Gallery of Australia, Emma Colton Canberra painter, teacher and active member of the Melbourne art purchased 2009 Assistant Curator, Australian Prints and Drawings community for over four decades. He first experimented
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Fiji A priest’s fork
This newly acquired Fijian priest’s fork represents the zenith Fiji A priest’s fork (bulutoko) early of the carver’s art in pre-European contact Fiji. The sleek, 1800s ergonomically designed handle has a flared pommel and wood 48 cm, 3 cm (diam) ringed section with floral-like decoration before expanding National Gallery of Australia, Canberra out to three gracefully elongated tines. The artist has purchased 2009 shown consummate skill in making each tine elegantly twist along its length. Typical of the finest Polynesian arts, the priest’s fork balances form and function perfectly. Its squid-like appearance and glass-like patinated surface (from many years of use) lend an understated attraction that transcends a mere utilitarian nature. However, behind the beauty of this object lies a macabre purpose. While forks such as these were notoriously known as ‘cannibal forks’, this unflattering epithet is misleading and obscures their true purpose. Before the mid 1870s, cannibalism was an accepted, normal part of Fijian life, but certain rituals were exclusive. Only priests, for instance, used these forks and only during the ritual consumption of meat, which was not always human flesh, to honour the gods and to act as their medium, receiving their wisdom and instruction. Priests, literally, became the mouthpieces of the gods. Records also indicate that an attendant might be employed to carefully place morsels of food into the priest’s mouth without touching his lips, as even the priest’s lips were sacred. The fork dates to at least the first quarter of the 1800s as it looks to be carved without the use of iron tools. Also, the undulating zigzag patterns, reminiscent of a snake in motion, may represent female tattooing common in the 18th and early 19th centuries. The production and use of these forks declined from the 1850s to 1876, when a British punitive campaign brought colonial administration to every part of Fiji. Only a dearth of indigenous cultural knowledge regarding these objects survived the mass transition to Christianity; the accounts of early travellers, such as whalers, sandalwood traders and missionaries, are all that remain to provide insight (however Euro-centric) into the pre-Christian arts of Fiji. This work sits superbly among the other fascinating objects in the Gallery’s new dedicated space for Polynesian art.
Crispin Howarth Curator, Pacific Arts
artonview autumn 2010 45 1 2
3
4 5 faces in view
1 The Hon Peter Garrett, Minister for the Arts in the Sidney Nolan – Ned Kelly series gallery at the National Gallery of Australia, Canberra, 26 November 2009.
2 National Summer Art Scholar Kenna Reid-Clark reveals his print at a special workshop on the 13 January 2010 at the School of Art, Australian National University, Canberra.
3 Artist Peter Vandermark 6 discusses his work and process with National Summer Art Scholars at his studio, 14 January 2010.
Guest enjoying the celebrations at the opening of Masterpieces from Paris, 3 December 2009:
4 Mark Muller and Caroline Mills with Maurice Denis’s The Muses 1893 in the exhibition space.
5 Johnnie Walker, Michael Desmond and Gene Sherman enjoy the Champagne Pol Roger in the Sculture Garden.
6 Melissa Moss, Maurice Reilly, John McKay, Allan Williams and Jessica Wright.
7 Michael Chaney and Avi Rebera. 7 8 8 Roger and Helen Allnutt.
9 Adelina La Vita, Kim Giddings, Helen Curzon and Jo Verden.
9 travelling exhibitions program
Art and about with the Wolfensohn Gift suitcases
The cases brought a world of ‘treasure’ to students up here in the remote regions of WA and the students looked on in absolute wonder. Many students would never see such objects ever again, especially those [objects] from other parts of the globe.
Helen Capsalis, art teacher, St Mary’s College, Broome, WA
Students at St Mary’s In early February 2009, the Gallery packed its Elaine and trainers used the case as part of extension activities for College in Broome, Rhiannon, Emily and Jim Wolfensohn Gift of art-filled suitcases—Red case: myths adults living with a disability. Kheshan discover the and rituals and Yellow case: form, space and design—for a The Elaine and Jim Wolfensohn Gift, which comprises works of art in the Red and Yellow cases of the six-month trip to the northern parts of Western Australia. three suitcases and the 1888 Melbourne Cup, is an Wolfensohn Gift, 2009. The suitcases covered a mighty 10 229 kilometres and were important outreach initiative and an integral part of enthusiastically received by over 2740 children from schools the National Gallery of Australia’s Travelling Exhibitions and centres in Broome, Derby and Kununurra. It was the first program. Generously supported by the Wolfensohns since time that the gifts have travelled to this part of Australia. 1990, the gifts have travelled to most parts of Australia and Over the same period the Blue case: technology had a to a wide variety of venues, from single-teacher schools to different emphasis. Its tour focused on students and adults large metropolitan art galleries. They have also travelled to living with a disability and commenced with a six-week places as far afield as Thursday Island, Norfolk Island and to program at the Royal Institute for the Deaf and Blind in Washington in the United States. Sydney. Julie Kaney, Director at Rockie Woofit Preschool, In 2010, the focus of the tour shifts to central Australia which is part of the Institute, commented that the case ‘… as all three suitcases travel through South Australia and on provided an opportunity for our children to view sculptures to Alice Springs. Once again, children and adults from all from an art gallery—this was a first for many of our backgrounds will have the chance to engage meaningfully children … it was a wonderful experience for our sensory in their local galleries, community centres and classrooms disability children as well as our community children’. The with museum-quality works of art from the National Gallery tour continued south to the Victorian College of the Deaf of Australia in Canberra. and to Arts Access Victoria, both in Melbourne, where Mary-Lou Nugent Project Officer, Travelling Exhibitions
48 national gallery of australia Travelling exhibitions autumn 2010I Exhibition venues and dates may be subject to change. Please contact the Gallery or venue before your visit. For more information on travelling exhibitions, telephone (02) 6240 6525 or send an email to [email protected].
McCubbin: Last Impressions 1907–17 Frederick McCubbin The old slip, Art Gallery of Western Australia, Perth, WA, 11 December 2009 – 29 March Williamstown 1915 private collection 2010 Bendigo Art Gallery, Bendigo, Vic, 24 April – 25 July 2010 Discover Frederick McCubbin’s rarely displayed later works and experience his striking use of colour in the first McCubbin exhibition to be held in almost 20 years. See this iconic Australian artist in a new light as he depicted a modern Australia in cityscapes, sea views, landscapes and portraits. nga.gov.auy/mccubbin Proudly sponsored by R.M.Williams, Exhibition Benefactor the Hon Mrs Ashley Dawson-Damer and Media Partner ABC Local Radio.
Robert Dowling: Tasmanian son of Empire Robert Dowling Mrs Adolphus Sceales Queen Victoria Museum & Art Gallery, Launceston, Tas, 6 March – 25 April 2010 with Black Jimmie on Merrang Station Geelong Gallery, Geelong, Vic, 8 May – 11 July 2010 1855–56 Robert Dowling holds a special place in the history of Australian art. He was the first National Gallery of Australia, Canberra artist to be trained in Australia and was renowned for his paintings of pastoralists and purchased from the Founding their properties, Indigenous people and biblical themes. This is the first major exhibition Donor Fund 1984 of his oeuvre, including his much-lauded oriental subjects. nga.gov.au The National Gallery of Australia acknowledges funding support from the Australian Government through the National Collecting Institutions Touring and Outreach program. Also supported by Visions of Australia, an Australian Government program supporting touring exhibitions by providing funding assistance for the development and touring of Australian cultural material across Australia, and by the National Gallery of Australia Council Exhibitions Fund.
In the Japanese manner: Australian prints 1900–1940 Paul Haefliger Sublime Point above Bulli Lake Macquarie City Art Gallery, Booragul, NSW, 18 June – 1 August 2010 1936 National Gallery of Australia, This exhibition presents a rare opportunity to observe how Australian artists Canberra adapted the Japanese woodblock technique printing of ukiyo-e to form a distinctly gift of the artist, 1978 Australian aesthetic. It features works by Paul Haefliger, Margaret Preston, Thea Proctor, Ethel Spowers, Lionel Lindsay and many other important Australian artist. nga.gov.au Supported by Visions of Australia, an Australian Government program supporting touring exhibitions by providing funding assistance for the development and touring of Australian cultural material across Australia. Also proudly supported by Hindmarsh.
The Elaine and Jim Wolfensohn Gift The Elaine and Jim Wolfensohn Gift enables people from all around Australia to discover and handle treasured objects. Made possible by Jim Wolfensohn, the gift comprises three art-filled suitcases and the 1888 Melbourne Cup. The Gallery has been touring the Wolfensohn Gifts to schools, libraries, community centres, regional galleries and nursing homes since 1990.
Blue suitcase: technology Country Arts SA, Mount Gambier, SA, 3–31 March 2010 Mount Gambier Public Library, Mount Gambier, SA, 1–19 April 2010 Millicent Art Gallery, Millicent, SA, 20 April – 27 May 2010 Adelaide Festival Centre, Adelaide, SA, 28 May – 5 July 2010 Red suitcase: myths and rituals and Yellow suitcase: form, space and design Arts Access Victoria, Melbourne, Vic, 15 February – 13 April 2010 Disability Information and Resource Centre, Adelaide, SA, 14 April – 14 May 2010 Adelaide Festival Centre, Adelaide, SA, 14–24 May 2010 Country Arts SA, Port Lincoln, SA, 25 May – 25 June 2010 1888 Melbourne Cup Tasmanian Museum and Art Gallery, Hobart, Tas, 6 March – 8 April 2010 ABC Local Radio is the Burnie Regional Art Gallery, Burnie, Tas, 8 April – 12 May 2010 proud Media Partner Devonport Regional Gallery, Devonport, Tas, 12 May – 19 July 2010 of the National Gallery Sri Lanka Seated Ganesha 9th–10th century, in Red suitcase: myths and rituals, The Elaine and Jim Wolfensohn Gift of Australia’s Travelling Exhibitions program.
artonview autumn 2010 49 education program
Mandala workshops in rural schools
A colourful mandala Education is a key part of the National Gallery of Australia’s At both schools, students worked in groups to created by students at Weethalle Primary. role within the national community. Every year, Gallery design the rings for their mandala, which consisted of educators and volunteers conduct seminars, workshops, grains, seeds, earth, grasses, hay, red peppercorns, leaves Ardlethan Central School students form lectures, tours, training sessions and special study days. and flowers. As part of the workshops, students were a cirle around their mandala These programs aim to connect people in meaningful ways encouraged to produce their own visual and written with the national collection and, more generally, with the responses—drawings, collages, mini mandalas, poems creative potential that art brings to everyday life. In 2009, and prose—to the materials they had selected for their the Gallery supported a grant for two of its educators to mandalas. The use of local materials helped students to conduct visual art workshops for school children in the connect with and express their feelings about their local drought-affected West Wyalong region. landscape and their relationships to it. Jo Krabman and I arrived at the beginning of November At the end of the workshop, students gathered to into a sun-scorched landscape to conduct art workshops at discuss the finished work of art and were inspired by the Weethalle Primary and Ardlethan Central School. Weethalle variety of colours and textures. At Weethalle, a five-year-old is a small community on the Mid Western Highway and excitedly exclaimed, ‘Awesome!’, while an older student their primary school, from kindergarten to year 6, has only interpreted the design as a vast Australian landscape, 41 children. The nearby town of Ardlethan has a larger from the rainforest to the dry countryside and crops. The school with 87 students from kindergarten to year 12. students had remarkable insight into what it meant for Inspired by works of art which respond to the natural them to create and place these visually stunning mandalas environment such as Buddhist sand mandalas and Land art, in the context of their own environment. the idea behind the workshops was to promote a sense of This education initiative continued the ongoing community. The students collaborated to produce a large, relationship that the National Gallery of Australia has ephemeral work of art made to represent the land in which fostered over the last five years with the drought-effected they live. Students collected a range of natural materials to rural community of the West Wyalong region. produce a mandala-style work of art. Lucy Quinn Education Officer
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The Contemporary Touring Initiative is managed The Visions of Australia Program is administered by the Australian Government’s Visions of by the Department of the Environment, Water, Australia Program. Heritage and the Arts.
Acknowledgements (clockwise from top left): Maringka Baker Anmangunga 2006 Synthetic polymer paint on canvas 136.5 x 202.5 cm. Courtesy of Art Gallery of South Australia. Featured in Culture Warriors: National Indigenous Art Triennial developed and toured by the National Gallery of Australia. © Maringka Baker | Mavis Ganambarr Basket 2006 (detail) Pandanus fibre, natural dyes, fibre string 48 x 38.2 cm (diameter). Photo: Peter Eve | Belinda Winkler Swell Slipcast ceramic vessels, dimensions variable. Photo: Phil Kuruvita | The Ngurrara Canvas painted by Ngurrara artists and claimants coordinated by Mangkaja Arts Resource Agency, May 1997, 10 x 8 m | Anne Zahalka The Bathers 1989 type C photograph 74 x 90 cm ART12.1209 www.arts.gov.au/visions The Sydney Morning Herald smh.com.au WEDNESDAY, DECEMBER 16, 2009 15 & ARTSARTS ENTERTAINMENTE Futures in TrueTrue crime doubt with putsU USS grant wait Joyce Morgan GGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGG media in DOZENS of arts companies
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open 7 days 10.00 am – 5.00 pm | Parkes Place, Canberra ACT 2601 free call 1800 808 337 | (02) 6240 6420 | [email protected] ngashop artonview ISSUE 61 ISSUE •
AUTUMN 2010 NATIONAL 2010 AUTUMN GALLERY OF GALLERY AUSTRALIA
6 March – 25 April 2010 Queen Victoria Museum & Art Gallery, Launceston, Tas 8 May – 11 July 2010 Geelong Gallery, Geelong, Vic 24 July – 3 October 2010 National Gallery of Australia, Canberra, ACT
Media Partner National Gallery of Australia National Collecting Institutions Council Exhibitions Fund Touring & Outreach Program
The National Gallery of Australia is an Australian Government Agency
Robert Dowling Mrs Adolphus Sceales with Black Jimmie on Merrang Station 1855–56, National Gallery of Australia, Canberra, purchased from the Founding Donor Fund, 1984