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Constable # Crescent Moon # Otto constable • crescent constable moon • otto dix artonview issUe no.45 autumn 2006 artonview ISSUE No.45 AUTUMN 2006 NATIONAL GALLERY OF AUSTRALIA WAR The Prints of Otto Dix National Gallery of Australia, Canberra 24 February – 28 May 2006 Principal sponsor Supported by National Gallery of Australia, Canberra 17 December 2005 – 30 April 2006 Organised by the National Gallery of Australia in partnership with the Art Gallery of South Australia Otto Dix Sturmtruppe geht unter Gas vor [Stormtroops advancing under a gas attack] plate 12 from the portfolio Der Krieg [War] 1924 etching, aquatint National Gallery of Australia, Canberra © Otto Dix, Licensed by VISCOPY, Australia Yogyakarta, Central Java, Indonesia Serat Dewi Ruci 1886 European paper, ink, pigment, gold leaf Presented by the Friends of the Gallery Library in memory of Tina Wentcher, 1982 National Gallery of Victoria, Melbourne contents artonview Publisher National Gallery of Australia 2 Director’s foreword nga.gov.au 4 Director’s vision Editor Eve Sullivan 10 Constable: impressions of land, sea and sky Designer Sarah Robinson 16 Constable: the ecstasy of stormy elements Photography Eleni Kypridis 21 Australia and Constable Barry Le Lievre Brenton McGeachie 22 Crescent moon: Islamic art and civilisation in Southeast Asia Steve Nebauer John Tassie 32 War: the prints of Otto Dix Designed and produced in Australia by the National Gallery of Australia 38 New acquisitions Printed in Australia by Pirion Printers, Canberra 50 Collection focus: Aboriginal and Torres Strait Islander Art artonview ISSN 1323-4552 54 Conservation: restoring the glow to Afterglow Published quarterly: Issue no. 45, Autumn 2006 56 Kenneth Tyler at the National Gallery of Australia © National Gallery of Australia Print Post Approved 58 Tribute: Jimmy Wululu pp255003/00078 60 Faces in view All rights reserved. Reproduction without permission is strictly prohibited. The opinions expressed in artonview are not necessarily those of the editor or publisher. Submissions and correspondence should be addressed to: The editor, artonview National Gallery of Australia GPO Box 1150 Canberra ACT 2601 [email protected] Advertising (02) 6240 6587 facsimile (02) 6240 6427 [email protected] RRP: $8.60 includes GST Free to members of the National Gallery of Australia For further information on National Gallery of Australia Membership contact: Coordinator, Membership GPO Box 1150 Canberra ACT 2601 (02) 6240 6504 [email protected] front cover: John Constable Harwich Lighthouse c. 1820 (detail) oil on canvas Tate, London, gift of Maria Louisa Constable, Isabel Constable and Lionel Bicknell Constable in 1888 director’s foreword Constable: impressions of land, sea and sky curated by the Gallery’s Head of Australian Art, Anna Gray, continues the Gallery’s commitment to analysing the historical legacy of European and, in particular, British art, with a major focus on this important landscape artist. Over 100 works have been selectively drawn together from distinguished museums and private collections in Great Britain, the United States and Australia, including the British Museum, the Royal Academy of Arts, Tate Britain, Victoria and Albert Museum, London, Yale Centre for British Art, New Haven, Connecticut, and the Frick Collection, New York. Qantas Freight and The Seven Network have once again generously supported the Gallery by transporting the works and providing television promotion for this exhibition. Ron Radford with Harold This is a very exciting time at the Gallery with the opening The exhibition showcases the extraordinary range of Mitchell AO, outgoing chairman of the National of two major and contrasting exhibitions, Crescent Constable’s work, from his exuberant outdoor sketches to Gallery of Australia Council moon: Islamic art and civilisation in Southeast Asia masterpieces such as Salisbury Cathedral from the Bishop’s and Constable: impressions of land, sea and sky. Grounds 1822–23 and The Vale of Dedham 1827–28. The As the first major international exhibition to focus exhibition is presented thematically to show key phases of on the Islamic art of Southeast Asia, Crescent moon Constable’s approach to the landscape, such as his well- introduces Australian audiences to the beauty and known cloud and sea studies, and what may well be his complexity of Islamic culture within our region, to reveal favourite subject, the lock – including his Royal Academy the unique developments in the arts of Islamic Indonesia, Diploma work, A boat passing a lock 1826. Malaysia, but also the Muslim communities of the A special display titled Australia and Constable has Philippines, Thailand, Burma and Cambodia. Splendid been included within the exhibition to explore Constable’s objects in silk, gold, lacquer, porcelain and stone illustrate influence on Australian art through the much-loved the transformation of indigenous motifs and techniques Australian landscape paintings of John Glover, Tom into new art forms to express the message of the Prophet Roberts, Arthur Streeton and Hans Heysen, leading up to Mohammed. the work of contemporary practitioners, such as Howard Crescent moon brings together 180 valuable loans Taylor, Philip Wolfhagen and Lesley Duxbury. from museums, palace treasuries and private collections If you have not already done so, please also take this of Indonesia, Malaysia, Singapore and Brunei, displayed opportunity to see the remarkable portfolio of prints by alongside objects from Australian institutions, in Otto Dix, Der Krieg [War] 1924. Modelled on Francisco particular, textiles from the National Gallery of Australia’s Goya’s famous Los desastres de la guerra [The disasters spectacular collection of Southeast Asian textiles, and of war], and acquired recently by the Department of Islamic ceramics from the Art Gallery of South Australia. International Prints and Drawings. The complete cycle I would especially like to acknowledge all the lenders, of fifty prints is now on view in the Project Gallery. As the curator of Asian Art at the Art Gallery of South curator Mark Henshaw states in his essay in this issue, Australia, James Bennett, Principal Sponsor Santos, it is ‘one of the most powerful indictments of war ever and the particular enthusiasm of John Ellice-Flint, CEO conceived’ by an artist. and Managing Director, along with the extraordinary I would also like to take this opportunity to generosity of the Gordon Darling Foundation in providing acknowledge the retirement of Harold Mitchell as funding to produce the splendid catalogue, and the chairman of the National Gallery of Australia Council. support for special education projects by The Myer During his term as both a member (1998–2001) and Foundation’s Beyond Australia and the Sidney Myer Fund. chairman (2001–05) of the council Harold gave a great 2 national gallery of australia credit lines deal of his time, passion and enthusiasm, and made a Donations significant impact on the National Gallery of Australia’s Ross Adamson direction. We were privileged to have Harold’s strong Philip Bacon AM Anthony Berg AM and family leadership. What the general public have not known Graham Bradley to this point is that Harold is one of our most generous Antony G Breuer benefactors. And although Harold oversees the largest Joan Daley OAM media-sales organisation in the country, he still found time Lady Nancy Fairfax OBE to fly to Canberra to officiate at every exhibition opening, Di Gregson Andrew Gwinnett affirming wholeheartedly, ‘As I always like to say, “this is a Catherine Rossi Harris PSM great gallery, in a great city, in a great country”’. In every John Hindmarsh sense Harold maintained a supportive, hands-on role as Reverend Theodora Hobbs chairman, and was always at the end of the telephone line Peter Jopling QC for advice to both Brian Kennedy and myself. Harold Mitchell AO Cameron O’Reilly He is succeeded in the role of chairman by Rupert Angus Paltridge Myer, whose appointment was announced on 18 Jennifer Prescott December 2005 by the Minister for the Arts and Sport, Alan D Rose AO and Helen E Rose Senator the Hon. Rod Kemp. Penelope Evatt-Seidler Rupert has been a National Gallery of Australia Council Raphy Star Caroline Turner Member since 2003 and is director of the National Gallery Anonymous of Australia Foundation. In January 2005 Mr Myer was made a Member of the Order of Australia for service to Gifts the arts, for support to museums and galleries and to the Rosemary Dobson Bolton Louise Dauth community through a range of philanthropic and service eX de Medici organisations. John Eager I had the personal privilege of working with Rupert, Helen W Drutt English when he spearheaded the Commonwealth Government’s Thea Exley Inquiry into the Contemporary Visual Arts and Craft Sector Peter Fay William Hamilton 2001–02, an initiative that achieved a much-needed boost Russell Harper in funding to the contemporary visual arts sector, during Pauline Hunter my own term as chair of the Visual Arts/Craft Board of the Terrance Lane Australia Council (1997–2001). I know that Rupert is well- David Rose John F Turner regarded by the visual arts community, and has significant Robert H Turner experience on museum boards and foundations. Rosalind Turner Zuses I hope that many of you will agree, this is an exciting time for the Gallery. Grants The Myer Foundation Sidney Myer Fund Principal Sponsor Santos Ltd Supporting Sponsors Qantas Freight Seven Network Ron Radford Director Sponsors Casella Wines Saville Park Suites, Canberra SMS Management & Technology artonview autumn 2006 3 Vision for the National Gallery of Australia: part two Part two of the vision statement presented by Ron Radford, Director of the National Gallery of Australia, on the Gallery’s birthday, 12 October 2005 The building and the collection displays Building additions: Stage One. New entrance The National Gallery of Australia’s building was conceived and Indigenous Australian galleries in the late 1960s. Plans, by the architectural firm Edwards, In Stage One, a new more visible and accessible ground- Madigan, Torzillo & Briggs, were finished at the beginning level entrance is being planned for the south of the of the seventies, before the collections were formed.
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