ResearchOnline@JCU This file is part of the following reference: O'Sullivan, Jill (2004) Visions of rural identity: a study of the rural figurative image in Australian art since 1880. Masters (Research) thesis, James Cook University. Access to this file is available from: http://eprints.jcu.edu.au/24948/ If you believe that this work constitutes a copyright infringement, please contact [email protected] and quote http://eprints.jcu.edu.au/24948/ Visions of Rural Identity A study of the rural figurative image in Australian art since 1880 Thesis submitted by Jill O’Sullivan BVA (Hons) James Cook University in August 2004 For the degree of Master of Creative Arts in the College of Music, Visual Arts and Theatre James Cook University STATEMENT OF ACCESS I, the undersigned, author of this work, understand that James Cook University, will make this thesis available for use within the University Library and, via the Australian Digital Theses network, for use elsewhere. I understand that, as an unpublished work, a thesis has significant protection under the Copyright Act and I do not wish to place any further restriction on access to this work. _____________________________ _________________ Signature Date ii STATEMENT OF SOURCES DECLARATION I declare that this thesis is my own work and has nor been submitted in any form for another degree or diploma at any university or other institution of tertiary education. Information derived from the published or unpublished work of others has been acknowledged in the text and a list of references given. _________________________ _________________ Signature Date iii ELECTRONIC COPY I, the undersigned, the author of this work, declare that the electronic copy of this thesis provided to the James Cook University Library is an accurate copy of the print thesis submitted, within the limits of the technology available. ___________________________ __________________ Signature Date iv STATEMENT ON THE CONTRIBUTION OF OTHERS Stipend Support: Australian Postgraduate Award Supervision: Anne Lord v ACKNOWLEDGEMENTS I extend my deepest gratitude to all those who have encouraged and supported me in these studies. I wish to especially thank Anne Lord, my supervisor, for all her continuing guidance, support and concern throughout the course of my studies over the last few years. I thank Professor Diana Davis for her support through my Candidature of Masters of Creative Arts and those who helped in many ways, Dr. Sue Albanus, Vince Bray, Adrienne Cerutti, Amber Church, Jan Graham, Jane Hawkins, Terri MacDonald, Lisa MacNaughton, Ron and Bronwyn MacBurnie, Trish Nixon-Smith, Margaret Robertson, Dr. Anneke Silver and Jeff Vickers. Finally, I offer my wholehearted thanks, gratitude and appreciation to the folk of The Dajarra Hotel, Vi Fraser, Sandy Anderson, Betty and Phil Kiernan and all the people of Dajarra who supported my work and inspired my interpretations. vi ABSTRACT The portrayal of the human presence placed in an Australian rural or outback environment has been a distinct feature of some of the most notable and iconic works within the history of Australian art. This imagery, through its history, has demonstrated artists’ concerns with ideological notions of nationhood, myth making, legendary narratives, social and political issues but always with the focus remaining on the unpretentious folk of the bush. Iconic images have arisen from this genre and have become part of the national psyche providing a visual form of national self-identity. The genre has been at the forefront of innovative practice and changes in direction in Australian art since its inception. This thesis explores, using a historical approach and through the relevant literature and art, the complex and varying forms of the rural figurative vision and the concerns of the artists that formed these visual representations of the rural figure. The discourse takes as its starting point the emergence of an Australian school of art in the 1880s that took the rural identity as important in defining both a national type and a specific originality for the recognition of Australian art. The research then continues to discuss the ever-changing role of the genre through the twentieth century. The thesis investigates the influences, relationship to changing attitudes in society and the application of new methods and concepts to the continuous flow of new interpretations and transformations of the vision of the rural figure. Crucial works that represent the importance of the genre are discussed in this context. The study also offers insights into why certain works have become iconic symbols of Australian nation. Research indicates that the developing role and nature of the rural figure in Australian art history and theory is contained within layers of landscape tenets. vii Consequently, in the literature, landscape ideology appears to overshadow the exurban figure. This study seeks rather to centre on depictions of human figuration within the context of the bush, isolating the theme as a distinct part of Australian art history. Through the study of the literature there appears to be an imbalance in acknowledging the importance and the history of a separate rural figurative genre. This thesis aims to address this. As a case study to synthesize with the theoretical research and informed by the research focus, this artist/researcher presents a body of work centred on the people of a small rural community, Dajarra, in North West Queensland. This studio practice reflects on segments of contemporary rural life and examines the reality of the rural figure in a modern context. The methodology, concepts and exhibition are discussed in relationship to these visual studies. The research reaches conclusions that validate the rural figurative imagery as a separate genre and establish its importance and influence within the history of Australian art. This research also concludes that much of this genre’s imagery has become iconic due to its continued reflection of Australian culture and society, emerging self-identity and aspirations. viii TABLE OF CONTENTS Chapter One Introduction 1.0 The Significance of Rural Identity in Australian Art 1 1.1 Visual Interpretations of Dajarra 2 1.2 Rationale 3 1.3 Aims of the Research 5 1.4 Scope and Structure of the Research 6 1.5 Methodology for Theoretical Research 8 1.6 Methodology for Visual Research 11 1.7 Conclusion 12 Chapter Two National Identity and the Bush 1880 - 1920s 2.0 Introduction 13 2.1 The Rise of National Identity 14 2.1.1 The developing sense of nation 14 2.1.2 The genesis of the Australian noble bushman 17 2.1.3 The colonial type 20 2.2 The Distinct Australian and the Press 22 2.3 Rural Genre: Influences of Illustration and Photography 23 2.4 The Bushman Theme and the Australian School of Art 26 2.5 The Rural Genre-Illustration or High Art 29 2.6 The Role of State Galleries in Supporting the Bush Genre 31 2.7 The Art Schools and the Rural Genre 33 2.8 Nationalistic and Heroic Visions of the Rural Figurative Genre 37 2.9 Mythical Virtues of the Australian Rural Figure and the War 40 2.10 Changing Visual Perceptions 45 ix 2.11 Legacy of the Early Visions 46 Chapter Three The Transformation of The Rural Figurative Genre 1930 -1960 3.0 Altered Visions of Rural Figuration 49 3.1 New Interpretations of Rural life – Russell Drysdale 51 3.2 The Transformation of Rural Figurative Idealism s - Nolan 60 3.3 The Mythological Bush Figure 70 3.3.1 Boyd and The Bride series 70 3.3.2 Albert Tucker and the Antipodean vision 76 3.4 The Significance of these Rural Visions for Australian Art. 81 Chapter Four Issues of Rural Identity in Australian Art 1960 - 2000 4.0 Introduction 85 4.1 Changes in Australian Art and Effects on Rural Figuration 86 4.2 The Ambiguous Rural Figure in Contemporary Art 90 4.3 Consideration and Direction for Rural Figuration Today 95 Chapter Five Defining the Case Study: Selection and Focus 5.1 Directions from the Literature 97 5.2 Focusing on A target Community: Criteria Location and Accessibility 99 5.3 A Profile of the Target Community 101 5.3.1 Dajarra: the macrocosm 101 5.3.2 Dajarra: the microcosm 101 5.4 Aims of the Creative Visualisations 103 5.5 Conceptual Approaches in Developing the Imagery 104 5.6 Collecting the Source Material – Field Trips 104 5.7 Choice of Medium 106 x Chapter Six Dajarra: Process toward Product 6.0 Evolution 109 6.1 Technical stages for the Lithographs 109 6.1.1 Developing experimental works: Lithographs 109 6.1.2 Further lithographic technical development 110 6.1.3 Technical developments for the monotypes 112 6.1.4 Techniques and experiments for intaglio works 112 6.2 Context and Concept for the Developing Works 114 6.2.0 Introduction 114 6.2.1 The man of the Georgina River 115 6.2.2 Studies developed from a Dajarra morning gathering 118 6.2.3 Studies of a stockman 120 6.2.4 From the bar 122 6.2.5 The card players 124 6.2.6 Studies from a garden party May 2001 124 6.2.7 Depictions of the street 125 6.2.8 The domestic vision 125 6.2.9 Legacy of these interpretations 126 6.3 Summary of Editioning and Techniques for exhibited works 126 Chapter Seven Presenting the Exhibition 7.0 The Exhibition 130 7.1 Choice of Venue 130 7.2 Description of the Gallery 131 7.3 The Framing 131 7.4 Invitations and Catalogue 132 xi 7.5 Installation of the Exhibition 132 7.6 Further exhibitions of Dajarra, Pub and People 134 7.7 Reviews and Artist talk 135 7.8 Responses to the Exhibition 135 Chapter Eight Reflections and Conclusion: The Role of the Rural Figure in Australian Art