DOCSLIB.ORG

….../ Cardholders Name

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Timetable Day Monday to Friday Day Saturday Beginners Welcome Advanced students taught at own level ROCKS ENROLMENT TEN WEEK TERM ....… YEAR 20...... am 9.15 am - 12 noon 10 am - 12.45pm Individual tuition Progress at your own pace pm 12.45 pm - 3.30 pm 1.30pm - 4.15pm Name ...................................................................................... All Daytime classes have the same tutor- am and pm. Mastering Landscape Address.................................................................................... Day classes 1 — 7 COURSES AT ROCKS CAMPUS Explore composition, concept, tone, colour and ......................................................................Postcode……..….. perspective in oil paint with Paul Delprat Phone: Home..........................… Work .................................... Enjoy Painting “en Plein air” at the Harbour Email ………………………………………………………. 1 Basic Drawing 2 Life Drawing, Life Painting, Entrance at Georges Heights How did you hear about the school? ……………………………….…… and Painting and Portraiture Discount Fees: 10 day classes per week for four terms (1 year) are: Training coordination of hand and Saturday morning: Georges Heights studio $9990.00, 8 classes per week ($8640) and 6 classes per week ($7128) eye. Proportion, direction, form, Monday and Tuesday - Drawing: See Georges Heights Prospectus For term enrolment see schedule below - structure and perspective lead to Systematic analysis of anatomy from the Tonal Still life studies in graphic live model. Monday poses range from a 7 Fundamentals of MON TUE WED THU FRI SAT media and oil paint providing the few minutes to one day. Tuesday poses Life Drawing am 1 2 4 1 2 1 2 3 1 2 1 2 1 2 7 basis for tonal anatomical studies range from a few minutes to half an hour. and colour analysis. Achieve A structured course – from the basics pm 1 2 4 1 2 1 2 3 1 2 1 2 1 2 7 to advanced anatomy over 5 terms using confidence handling materials. Wednesday and Thursday: The model mid aft C 4 CIRCLE YOUR Vermeer and Velasquez are the life model right from the start. holds same pose for 3 to 5 weeks. eve E C C C D C E C 4 CHOSEN CLASSES references for those pursuing Study the three parts, independently; Friday and Saturday: The model holds Beginning Life Drawing (1 term), am excellence. Still life painting is the same pose for the 10 week term. examined in the finest detail. Essentials of Anatomy (4 terms) pm TERMS: I declare that I am over the age of 18 years. Explore drawing and flesh painting Saturday: The Rocks. Recommended for beginners - styles in oil, from laying - in to final Fees must be paid in full before your first class starts. As an advanced student you glazing as well matching tones, mixing No refund or credit for non attendance. work at your own level - colours and paint application Agreement to these terms is a condition of enrolment. Monday to Saturday Mid afternoon and Evening classes C, D, E Some prior drawing experience advisable Terms are non negotiable and no discussion will be entered into. Monday to Saturday Evenings (Monday-Thursday) 6.15 pm- 9 pm and C, D. E Mid afternoon (Fri) 4 pm- 6.30pm Friday evening 6.30 pm- 9.15 pm. 1—7 Day classes Evening Classes D Fee Schedule below for TEN WEEK TERM Essential No. of classes per week = fee per term Classes per week = fee per term 1 = $390 6 = $1980 Classical Life 2 = $750 7 = $2205 Drawing 3 = $1080 8 = $2400 By close 4 = $1380 10 = $2775 C Fundamentals of Still Life, observation via 5 = $1680 the live model Fees due $…………. Figure and Portrait Painting see underlying Working from the antique this is a skeletal and Intensive week from............. to............. Full time Fee due: $460 3 Watercolour unique ongoing, step by step course muscular Beginners; learn basic handling progressing from basic drawing, via structure. and design. Advanced; study tonal and colour analysis, to finished Great master ENROL ONLINE - EASY! - PAYPAL or CREDIT CARD. technique with still life, model works in pencil, charcoal or oil. techniques are No need to send in this form. - Simply go to “Enrolments” and landscape. Still life, the figure and portraiture may explored. on Website and follow prompts. Wednesday. be studied independently in this A valuable exciting ongoing course. If enrolling in person, first contact the office to check hours. illuminating course. — Beginners /Advanced Wed eve Late Enrolling –students may make up classes. Conditions apply. The basics of all Fine art practice Also- Sunday Workshops with - Transfer to other classes depends on availability. Josefia Lemon held once each term. Mon - Thur: evenings Plus every second Mon evening —6:00 to 8:45pm. Fri: mid afternoon and evening PAYMENT ENCLOSED $................... All Fees include GST Enquire from office. Cheque / money order (by arrangement) to The Julian Ashton Art School See “Special Courses” on website. E Evening Life Painting and Drawing Tick: Mastercard. Visa. (Cash or Eftpos in person) — live model Warm up poses + 10 week 4 Sculpture / Modelling Create a figure pose under controlled lighting. Short talks on /............/.............../............../..…......../ or bust in the round via a sound understanding of colour and light. Foundation exercises in Cardholders Name...................… Expiry date.......... anatomy and close observation. Creative freedom painting and drawing, including colour mixing and expression is your goal. Monday, Friday and great master copies. No previous painting Signature for credit card......................................... or drawing experience expected. For all first classes in the school bring a sketch Monday eve, Thursday eve Send to; book (A2), pencils 2B, HB and large bulldog clips. Julian Ashton Art School, Box N676, Grosvenor Place, NSW 1220 Valid after 4 1 2018 till further notice Receipt No.. Date.. Method .. Main Rocks campus Georges Heights Studio Situated close to public transport in ROCKS PROSPECTUS 117 George St. The Rocks the Rocks and Georges Heights, the SYDNEy Tel 02 9241 1641 School offers full and part time courses (if there is a place,) to stu- 2018 Fees, which are non-refundable, dents 18 years and over, beginners (unless a class is cancelled by the and advanced. Our tutors provide the School.) are be paid in full before Julian Ashton perfect balance of individual tuition classes begin. No credit or transfer Towards Georges Heights Howard Ashton allowing students to proceed at their for non attendance. Building 17,Artists Precinct, Cnr. Best own pace. Diplomas and Certificates Art School Ave.1100A Middle Head Rd Mosman are awarded. Scholarships and Founded 1890 ENROL ONLINE - EASY! See Georges Heights Prospectus Prizes for enrolled students include; - PAYPAL or CREDIT CARD. on JAAS website Paul Delprat demonstrates the “Dobell palette” The Sir William Dobell and John Australia`s oldest continuous Fine Art School Olsen Scholarships. Enrol at any great grandson, himself an ex No need to send in this form. Julian Ashton G W Lambert ARA time during any term - Conditions student, took over its` running. Simply go to Enrolments on Intensive Week apply. In 1989 the school`s antique casts, www.julianashtonartschool.com.au Website and follow prompts. Join us, full time any week of your A Family of Artists...... easels and paintings were classified One of Julian Ashton’s first by The National Trust. choosing during any term .Attend all “The Julian Ashton Art School THE ROCKS Admin: 02 9241 1641 achievements, as a Trustee, of Norman Lindsay said of the the available classes for six days, includ- is the Royal Academy You should not feel that the First week of each term the office is ing evenings. $460 per week. the.N.S.W Art Gallery, was to buy School; “An educational institution of the Artist`s Heart” open at the beginning of each class. May not suit all beginners the work of local artists of promise. of the highest cultural importance Charles Blackman prospect of following in so From week 2 Indicate dates on enrolment form. “Still glides the stream” by Arthur where the students are inspired to many illustrious footsteps is a 9.15 -12 noon Mon – Fri Streeton was the first of these. emulate the achievements of past daunting one. Please think of or ENROL ONLINE The Grand Old School Take your holiday — anytime In 1890 Julian opened his Sydney students by the very atmosphere in continues to lead fine art yourself embarking on the Art School in Beaumont Chambers, which they worked.” same wonderful journey that ROCKS TUTORS King St. “There is no better teacher Technique is the key! teaching. The current winner of all our students take. Dobell in Paris”said his student George Mr Gibbons was once asked if there the prestigious A.M.E. Bale 2 Mon, 1, 2 Wed Keith Dewell Rocks and Whiteley were once Lambert. Celebrated painters who was a unifying principle underlying Travelling Scholarship is 1, 2 Tuesday Andrew Paviour Sketch beginners- they took that first 1, 2 Thursday Frank Giacco came from this period include Elioth the unique achievements of the Simon Cowell, who follows 1 2 Sat Sally Ryan Club Gruner, Thea Proctor, Adrian Feint, students; and he replied, Leigh Kaplan, Joshua McPher- step you are contemplating. 1 Fri Diana Dwyer Live models Syd Long, Howard Ashton, (Julian`s “Ashton used to say to me, son, Ryan Daffurn, Peter 1 Tue, Thur Richard Porter No enrolment son) Dorrit Black, Grace Crowley, Teach them to see, Gibbons, Marshall, Chris Browne, Keith We thank you for your interest. 2 Fri Christopher Browne Adelaide Perry and J.J.Hilder. to see the beauty of the form, the D Wed Tam Cao DURING Dewell, Murray Bird, Matt A visit to the school might be tone and the colour of the world 3 Wed Owen Thompson ALL helpful. We will be delighted SCHOOL Henry Cornwallis Gibbons joined the around them and represent it on Taylor, Samuel Wade, Darren 7 Sat, E Mon, Thur David Briggs TERMS to advise you.
Recommended publications
  • Tom Carment Born Sydney 1954 Studies Julian Ashton Art School

    Tom Carment Born Sydney 1954 Studies Julian Ashton Art School

    Tom Carment Born Sydney 1954 Studies Julian Ashton Art School, Sydney, 1973 Solo Exhibitions 2007 Depot Gallery, Sydney 2006 Council House 2, Melbourne 2005 Depot Gallery, Sydney 2003 Depot Gallery, Sydney 2000 King Street gallery, Sydney 1998 King Street Gallery on Burton, Sydney 1997 King Street Gallery on Burton - Landscapes King Street Gallery‘ - ‘Friends, Family, Places’ 1995 King Street Gallery on Burton 1993 King Street Gallery on Burton 1991 Julie Green Gallery, Sydney 1989 Robin Gibson Gallery, Sydney - Landscapes Robin Gibson Gallery – Portraits 1988 Robin Gibson Gallery 1987 Galerie Cannibal Pierce, Paris 1985 Mori Gallery, Sydney 1983 Hogarth Gallery, Sydney 1980 Robin Gibson Gallery 1978 38 Oxford Street, Sydney 1976 Nicholson Street Gallery, Sydney Group Exhibitions 2007 Salon des Refuses S.H. Ervin Gallery, Sydney Just Imagine, Wollongong City Art Gallery Mosman Art Prize, Mosman Regional Gallery Hula Dreaming, Gallery East Clovelly Artist’s Books, King’s Cross Book Fair 2006 Archibald Prize, Art Gallery of N.S.W. Salon des Refuses, S.H. Ervin Gallery, Sydney May Day, The Cross Art Projects Art on the Rocks, Sydney Archibald Prize Regional Tour, NSW & VIC Fireworks, Regional Tour Paddington Art Prize, Sydney 2005 Paddington Art Prize, Sydney 2005 The Year in Art. S.H. Ervin Gallery, Sydney Kedumba Drawing Prize, Wentworth Falls, NSW Art on the Rocks, Sydney Mosman Art Prize, Mosman Regional Art Gallery (winner) Tattersall's Art Prize, Brisbane Australian Icons, National Trust, Sydney Salon des Refuses, S.H. Ervin Gallery, Sydney Small Offerings: Sri Lankan and Australian artists exhibition for Tsunami Relief in Sri Lanka, The Cross Art Projects, Sydney Fireworks, Mackay Regional Art Gallery and Museum and touring regional galleries in Queensland, New South Wales and Victoria Dugongs of Hinchinbrook Art Show, Centre of Contemporary Arts, Cairns 2004 Archibald Prize.
  • Gestural Abstraction in Australian Art 1947 – 1963: Repositioning the Work of Albert Tucker

    Gestural Abstraction in Australian Art 1947 – 1963: Repositioning the Work of Albert Tucker

    Gestural Abstraction in Australian Art 1947 – 1963: Repositioning the Work of Albert Tucker Volume One Carol Ann Gilchrist A thesis submitted for the degree of Doctor of Philosophy Department of Art History School of Humanities Faculty of Arts University of Adelaide South Australia October 2015 Thesis Declaration I certify that this work contains no material which has been accepted for the award of any other degree or diploma in my name, in any university or other tertiary institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference has been made in the text. In addition, I certify that no part of this work will, in the future, be used for any other degree or diploma in any university or other tertiary institution without the prior approval of the University of Adelaide and where applicable, any partner institution responsible for the joint-award of this degree. I give consent to this copy of my thesis, when deposited in the University Library, being made available for loan and photocopying, subject to the provisions of the Copyright Act 1968. I also give permission for the digital version of my thesis to be made available on the web, via the University‟s digital research repository, the Library Search and also through web search engines, unless permission has been granted by the University to restrict access for a period of time. __________________________ __________________________ Abstract Gestural abstraction in the work of Australian painters was little understood and often ignored or misconstrued in the local Australian context during the tendency‟s international high point from 1947-1963.
  • List of Works

    List of Works

    4 JANUARY – 22 MARCH 2020 Margaret's Gift acknowledges and celebrates the generous legacy of Margaret Olley AC (1923-2011). Olley was a preeminent artist who had more than 90 solo exhibitions during her lifetime. Using funds from her own exhibition sales Olley would purchase fellow artists works, which she would then in turn donate to numerous galleries. She was also an entrepreneur who invested wisely in residential properties, that in turn brought in a steady income. This put her in a unique position in which she could, not only focus on her own artistic practice but she had the time and means to paint, travel, acquire and donate. The working relationships and life-long friendships she developed with gallery curators, directors and fellow artists are testament to her unwavering support of art and culture within this country. Throughout her lifetime, Olley continued to donate and provide funds to various institutions. This approach enabled institutions to acquire significant works of art. Many of these works are now considered collection highlights, spanning national, state, regional and university art collections. The Margaret Olley Art Trust was established in 1990. This legacy continues today, with the ongoing support of the trustees of the Margaret Olley Art Trust, through both donation of work or funds allocated to a specific project. This exhibition is the second in a series of three that has the generous support of the Margaret Olley Art Trust. Curated by Renée Porter, the exhibition presents over 60 works from collections in Queensland, New South Wales and the ACT and include works by European masters, Australian artists and ceramics from Papua New Guinea which were her earliest known gifts.
  • Emu Island: Modernism in Place 26 August — 19 November 2017

    Emu Island: Modernism in Place 26 August — 19 November 2017

    PenrithIan Milliss: Regional Gallery & Modernism in Sydney and InternationalThe Lewers Trends Bequest Emu Island: Modernism in Place 26 August — 19 November 2017 Emu Island: Modernism in Place Penrith Regional Gallery & The Lewers Bequest 1 Spring Exhibition Suite 26 August — 19 November 2017 Introduction 75 Years. A celebration of life, art and exhibition This year Penrith Regional Gallery & The Lewers Bequest celebrates 75 years of art practice and exhibition on this site. In 1942, Gerald Lewers purchased this property to use as an occasional residence while working nearby as manager of quarrying company Farley and Lewers. A decade later, the property became the family home of Gerald and Margo Lewers and their two daughters, Darani and Tanya. It was here the family pursued their individual practices as artists and welcomed many Sydney artists, architects, writers and intellectuals. At this site in Western Sydney, modernist thinking and art practice was nurtured and flourished. Upon the passing of Margo Lewers in 1978, the daughters of Margo and Gerald Lewers sought to honour their mother’s wish that the house and garden at Emu Plains be gifted to the people of Penrith along with artworks which today form the basis of the Gallery’s collection. Received by Penrith City Council in 1980, the Neville Wran led state government supported the gift with additional funds to create a purpose built gallery on site. Opened in 1981, the gallery supports a seasonal exhibition, education and public program. Please see our website for details penrithregionalgallery.org Cover: Frank Hinder Untitled c1945 pencil on paper 24.5 x 17.2 Gift of Frank Hinder, 1983 Penrith Regional Gallery & The Lewers Bequest Collection Copyright courtesy of the Estate of Frank Hinder Penrith Regional Gallery & The Lewers Bequest 2 Spring Exhibition Suite 26 August — 19 November 2017 Introduction Welcome to Penrith Regional Gallery & The of ten early career artists displays the on-going Lewers Bequest Spring Exhibition Program.
  • ANSWERS to QUESTIONS on NOTICE Prime Minister and Cabinet Portfolio Office of the Official Secretary to the Governor-General

    ANSWERS to QUESTIONS on NOTICE Prime Minister and Cabinet Portfolio Office of the Official Secretary to the Governor-General

    Senate Finance and Public Administration Legislation Committee 2005-06 Supplementary Budget Hearings ANSWERS TO QUESTIONS ON NOTICE Prime Minister and Cabinet Portfolio Office of the Official Secretary to the Governor-General QUESTION: PM1 Senator Crossin asked: “..How many times this year has a government member represented the Governor- General and given a message on his behalf?” QUESTION: PM2 Senator Crossin asked: “… At Uluru—Ayers Rock. It was the 20th anniversary of the hand back. You probably do not have the answer with you but can you take on notice who invited the Governor-General to that?” QUESTION: PM3 Senator Crossin asked: “…Can you also please take on notice for me whom his message was given to and why?” QUESTION: PM4 Senator Crossin asked: “In an instance where the Governor-General cannot attend, is there any protocol that suggests that the message should be given to the House of Representatives member to read out rather than to some other member of parliament? …. Could you have a look at that, please, and answer this question: if the government is the body issuing the invitation and the Governor-General is unable to go, is it custom and practice that the local House of Representatives member reads the Governor-General’s message rather than anybody else?” Response: The response to Senator Crossin’s questions PM1 to PM4 is set out below. There is no written protocol or guideline for how the Governor-General is to be represented at an event or function that he is unable to attend. Messages are not sent to the Governor or Administrator of a State or Territory unless it was they who had invited the Governor-General.
  • European Influences in the Fine Arts: Melbourne 1940-1960

    European Influences in the Fine Arts: Melbourne 1940-1960

    INTERSECTING CULTURES European Influences in the Fine Arts: Melbourne 1940-1960 Sheridan Palmer Bull Submitted in total fulfilment of the requirements of the degree ofDoctor ofPhilosophy December 2004 School of Art History, Cinema, Classics and Archaeology and The Australian Centre The University ofMelbourne Produced on acid-free paper. Abstract The development of modern European scholarship and art, more marked.in Austria and Germany, had produced by the early part of the twentieth century challenging innovations in art and the principles of art historical scholarship. Art history, in its quest to explicate the connections between art and mind, time and place, became a discipline that combined or connected various fields of enquiry to other historical moments. Hitler's accession to power in 1933 resulted in a major diaspora of Europeans, mostly German Jews, and one of the most critical dispersions of intellectuals ever recorded. Their relocation to many western countries, including Australia, resulted in major intellectual and cultural developments within those societies. By investigating selected case studies, this research illuminates the important contributions made by these individuals to the academic and cultural studies in Melbourne. Dr Ursula Hoff, a German art scholar, exiled from Hamburg, arrived in Melbourne via London in December 1939. After a brief period as a secretary at the Women's College at the University of Melbourne, she became the first qualified art historian to work within an Australian state gallery as well as one of the foundation lecturers at the School of Fine Arts at the University of Melbourne. While her legacy at the National Gallery of Victoria rests mostly on an internationally recognised Department of Prints and Drawings, her concern and dedication extended to the Gallery as a whole.
  • Education Resource

    Education Resource

    Education Resource This education resource has been developed by the Art Gallery of New South Wales and is also available online An Art Gallery of New South Wales exhibition toured by Museums & Galleries NSW DRAWING ACTIVITIES Draw with black pencil on white paper then with white pencil on black paper. How does the effect differ? Shade a piece of white paper using a thick piece of charcoal then use an eraser to draw into the tone to reveal white lines and shapes. Experiment with unconventional materials such as shoe polish and mud on flattened cardboard boxes. Use water on a paved surface to create ephemeral drawings. Document your drawings before they disappear. How do the documented forms differ from the originals? How did drawing with an eraser, shoe polish, mud and water compare to drawing with a pencil? What do you need to consider differently as an artist? How did handling these materials make you feel? Did you prefer one material to another? Create a line drawing with a pencil, a tonal drawing with charcoal and a loose ink drawing with a brush – all depicting the same subject. Compare your finished drawings. What were some of the positive and negatives of each approach? Is there one you prefer, and why? Draw without taking your drawing utensil off the page. What was challenging about this exercise? Draw something from observation without looking down at your drawing. Are you pleased with the result? What did you learn? Create a series of abstract pencil drawings using colours that reflect the way you feel.
  • Art and Artists in Perth 1950-2000

    Art and Artists in Perth 1950-2000

    ART AND ARTISTS IN PERTH 1950-2000 MARIA E. BROWN, M.A. This thesis is presented for the degree of Doctor of Philosophy of The University of Western Australia School of Design Art History 2018 THESIS DECLARATION I, Maria Encarnacion Brown, certify that: This thesis has been substantially accomplished during enrolment in the degree. This thesis does not contain material which has been accepted for the award of any other degree or diploma in my name, in any university or other tertiary institution. No part of this work will, in the future, be used in a submission in my name, for any other degree or diploma in any university or other tertiary institution without the prior approval of The University of Western Australia and where applicable, any partner institution responsible for the joint-award of this degree. This thesis does not contain any material previously published or written by another person, except where due reference has been made in the text. The work(s) are not in any way a violation or infringement of any copyright, trademark, patent, or other rights whatsoever of any person. The research involving human data reported in this thesis was assessed and approved by the University of Western Australia Human Research Ethics Committee. Approval # RA/4/1/7748. This thesis does not contain work that I have published, nor work under review for publication. Signature: Date: 14 May 2018 i ABSTRACT This thesis provides an account of the development of the visual arts in Perth from 1950 to 2000 by examining in detail the state of the local art scene at five key points in time, namely 1953, 1962, 1975, 1987 and 1997.
  • 344 CHAPTER XIII Decolonising Thoas in 1855, One Year Into The

    344 CHAPTER XIII Decolonising Thoas in 1855, One Year Into The

    Preprint of Hall, E. in Adventures with Iphigenia in Tauris (OUP 2013) CHAPTER XIII Decolonising Thoas In 1855, one year into the Crimean War, a North American discussion of the history of the Crimea penetrated straight to the heart of the relationship between Iphigenia in Tauris and Athenian colonialism. The journalist suggested that it was the establishment of Black Sea colonies that led the tragedians ‘to make use of a Tauric legend in the plays they offered to Athenian audiences, as Shakespeare made a comedy from the Bermudas, and as a playwright of ours, if we had any, would be glad of a Kanzan tradition’. He asks his readers to understand the relationship of Euripides’ Taurians to their Athenian audiences in the same terms as Shakespeare’s Caliban in The Tempest to the English who had colonized Bermuda in 1609, or the native Kansa Sioux in the (newly created) state of Kansas to the reader of the Boston-based literary journal. The Kansa Sioux had notoriously proved resistant to all the attempts of Methodist missionaries to make them live in permanent housing and convert to Christianity. The author of the article was correct. Euripides’ IT is very nearly a definitive text in the archive of colonial literature. This chapter will explore the radical revisions that 20th- and 21st-century authors and directors have performed upon the text in order to make it speak to a world struggling to recover from centuries of European domination of the planet. For IT ticks almost all the boxes in the conceptual repertoire of postcolonial theory associated with the work of the Palestinian Edward Said, and the Indians Gayatri Chakravorty Spivak and Homi Bhabha.
  • 228 Paddington: a History

    228 Paddington: a History

    228 Paddington: A history Paddington_Chapter9_Final.indd 228 23/9/18 2:37 pm Chapter 9 Creative Paddington Peter McNeil 22 9 229 Paddington_Chapter9_Final.indd 229 23/9/18 2:37 pm Margaret Olley, one of Australia’s favourite artists, The creatives of Paddington today are more likely died in July 2011. She had become synonymous to run an art space, architecture or design firm, with the suburb of Paddington. As if to celebrate engage in public relations and media, trade her art and personal energy, her estate left the commodities, or be retired doctors or lawyers. downstairs lights of her home blazing, revealing the In the Paddington–Moore Park area today, nearly bright walls as well as her own artworks, including 20 per cent of employees work in legal and rooms she made famous by including them as financial services.3 subjects. Olley loved the suburb of Paddington. But why have so many culturally influential She could paint, garden and, entertain there from people lived in Paddington? Located conveniently her large corner terrace in Duxford Street. She close to the central business district which could liked the art crowd as well as the young people be reached by bus, tram and later the train link working in shops and the working-class people at Edgecliff station, its mixture of terraced who still lived there. She recalled that, as art houses, small factories, workshops and students at the old Darlinghurst Gaol in the early warehouses, provided cultural producers – 1940s, ‘Paddington beckoned … we knew there was whether they be artists or advertising executives something across beyond the Cutler Footway, but – a range of multi-functional spaces and initially we dared not go there’.1 Within a generation interpersonal networks.
  • En EWSLETTER

    En EWSLETTER

    ROYAL ART SOCIETY OF NEW SOUTH WALES eN E W S L E T T E R April 2017 No. 423 25-27 Walker Street, North Sydney NSW 2060 eMail: [email protected] Website: www.royalart.com.au Tel: (02) 9955 5752 Fax: (02) 9925 0064 Australia Post Publication No: 241613/00090 From the desk of the President - John Perkins FRAS Our Autumn Exhibition which incorporated The Thora Ungar Award is currently on display. This award was won by Paul McCarthy. Highly Commended went to Anthony Roth and Cilla Davis. Our judge Bernard Ollis was extremely complimentary with his comments about our Society and the standard of work submitted. I have extended congratulations to all the winners. The raffle painting, kindly donated by John Downton FRAS, was won by Ted McNamara. The Australian Society of Marine Artists has confirmed their booking of our gallery for October and we will again look forward to hosting this important exhibition. The Fellows’ Meeting and morning tea was held on Tuesday 21 March and those in attendance enjoyed the morning and the exhibition. Members were nominated for the possibility of elevation and the outcome will be notified in due course. Our Annual General Meeting was also held recently. Whilst there was poor attendance we can only hope that you are all satisfied with the performance of your Council over the past 12 months. Your Council will remain the same and we thank you for another term. Those who took time to attend were given a very extensive report by our Treasurer Steve Caldis and our Hon Auditor Elizabeth Whittle on our maintenance projects and the funds of the Society.
  • Exhibition Catalogue ADELAIDE PERRY PRIZE FOR

    Exhibition Catalogue ADELAIDE PERRY PRIZE FOR

    ADELAIDE PERRY PRIZE FOR DRAWING 2018 EXHIBITION OF FINALISTS 3 - 29 MARCH 2018 Exhibition Catalogue Judged by Ms Anne Ryan Curator, Australian prints, drawings and watercolours The Art Gallery of NSW ADELAIDE PERRY PRIZE FOR DRAWING 2018 Adelaide Elizabeth Perry (1891-1973) was a contemporary This year’s winning entry Indigo 5 by Ceara Metlikovec, Anne of many of the nation’s most important 20th century artists writes; “this meticulously rendered and carefully considered including Julian Ashton, Roy de Maistre and Thea Proctor. work has, at first glance, all the hallmarks of minimalism. Closer The connections with her community in the Sydney art scene inspection, however, reveals the unmistakable signs of the artist’s are similar to those shared by the artists exhibited together hand, with subtle rhythms and tensions over the surface of the in the Perry Prize 2018. Throughout her role at PLC Sydney sheet. Rendered with great clarity and precision using the most between 1930 and 1962, the practice of drawing was central traditional of drawing mediums – graphite on paper – this drawing in both her artmaking and teaching. This is evident in many has a mysterious and meditative quality that draws the eye back of her paintings, drawings and prints now held in significant in”. collections including the Art Gallery of NSW, The National Gallery of Australia and our own PLC Sydney Collection. The Moving through this exhibition feels like an intimate tour inside annual Adelaide Perry Prize for Drawing, an acquisitive the wide range of studios and other spaces throughout the award of $25,000, both commemorates the artist’s country where drawing is practiced.