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First Fleet Artwork Collection First Fleet Artwork Collection http://australia.gov.au/about-australia/australian-story/austn-painters Australian Painters – the new landscape, Heidleberg School http://www.nhm.ac.uk/nature-online/art-nature-imaging/collections/first-fleet/art- collection/topography.dsml See examples below: You are here: Nature online > Art, nature and imaging > Collections > First Fleet collection > First Fleet artwork collection First Fleet artwork collection view: list | gallery The images in this section are largely of two types – views and charts – and the majority are by George Raper, Midshipman. It would have been part of Raper's normal routine to keep some record of his voyage and chart new waters. Raper is precise in his details and many of his views can readily be identified in today's landscape. Watling's drawings are similarly precise but have a greater element of considered composition and he brings the Aboriginal people into his views to show this is a landscape in which things are going on. You are here: Nature online > Art, nature and imaging > Collections > First Fleet collection > First Fleet artwork collection First Fleet artwork collection History view: list | gallery The arrival of the First Fleet in Sydney Cove in 1788 was an historic moment in itself. The collection also records a number of other events which are today commemorated in place names or which could have had a profound effect on subsequent developments. The drawings give us an important historic record but they also raise many questions. It is interesting to speculate how much of what we see is a faithful record as was attempted in recording the specimens and how much reflects the imperfection of memory or motive when trying to portray an event. http://www.sl.nsw.gov.au/discover_collections/history_nation/terra_australis/artists/index.html Artists of the First Fleet A lasting outcome of the arrival of the First Fleet was the artwork produced from the earliest days of settlement. These drawings depict Indigenous people and the Australian environment at the point of colonisation in 1788. Many of the artists from the First Fleet were naval officers, such as William Bradley and George Raper, whose formal training included sketching and watercolour painting. Some artists remain unknown and may have included convicts. View William Bradley's artworks . View George Raper's artworks The State Library collection includes over 370 drawings and illustrations dating from the early years of the colony, including over 100 works by an artist, or artists, identified only as the Sydney Bird painter. Further collections of artworks include: Richard Pulteney These drawings of Australian flora and fauna, some dated 1797, were owned by English botanist, Richard Pulteney. The artist is not known and the works may have been created in England. Robert Anderson Seton This album of watercolour drawings of Australian natural history was owned by Robert Anderson Seton and dates from around 1800. The album is comprised of copies of sketches from Governor John Hunter's sketchbook, 'Birds & Flowers of New South Wales drawn on the spot in 1788, 89 and 90'. Arthur Bowes Smyth Surgeon on the Lady Penryhn, Bowes Smyth’s journal contains 25 watercolour and pen and ink drawings. His drawings include the earliest extant illustration by a European of the emu. The earliest was possibly drawn by Lieutenant John Watts, also of the Lady Penrhyn, and was reproduced in Arthur Phillip's published account of the First Fleet. Watts’ original drawing is now lost. Philip Gidley King A series of five watercolour drawings of Indigenous people have been attributed to naval officer and future Governor, Philip Gidley King. It is known that King sketched but no signed works by him are known to exist. A Direct North General View of Sydney Cove 1794 by Thomas Watling This is the first known painting of the settlement at Sydney Cove. It was painted by Thomas Watling. He was sentenced in 1792 to 14 years in Australia for forging a bank note. Indigenous Australia Art by Global Kids Oz on September 11, 2011 Art speaks a language of its own: the language of love, history and cultural evolution. Take the Chauvet-Pont-d’Arc Cave, for instance. Chauvet is known to contain one of the oldest cave paintings in the world. Considered to be a significant pre-historic site, Chauvet yielded a plethora of information about the life of the people who lived some 30,000 years ago. Isn’t it interesting then, that just by studying these paintings, experts can understand the culture of an ancient people with some modicum of accuracy. The art of a community, a people, then, speaks their language. This is especially evident among some living indigenous communities such as the Australian Aborigines. Indigenous Australian Art Indigenous Australian art, also known as Australian Aboriginal art, pre-dates European colonization. It includes a wide range of art expressed through rock paintings, bark paintings, rock engravings, stone arrangements, weaving, iconography and symbols, to name a few. Advanced carbon and thermo-luminescence dating of sites found in Australia indicate that Aboriginal presence has been strong on the continent for over 40,000 years. Aboriginal culture is marked by a theme of ‘unity with nature’. In the traditional Aboriginal belief system, nature, landscape, animals, the environment and communal sharing are inter-connected. The Dreaming Aboriginal culture, and by extension its art, music and storytelling, is infused by the Dreaming. This concept is the essence of the community and its people. The Dreaming is a common term within the animist creation narrative of indigenous Australians for a personal, or group creation. Though it has no equal or quantifiable meaning in English, the Aborigines understand Dreaming as the “timeless time” of formative creating and a continuous creation. The Dreaming and Dreamtime helped and still helps the Aboriginal community understand and explain life, as well as the creation of the world. The Dreaming is extremely vital to the community because it determines their value system, their belief and also influences the community’s relationship to the world around them. In fact, Dreaming is such a strongly held value in the community that a few Aboriginal tribes have used it to argue their title over traditional tribal land before the High Court of Australia. In short, Dreaming is the soul of the Aboriginal community. When they apply it to art, it expresses their existence as a whole. Art and the Aborigine Like all forms of art, Aboriginal art represents and symbolizes their world, their beliefs, and their Dreaming as a people. Unlike most forms of art, the term encompasses everything from dancing, singing, body decorations, sand drawings etc. For the Aborigine, art does not solely mean painting or drawing. It is not an activity that is separate from their normal routine in life. The Aborigines believe that everyone is an artist, and there is no notion of an artist being a special person with special and unique skills. However, as the Aboriginal community continues to adapt to modern Western culture, this idea too is changing. Aboriginal Art Forms Aboriginal art forms vary among the tribes and even among people within a tribe. This is because art, to the Aborigines, symbolizes the Dreaming, and just as each person’s dreaming is different; the art too is very varied. Colours were procured from ochre mining pits and tribes established methods to trade in this pigment. They also used pigments made from clay, wood ash or animal blood. There were and still are considerable variations in the symbolic representation of rock art and paintings. However, certain symbols within the Aboriginal modern art movement are expressed in the same way across regions, for example circles within circles, blue or black colours used to depict water etc. Aerial landscape art, a genre of art from ancient times, is also very important to the movement. In short, aerial landscape art is a maplike, a bird’s-eye-view of the desert. While earlier rock, sand and body painting were used to depict this form of art, modern day Aboriginal artists use the canvas. When viewing Aboriginal art or icons, the meaning should be derived after taking into consideration the entire painting, the artist’s origins, the story behind and the style of the painting as well as the type of colours used. Aboriginal art is unique in that the people are pouring their language, their culture, values and belief system into it. This kind of art is not meant to be viewed in isolation like an impressionist painting. Aboriginal art is as large and continuous as the landscape itself; it is a precious fragment of the Dreaming. Aboriginal Symbols and their Meanings (Photo: Aboriginal symbols depicted in painting) Aboriginal symbols are an essential part of a long artistic tradition in Australian Aboriginal Art and remain the visual form to retain and record significant information. Aboriginal people used symbols to indicate a sacred site, the location of a waterhole and the means to get there, a place where animals inhabit and as a way to illustrate Dreamtime stories. To understand and appreciate Aboriginal symbols (or iconography) imagine how you would indicate, record and recall essential information or place names or events in a non material world. Since Aboriginal people travelled vast distances across their country, significant information was recorded using symbols in regular ceremony. Sand painting and awelye (body painting) ceremonies kept the symbols alive and remembered. Later, these symbols were transformed into a more permanent form using acrylic on canvas but the meanings behind the symbols remains the same. Contemporary Australian Aboriginal paintings from the Central and Western Desert art regions in Central Australia are rich in aboriginal symbols. Generally the symbols used by Aboriginal Artists are a variation of lines, circles or dots.
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