HAROLD CAZNEAUX ARTIST IN PHOTOGRAPHY

ART EDUCATION KIT GALLERY NSW 5 JUNE – 10 AUGUST 2008 ART GALLERY OF NEW SOUTH WALES

‘To my mind, it does not matter whether a picture is made by photography, or by brush or pencil, so long as there is an idea expressed that makes us feel some emotion that is art … as artistic photography is really only young amongst the fine arts, it may be expected that in time the best works of the year in photography will find a permanent resting-place in national art galleries.’7

HAROLD CAZNEAUX

Self portrait – Harold Cazneaux 1904 platinotype, 14 x 9.3 cm Gift of Mrs Rainbow Johnson 1985

The visual similarity between aspects of this style HAROLD CAZNEAUX of pictorialism and the impressionist painting of ARTIST IN PHOTOGRAPHY the Heidelberg School is striking, for it too was concerned with sunlight and ambiance. The play Harold Cazneaux was a luminary in Australian of light, sunshine and shadow, and the attention photographic circles; a pioneering photographer, to nature and the landscape, were major concerns. whose impressive output and aesthetic style had For many years Cazneaux’s prints were exhibited an indelible impact on the development of in shows organised by the London Salon of photographic history in this country. As a teacher, Photography (1911 to 1952) and later included in prolific writer, judge and regular participator in the Royal Photographic Society of Great Britain’s national and international exhibitions Cazneaux annual salons. In 1921 he was elected a member was unfaltering in his desire to contribute to the of the London Salon, and in 1937 he was the first discussion about the photography of his times. Australian to be conferred an Honorary Fellowship He and his generation created some of the most by the Royal Photographic Society. Beyond his dazzling and memorable images of the early photographic oeuvre, Cazneaux was also a prolific 20th century. writer. As a correspondent for Photograms of the Pictorialism was dominant in Australian Year (UK) for more than 20 years, he was the photographic circles from around 1900 to the 1930s international voice of Australian photography. and was initially characterised by soft-focus effects He was official photographer for Sydney Ure Smith’s and low-tone printing. Using mist, smoke, fog, lifestyle magazine The Home from 1920 to 1941. colour or light reflected off water and surfaces, And he was commissioned to produce images for pictorialists such as Cazneaux sought to imbue their a number of Ure Smith’s publications. images of landscapes, streetscapes and portraits The Art Gallery of NSW has one of the finest with mood and atmosphere. To achieve this, some collections of Cazneaux’s work in Australia, and photographers would work on the surface of the was also the first Australian museum to hold a print by bleaching out or overpainting extraneous major exhibition of his work, in 1975. details and tones. Highly skilled in the craft of photography, they often used complicated chemical Harold Cazneaux: artist in photography has been processes and optical effects to achieve a harmonious carefully devised around key themes to explore synthesis between pictorial elements. Cazneaux the breadth and depth of Cazneaux’s extensive was skilled in various techniques, employing oeuvre. Photographs of subjects that interested the toning, cropping and other elements to carefully artist, such as landscape, portraits, artists’ portraits, structure composition and control the tonal tenor the harbour and the city, have been arranged of his work. chronologically, charting the visual and conceptual development of Cazneaux’s methodology. In 1916 Cazneaux and others formed the Sydney Camera Circle, establishing the so-called ‘sunshine The title of the exhibition is drawn from the artist’s school’ of photography. The Circle was created for letterhead, which is a fitting tribute to the artist’s a number of reasons: it embraced the particularities intentions, for it was Cazneaux – passionately of Australian light and landscape, and was a move believing in photography as art – who placed away from the English-inspired darker imagery Australia photographically on the map of the world. dominating photographic practice at that time. Natasha Bullock, curator THE RAZZLE DAZZLE 1910 ALBION STREET, SURRY HILLS 1911 gelatin silver photograph, 22,5 x 28.5 cm gelatin silver photograph, 30.2 x 19 cm Gift of the Cazneaux family 1975 111.1975 Gift of the Cazneaux family 1990 80.1990 I doubt there are six men known in the In all my adventures about the streets and byways photographic world who are capable of ‘seeing’ I found the children a happy and lively lot. and appreciating such arrangement. Harold Cazneaux 2 H Snowden Ward 1 K–6 LOOKING AND MAKING ACTIVITIES K–6 LOOKING AND MAKING ACTIVITIES VISUAL ARTS: Look carefully at this photograph. What is VISUAL ARTS: Imagine being one of the people on the ride. your eye drawn to first? How does Cazneaux use perspective How do you feel? How fast is the ride going? How does it and light? Draw a picture of people in the city. Consider the move? What do you think the men below the ride are doing? light source and time of day, and use tone to add drama. Draw a picture of what you can see from the top of the ride. Look at your shadow in different light conditions. How is Have you ever been on a ride? How was your experience your figure distorted? Trace your classmate’s shadow on different from this photograph? Create an image of yourself large pieces of paper. Display the tracings in class. at a fair digitally. Compare your picture to this photograph. Make a pinhole camera. Take photographs around the Paint a picture of a fair in the year 2110. How would your school grounds, using sunlight-sensitive photography paper. fair of the future be different to the fair of 1910? Exhibit your images for the school to see. HSIE: Look at what the people are wearing. How DRAMA: Create a play called ‘Albion Street, Surry Hills’. comfortable might they feel? Would you wear these outfits Begin your play in the same pose as the figures in this image. on rides today? Why or why not? Research fashion from Write a dialogue between the children in this scene. the 1910s to today and create a visual timeline. HSIE: How has life changed in Sydney over the last 100 years? PDHPE: Write a class list of outdoor activities that involve a Identify changes in the environment and community. group of people. Collect images of these activities to display. Evaluate how these have affected the way people live today, Choose one activity to do together as a class and, using a including how children play. camera, record your time together. 7–12 FRAMING QUESTIONS 7–12 FRAMING QUESTIONS Describe your first impression of this image. As a class or in What do you think Cazneaux’s main objective was in taking groups, brainstorm what it reminds you of and the emotions this photograph? The image was taken at Bondi beach in 1910. it conveys. What elements in the photograph evoke these Research this period in Sydney and suggest how Cazneaux emotions? What is the role of the figures? Are they posed captures the essence of the nation at that time. In what way or candid? Discuss the effect of this approach. Investigate does the image reflect the excitement of modern life? where and when this image was taken. Collect images of According to Isobel Crombie, senior curator, National Gallery this area today. How has it changed? of Victoria: ‘Cazneaux was a thoughtful observer of life. His Discuss the meaning of truth and reality in art practice. How work may appear “casual” but it is invariably sophisticated’. ‘true’ is the photographic image? Compare this medium to What does Crombie mean by this comment? How can other artforms. Debate whether the photographer is the only Cazneaux’s work be casual yet sophisticated at the same time? true observer of life. Discuss the role of the photographer as the ‘thoughtful observer of life’. How does Cazneaux’s approach differ from Is there evidence to suggest that pictorial photographers of traditional photographers of the late 19th century? the early 20th century have influenced contemporary art practice? Develop a case study reflecting your point of view. Research technological innovations in photography in the early 20th century. Consider how this affected both the way Using myVirtualGallery on the Gallery’s website this image was taken and the role of post-production in the (www.artgallery.nsw.gov.au/mvg), create an exhibition of photographic process. Discuss how Cazneaux’s approach ten Australian artists using the theme ‘the legacy of embraced these innovations and offered the viewer a new Cazneaux’, including text panels. Write an accompanying way of seeing the world. Why was this image considered catalogue essay outlining the reasons for your selection. avante-garde by Cazneaux’s contemporaries? THE BAMBOO BLIND 1915 DEPARTURE 1928 gelatin silver photograph, 26.3 x 21 cm gelatin silver photograph, 22.9 x 27.6 cm National Library of Australia, gift of the Cazneaux family National Gallery of Australia, purchased 1976 Harold Cazneaux was captivated by the living, ... I counted myself very lucky as regards the radiant streaks of sunlight falling athwart the movement of the streamers and of the smoke, and face of the little girl. above all the balance and sense of scale emphasised WR Bland 3 by the tiny figures in the bottom left-hand corner. Even the notice board seems to play its part. K–6 LOOKING AND MAKING ACTIVITIES Harold Cazneaux 4 VISUAL ARTS: Consider the effect of light and shade in this portrait. Imagine if the blind was not included. How different K–6 LOOKING AND MAKING ACTIVITIES would this image look? VISUAL ARTS: Where do you think this boat is going? Why Paint a portrait on canvas using only tones of black and white. do you think Cazneaux chose to crop the image? Extend the Begin with drawing from real life. Choose the type and composition to complete the scene. direction of light carefully, so that your picture incorporates Photograph an exciting public or school event. Capture the dramatic light and shade. Experiment with both natural and spirit of the occasion. Consider taking this image from a high artificial light. vantage point. What effect does this create? Compare your Photograph a younger sibling or friend. Consider their images to Departure. personality. Are they shy, energetic or fun-loving? How can Create an abstract painting based on the forms, shapes and you show their qualities in your image? lines of this image. Incorporate colour symbolically to SCIENCE & TECHNOLOGY: Identify various forms and represent the emotion of the scene. sources of light. Discuss the difference between natural and ENGLISH: Imagine you are a newspaper journalist writing artificial light. How can light be manipulated and changed? an article about this event. Describe the scene and excitement Record your experimentation and research. Present your of the crowd. Present your article, along with this image, in findings to the class. newspaper format. HSIE: Imagine being a child in Sydney in 1915. Think about MATHS: Choose a particular ocean liner and research its the games you would play, the chores you must do, the type speed and route. Calculate how long it would take to of food you would eat and the world events occurring. complete its journey. Compare this to an aeroplane’s flight time for the same journey. 7–12 FRAMING QUESTIONS The representation of light is a predominant feature in this 7–12 FRAMING QUESTIONS photograph. What is the overall effect of light in this image? Analyse this photograph and discuss its overall effect. For the viewer, does it enhance the portrait or is it a Consider its structural qualities and purpose. How does this distraction? Cazneaux was a founding member of the Sydney image represent the time in which it was made? What is the Camera Circle or the ‘sunshine school’ of photography. role of the figures in this scene? How does the image push Research the photographers in this group. Discuss how this the boundaries of conventional photographic practice? image represents their ideals and reflects ‘national’ character. How does Cazneaux immerse the viewer in this image? What Create a photographic body of work based on portraiture do you think he wants the audience to see? Suggest how the with an emphasis on the use of natural light. Experiment audience might have reacted to this image in the late 1920s with a variety of light sources and compositions. Can light be and how an audience might react to it today. unique to time and place? Discuss your point of view, using Action and movement always fascinated Cazneaux as he your work and The bamboo blind as examples. strove to capture the essence of life in his work. Create a What are the similarities and differences between digital and photographic body of work based on action. How does your film photography? Research how light is captured technically. approach differ from taking landscape or portrait photography? Consider the variations of effect when using both types of What technical and compositional considerations need to be equipment. Could an image like The bamboo blind be taken into account? produced with a digital camera? STEAM AND SUNSHINE, NEWCASTLE BHP 1934 THE SPIRIT OF ENDURANCE 1937 gelatin silver photograph, 37.1 x 27.7 cm gelatin silver photograph, 28.1 x 33.1 cm Gift of the Cazneaux family 1975 125.1975 Gift of the Cazneaux family 1975 134.1975 This subject recalls to my mind the first impression I think of all photographs I have taken this is that the majestic mass of steel structure towering the one which best expresses all that I have up to the sky made upon me. always wanted to do. Harold Cazneaux 5 Harold Cazneaux6

K–6 LOOKING AND MAKING ACTIVITIES K–6 LOOKING AND MAKING ACTIVITIES VISUAL ARTS: Find the organic and man-made shapes and VISUAL ARTS: Cazneaux photographed this image because forms in this image. Why do they contrast each other? he loved the ‘great outdoors’. Create an artwork based on Create a print about the built environment, using scratch what you love, which shows your passion for the subject. foam board or lino, with an emphasis on contrasting shapes. Make sketches and drawings of the natural environment. What mood is created in this image? What elements make Record a variety of texture and forms. Create a collage of us feel this way? What time of day do you think it is? drawings for a classroom display. Photograph images that convey particular feelings. Create a forest of trees in your classroom to bring the outside Create a class exhibition about moods. in. Use cardboard, found objects, wire, paper and papier Create a class collage about the man-made environment maché. Paint your trees white then colour them in natural using manufactured materials, and another about the natural colours. Record sounds from the natural environment and environment using only natural materials. Display these incorporate them into your group sculpture. collages opposite or next to each other. Discuss the similarities DRAMA: Write a play called ‘The spirit of endurance’. and differences. Use the Cazneaux image as the setting for the last scene. MUSIC/DANCE: Compose a piece of music by beating Perform your play for the school. together man-made objects. Choreograph a dance routine SCIENCE AND TECHNOLOGY: Identify the type of tree to match the rhythm by stamping, tapping and jumping. represented in this image. Research its growth cycle and Create an industrial feel through costume and composition. unique qualities. How does it survive the harsh Australian PDHPE: What health and safety issues were connected with climate? industry in the early 20th century? Research types of work and working conditions. Compare these to today. 7–12 FRAMING QUESTIONS The spirit of endurance shows the influence of artist Hans 7–12 FRAMING QUESTIONS Heysen. Cazneaux and Heysen wrote letters to each other Research Australian and international artists who have discussing artistic and photographic practice. Compare this explored ‘industry’ as a theme. Compare their work to image to Summer 1909, a landscape painting by Heysen in Cazneaux’s. Discuss whether these artists celebrated or the Gallery’s collection. Discuss the similarities and differences criticised the development of industry. Develop your own and how each artist had a profound effect on the other. body of work on the theme of ‘industry’ which conveys your The tree is the main focal point that dominates this viewpoint on industrial development in today’s world. Show composition. How does this differ from artworks created an influence of Cazneaux in your approach. in the picturesque style of the mid to late 19th century? This photograph was unlike Cazneaux’s previous, more Discuss how the artist creates a sense of grandeur and intimate work. It represented a transition in his style and monumentality in this image. How is this image an example subject matter. Compare Cazneaux’s earlier works to the of the ‘Cazneaux way’? images of industry he created in the 1930s. How did this How do viewers in the 21st century respond to this image? subject matter push the boundaries of his art practice? Does it still represent Australian identity? Does the point of This work was commissioned by BHP. What must an artist view of the contemporary audience differ from the audience consider in creating a work for a particular client? How much of the late 1930s? of Cazneaux can be seen in this work? ‘We are blessed with a veritable land of sunshine ...’8

HAROLD CAZNEAUX above: Monte Luke (Australia 1885–1962) This printed education kit is also available online: Caz (portrait of Harold Cazneaux) 1928 www.artgallery.nsw.gov.au/ed/kits/cazneaux gelatin silver photograph, 35.3 x 28.4 cm Gift of the Sydney Camera Circle 1977 Produced by the Public Programs Department cover: Pergola pattern 1931 © Art Gallery of New South Wales 2008 gelatin silver photograph, 34.8 x 25.4 cm Gift of the Cazneaux family 1975 Art Gallery of NSW Art Gallery Road, The Domain, Sydney 2000, Australia NOTES [email protected] www.artgallery.nsw.gov.au/education 1. ’The London Salon of 1911’, The Photographic Monthly, vol 18, no All Cazneaux images reproduced courtesy of the Cazneaux family. 214, Oct 1911, p 288 All artworks collection Art Gallery of NSW unless stated. 2. ‘The Sydney of yesterday’, Contemporary Photography, vol 1, no 10, May–June 1948, pp 12, 13, 23 3. ‘Observations on some pictures of the year’ in FJ Mortimer (ed), ACKNOWLEDGEMENTS Photograms of the year 1916, London, p 15 Education kit coordinator, activities and questions: 4. ‘Milestones’ transcript, 27 Oct 1952, National Library of Australia MS 5955 Leeanne Carr, coordinator secondary and Asian education programs 5. ‘My best picture and why: blast furnaces’, Australia: National Journal, Questions edited by Victoria Collings, coordinator K–6 school and family Christmas issue, Dec 1940, p 16 programs, with Tristan Sharp, senior coordinator Education programs 6. ‘Milestones’ transcript, 27 Oct 1952, National Library of Australia MS 5955 Additional text: Natasha Bullock, curator contemporary art and curator 7. Reflex aka Harold Cazneaux, ‘Photography: art and the camera’, The of Harold Cazneaux: artist in photography, adapted from an article in Sydney Mail, 4 Sept 1912, p 46 Look, Art Gallery Society of NSW, June 2008 and Soft shadows and 8. Harold Cazneaux, ‘Pictorial photography in Australia’ in FJ Mortimer sharp lines: Australian photography from Cazneaux to Dupain, (ed), Photograms of the year 1919, London, p 20 Art Gallery of NSW exhibition, Sydney, 2001 Editor: Kirsten Tilgals Principal benefactors: Dick and Pip Smith Design: Analiese Cairis Supported by Delta Electricity and the President’s Council Rights and reproductions: Michelle Andringa