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Jane Sutherland: Daydreams,c. 1895.

A major exhibition with an unashamed feminine bias opened at Heide Gallery in Bulleen, , in March.

Entitled Completing the Picture - Women Artists and the Heidelberg Era, the show of 70 works illustrates the achievements of Me lbourne's art world around the turn of the century from a refreshingly different point of view. Whilst the exhibition Golden Summers drew both critical acclaim and community enthusiasm, its emphasis on high-profile mole artists of the period was obvious. The general public could be forgiven for believing that Australian women painters scarcely existed at all by the 1900s, let alone that they had often given expression to what is being increasingly revealed as unique social, cultural and aesthetic Opposite: Dora Meeson, perspectives. In a Chelsea Garden, 1913.

Clara Southern: The Artists' Camp at Warrandyte, c 1905

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The generation of female artists who were matter. Pleinair painting was formerly active in the 1 880s and 90s were in fact known as the which among the first to be trained professionally takes its name from the suburb at the National Gallery Art School. (A where it is believed to have been initiated possibly surprising statistic also reveals that as a movement by and L. female students at the school have Frederick McCubbin in 1885. Pleinair consistently outnumbered male students painting was to be found in all the major throughout the twentieth century.) The high Australian cities from the 1890s until ofter standard of teaching at the Melbourne Federation in 1901 . National Gallery School drew pupils from According to researcher Juliet Peers, even f .. I all over as well as from New small children were no impediment to a Zealand, providing a generally supp'.xtive committed plein air painter. 'Alice Newell 1 and stimulating environment for new!·., 1 would take up a board with some ti - E RO emerging women artists, as well a~ access watercolour paper stretched on it, place her to formal technical training. Jone Sutherland, baby in her lap, rest the board on the Claro Southern, May Vole, Violet Teague, baby's back- and start pointing!' Josephine Muntz-Adorns, Alice Bole and I Beatrix Hoile were among the many to study Another artist, Beatrix Hoile, who often l 1 there in the 1800s. organised groups of women to accompany her on pointing trips around Hampton, The increasingly popular technique of plein would more often than not hove her children air pointing, as favoured by the male r ploying at her feet as she pointed the Heidelberg artists, was another factor which bushland. encouraged women to explore their creativity and tackle what many had , For women, the pleasures and freedoms of previously considered to -be daunting subject plein air were curtailed by certain I

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Josephine Muntz: A St,tch ,n Time

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Emma Minnie Boyd: Landscape with Ferns, 1877 restrictions that did not apply to their male Europe on one of the last ships to leave If the original works were a labour of love colleagues. , for example, Australia under sail, with Violet completing for the artists involved, so too in a similar frequently took part in painting excursions several paintings during the voyage. way has been the mounting of Completing with the Heidelberg Group - notably around the Picture. Initiated without the benefits of their Box Hill camp. Social mores dictated There is no doubt that the women who have association with an existing gallery space, that she could not stay at the camp emerged from this investigation as serious the exhibition has been conceived, overnight, but had to journey laboriously to artists in their own right required courage to researched and planned by four women and fro each day by train. maintain their own artistic vision, let alone who collaborated under the auspices of fulfil their potential . Alice Rowan, who was Artmoves and the VictorianWomen 's Trust. Constraints seem to have acted as a spur to twice awarded gold medals for her Artmoves is a non-profit association which some, an ultimate deterrent to others. Jane paintings , was severely criticised by male seeks to inform, promote and employ visual Price, who had to earn a living by taking colleagues for success over better-known artists, while the Victorian Women's Trust is care of the children of artist friends, painted painters of the day . Alice Bale, who painted a philanthropic foundation with a range of consistently despite the demands on her extensively in the plein air style and later supportive and advisory functions. Co­ time, and shared studios with other women joined the Meldrum group, was reputed to curators Victoria Hammond and Juliet Peers artists of the day. Although plagued by a be a strong and tireless debater of cultural have carried out an extensive program to chronic shortage of money, she was politics, as was Beatrix Hoile, who was find and select works of an appropriate passionately concerned with disseminating renowned for analysing controversial issues standard and in suitable condition for the ideas on art, culture and theosophy of art theory with a wide cross-section of show, with Juliet Peer's research having throughout her life. both the men and women of Melbourne's involved many years of painstaking Yet another plein air painter had to give up art world. Alice Chapman's 'discussions' investigation of archives, gallery records painting professionally because of pressures with the master of the painting school were and personal documents. A recurring feature from within her own family. For some deemed so outrageous that she was actually of her investigations has been the conservative thinkers the concept of women banned from attending classes. fragmented nature of the background exhibiting (and therefore possibly selling) material available and the discrepancy their work carried an implied indictment of a It was not uncommon for these women to between the quality of the work and its father's or husband's capacity to support his influence, in varying degrees, the creative coverage by the press. The case of family. lives of their families and friends. Excursions, Josephine Muntz-Adams is typical: 'She painting classes and discussion groups were studied at the Gallery School as well as in Sometimes the sudden decision to cease frequently organised and provided both Paris, with her mature works showing a lush, painting was connected to the death of a artistic support and a stimulating painterly quality and a strong sense of loved-one, or to the added responsibilities environment for the exchange of news and European . However, there involving an aging parent. One portrait in 1 ideas. Emma Minnie A Beckett Boyd is 011 are no interviews with her and very little the exhibition - of artist Alice Chapman's outstanding example of the far-reaching specific documentation of her work . sister Ethel - is also a reminder that Alice effect of one woman's philosophy of life on Attention often just wasn't given to the 'lady gave up painting when Ethel died in order future generations. Although extraordinarily painters'.' to take care of her sister's children. talented (she was particularly known for her Whilst principally an art exhibition, In the case of Violet Teague, who genre works, paintings which depict events Completing the Picturealso aims to highlight interrupted an outstanding career to care for in everyday life), she had modest aspects of social history in ways that will her aged father, encouragement for expectations regarding her own art. It was reach a broad spectrum of age and interest ultimately resuming her painting came from her children and grandchildren who, in groups. Photographs and memorabilia will her sister Una, who fulfilled the kind of terms of creative output, seem to have accompany the paintings on show, with supportive and entrepreneurial role benefited most from her approach to life, catalogues and education packages also traditionally provided for male artists by their emerging as committed potters, painters, being made available. wives or patrons. Teague's art encompassed sculptors and writers, with their own highly everything from Pre-Raphaelite style altar individual perspectives on and After the inaugural exhibition at Heide studies to dramatic, distinctly Australian society. which runs to 26 April, the works will tour landscapes, including many full length regional galleries at Ballarat (5 May- 28 portraits of friends and contemporaries . Other artists who were an encouragement to June), Castlemaine ( l 2 July - 9 August) and Teague had a strong sense of social justice a younger generation included Jane Benalla ( 15 August - 28 October). which prompted her to agitate for the Sutherland, whose niece Margaret became Although the organisers are aware that not provision of a much needed water supply one of Australia's best-known composers. all the images selected qualify as major for an aboriginal settlement in South Lucy Newell, who had played the part of works, the range, quality and vitality of the Australia. She also organised pageants easel-rest in her mother's lap, was another to collection generates its own quiet shock down Collins Street, Melbourne, during the draw inspiration from her home 1 value. Why haven t we heard more about First World War years to rai~e money for background, becoming well-known in the these artists until now? Why have so few of the French Red Cross. When both sisters thirties for her own paintings, prints and their works been acquired by public were in their seventies they set out for fabric designs. collections? Emma Minnie Boyd: Portraitof Emma M,llsa'Beckett , 1874

The exhibition is destined to generate further of entrance fees and sale of products, Adderley's still life inspired the following: 'A debate on the role of women artists and which will provide support for contemporary bunch of grapes, painted on a panel by society, as well as broaden our knowledge women artists and expand the opportunities Miss Adderley look nice enough to eat. The and understanding of an undeniably for the further appreciation of their work . fair artist is reported to be equally enticing.' fascinating period of Australian history. It is Two excerpts from widely read and The quotes might raise a smile today, but an appropriate linkage between the present respected iournals of the late 1880s are it's sobering to recall that at the time of and a not-so-distant past. worth recalling: Theodosia Anderson's publication they constituted an acceptable In keeping with the spirit of the proiect since paintings were received with the doubtless part of contemporary art criticism. its inception, a 'Perpetual Women's Art Trust ultimate accolade of 'having the strength Fund' is to be established from the proceeds and broad effects of a man's work' . Rita Jan Blensdorf