Drusilla Modjeska Novelist, Writer and More. Framing Clarice Beckett
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Art Monthly 1 L S TR II, I I
--L/ f -~ ..... .I \ I ( I !' I ' \ I .I Denis Freney Memorial Scholarships Up to $10,000 AUSTRALIAN Applicatio ns are in vited from people currentl y engaged BOOK REVIEW in (or about to commence) a research, writing or cultural project whi ch is judged to make a contributio n to the labour and progressive moveme nts in Australi a. MAY: The SEARC H Foundation wi ll award scho larships to assist wi th the costs o f such a project. Priority will be An essay by Terry Collits g iven to pro jects which have good prospects of pu blicati on or othe r public use of th e results, but A double review of Germaine Greer's whi ch do not have access to other funding. The Whole Woman by S EA RC H is an inde pendent, non-pro fit fo undati on Jenna Mead and Peter Craven established to assist acti vities whi ch pro mote social j usti ce and the development of a more democrati c and Dorothy Hewett on Jm·die Albiston's egalitari an society. Deta il s of its aim s and objecti ves are avail able on request. The Hanging ofJean Lee Suitabl y qualified applicants should contact SEA RCH Susan Lever on David Foster's essays for deta il ed applicati o n g uidelines. Applications must be received by July 20, 1999 and his new novel, Social Education and Research In the New Country Concerning Humanity (SEARCH) Foundation Rm 610,3 Smail Street, BROADWAY NSW 2007 Andrew Riemer on Ph : (02) 921 I 4164; Fax: (02) 921 I 1407 James Bradley's The Deep Field SEARCH FOUNDATION New Subscribers $55 for ten issues plus a free book ACN 050 096 976 Ph (03) 9429 6700 or Fax (03) 9429 2288 in the footsteps of Dam Gregory Murray, Joseph Gelineau SJ and Richard Connolly MUSIC FOR SUNG MASS GREGORIAN CHANT New rhythmic edition with organ accompaniment Introduction: 'Looking towards 21st century Gregorian Chant' Short Mass (Advent, Lent), Gloria XV, Mass VIII (de Angelis), Credo III $25 WORKS FOR THE ENGLISH LITURGY (including Mass settings approved by the National Liturgical Commission) 1. -
Max Meldrum and the Australian
Diploma Lecture Series 2011 Art and Australia ll: European Preludes and Parallels Misty moderns: Max Meldrum and the Australian Tonalists Tracey Lock-Weir 2 / 3 March 2011 Introduction: This lecture will focus on the distinctive school of Australian tonalism, which flourished during the twentieth-century interwar period. It will outline the beginnings of this painting movement from when it was first pioneered in 1915 by the controversial artist, teacher and art theorist, Max Meldrum (1875-1955). Despite being widely condemned, Max Meldrum had an impact on the development of a young generation of Australian artists. Several of these artists became leading figures of the modern art movement in Melbourne and Sydney. Some of Meldrum’s other followers became known as the Meldrumites. Working in opposition to established tastes, these artists produced some of the most abbreviated and abstractly well-designed landscapes in Australian art. During the 1950s Meldrum’s ideas also had an enduring influence on a second generation of young Australian artists. Aspects of these influences will be demonstrated and discussed. Slide List 1. Max Meldrum, Portrait of Ida , 1910, oil on canvas, AGSA 2. Photograph of Max Meldrum 3. Margaret Preston, The tea urn , c.1909, oil on canvas, AGSA 4. Arnold Shore, Blue hydrangeas , 1921, oil on canvas, AGWA 5. Photograph of Meldrum’s painting technique from The Science of Appearances , 1950 6. Percy Leason , At the campfire , San Remo , c1934, oil on canvas, QAG 7. John Farmer, Peking , 1921, oil on board, CAGHM 8. Photograph of Studio Group, 1896 9. Photograph of Max Meldrum in his Paris studio, c.1901 * 10. -
Art Trail Booklet
COASTAL TRAILS ART Bayside Coastal Art Trail map overleaf 76 Royal Avenue, Sandringham PO Box 27 Sandringham VIC 3191 T (03) 9599 4444 [email protected] www.bayside.vic.gov.au Get the Bayside Walks & Trails App Bayside Coastal Trail Network Bayside City Council has developed four affiliated trails stretching across the 17 kilometers of the coastline adjacent to Beach Road between Brighton and Beaumaris. The Bayside Coastal Art Trail The Bayside Coastal Art Trail signs celebrate the lives and artworks of notable Australian artists who painted the bayside coast in years past and feature more than 50 artworks on signs along the 17km of coastline. For more information about these art works and the artists, visit www.bayside.vic.gov.au/trails Thomas Clark Red Bluff, c1860s 01 Collection: Port Phillip City Collection In this painting, we see Point Ormond, also known at that time as ‘Little Red Bluff’ as a cliff of ironstone. This oil on canvas was painted c1860s. Today Point Ormond is a much less prominent topographical feature; a grassy hill, reduced in size, that still has a navigation beacon at the summit. Sheep grazing on the flat grassy summit, the depiction of the navigation beacon at the summit and the figures attending to a wooden sailing boat on the Elwood beach, in the foreground, add to the charm of this painting. Oil on canvas 43.0 x 68.0 cm pp1996.18.245 Charles Douglas (C.D.) Richardson 02 Playthings of the Wind, Middle Brighton Beach Private Collection: Courtesy Lauraine Diggins Fine Art This watercolour was painted by local artist and sculptor Charles Douglas (C.D.) Richardson in 1911. -
AGS Lecture Series 2011 Slide Test Revision List [REVISED 1 NOV 2011] Numbers Preceding Slides Refer to Their Listing in Lecture Handouts
AGS lecture series 2011 slide test revision list [REVISED 1 NOV 2011] Numbers preceding slides refer to their listing in lecture handouts. Modernism, liberation and a new way of seeing Barry Pearce 2/3 February 2011 44. Robert Delauney, The red tower, 1911-12, oil on canvas. Guggenheim Museum, New York 53. Grace Cossington Smith, 1892-1984, The curve of the bridge, 1928-29, oil on cardboard. AGNSW Colour in art: revisiting 1919 Deborah Edwards 9/10 February 2011 1. Roy de Maistre, Rhythmic composition in yellow green minor 1919, oil, AGNSW 7. [x 2] Roland Wakelin, Synchromy in orange major 1919, oil, AGNSW ; Roy de Maistre Syncromy Berry’s Bay 1919, oil, NGV Love and Friendship: George Lambert and Thea Proctor Christopher Allen 16/17 February 2011 10. George Lambert. Miss Thea Proctor, 1903. Oil on canvas, 91.5 x 71 cm. Sydney, AGNSW. 42. Thea Proctor, Siesta, 1913. Watercolour, 31 x 51.4 cm. Canberra, NGA. Sydney Style Craig Judd 23 / 24 February 2011 1. D.H. Souter (1862–1935). Untitled (Butterflies or Moths) c.1928. Pen and ink. National Gallery of Australia 6. Margaret Preston (1875–1963). Flapper 1925. Oil on canvas. National Gallery of Australia Misty moderns: Max Meldrum and the Australian Tonalists Tracey Lock-Weir 2 / 3 March 2011 10. Max Meldrum, Picherit’s Farm, c.1910, oil on canvas, NGV 17. Clarice Beckett, Summer fields, 1926, oil on board, PC The French Connection: Cubism & Australian Art in the 1920 & 1930s Ann Stephen 9 / 10 March 2011 13. Roy de Maistre, Seated Figure, 1933, AGNSW 21. -
PAINTING AWARD Front Cover Image: E Phillips Fox (1865–1915), Bathing Hour, C.1909, Oil on Canvas, 180 × 112 Cm, T C Stewart Bequest Fund 1952, Acc
2019 LEN FOX PAINTING AWARD Front cover image: E Phillips Fox (1865–1915), Bathing Hour, c.1909, oil on canvas, 180 × 112 cm, T C Stewart Bequest Fund 1952, Acc. No. 318. First Published in 2019 by Castlemaine Art Museum 14 Lyttleton Street (PO Box 248) Castlemaine, Victoria 3450, Australia www.castlemainegallery.com Published as a digital catalogue for the exhibition Len Fox 2019 Painting Award 8 June – 1 September 2019, presented at the Castlemaine Art Museum. Exhibition Management: Lauren Matthews and Elizabeth Retallick Catalogue Editor: Lauren Matthews with assistance from Peter Struthers and Rosemary Jane Howarth. Director CAM Renewal: Naomi Cass Catalogue and wall text Design: Adrian Saunders We acknowledge and thank Geoffrey Smith, Director of Sotheby’s Australia, for judging the Len Fox Painting Award. CAM thanks the The Len Fox Bequest and the Castlemaine Art Gallery and Historical Museum Trustees for their financial support in enabling this Award and exhibition to flourish. Acknowledgement of Country Castlemaine Art Museum acknowledges the Dja Dja Wurrung as the Traditional Owners of the land on which we work and are located and their continuing connection to the land, waters and culture. The CAM Board, Members, Staff and Volunteers pay respects to all Aboriginal and Torres Strait Islander people and their Elders past, present and emerging. LEN FOX PAINTING AWARD In celebration of the life and work of Emanuel Phillips Fox (1865–1915), the Len Fox Painting Award is a biennial exhibition and acquisitive prize awarded to a living Australian artist. Finalists are selected for their ability to successfully engage with the ideas, techniques and sensibilities in the work of E.P. -
AGSA Acquires Significant Clarice
MEDIA RELEASE For release Saturday 30 May 2020 Art Gallery of South Australia acquires significant Clarice Beckett collection Adelaide, Australia: The Art Gallery of South Australia today announces the acquisition of an exceptional private collection of works by twentieth-century Australian painter Clarice Beckett (1887-1935). Comprising 21 oil paintings, it is among the most significant single acquisitions of works by a woman artist to be made by an Australian art museum. Made possible due to the generosity of Alastair Hunter OAM, the acquisitions build upon our commitment to promoting important women artists. The paintings come from the personal collection of Clarice Beckett scholar Dr Rosalind Hollinrake, who assembled this collection over a fifty-year period. Clarice Beckett was a modern artist whose identity was lost to art history for decades. Following a chance encounter with Beckett’s sister in the 1960s, Dr Rosalind Hollinrake salvaged hundreds of the artist’s neglected canvases and held an exhibition of these paintings, which restored the artist’s reputation. Today, Beckett is celebrated for her atmospheric abstractions of the commonplace. AGSA Director Rhana Devenport ONZM says, ‘This is a major acquisition and milestone for the Art Gallery of South Australia. The donation is a remarkable story of shared passions and expertise bound by a tremendous act of generosity by the Hunter Family. To celebrate this momentous acquisition, AGSA will mount a comprehensive Clarice Beckett exhibition in early 2021.’ Philanthropist, Alastair Hunter said, ‘The story of Clarice Beckett and the work of Dr Hollinrake to protect and promote that story immediately appealed to me. -
AUSTRALIAN WOMEN ARTISTS BETWEEN the WARS 3 March – 25 April 2015
AUSTRALIAN WOMEN ARTISTS BETWEEN THE WARS 3 March – 25 April 2015 LAURAINE • DIGGINS • FINE • ART COVER BESSIE ELLEN DAVIDSON 1879 – 1965 Still Life with Flowers and Pears oil on cardboard 61 x 46 cm signed lower right: Bessie Davidson n the period between the wars, Australian women artists were leading the way by challenging traditions and exploring new Iideas in art with a focus on colour, form and design, and subjects such as urban culture. Role models like Jane Price, Jane Sutherland and Clara Southern had provided women with a basis to seriously pursue art as a profession. Circumstances and opportunity1 saw a flourishing of female artists establish a career through dedicated studies at a growing number of art schools, combined with travel overseas and, quite often, financial independence. BESSIE ELLEN DAVIDSON 1879 – 1965 Painting en plein air was continued but rather (Family Group) oil on canvas than romanticised landscapes concerned with 46 x 38 cm effects of light, the rise of the modern woman signed lower right: B.D. artist painted the landscape familiar to them with an adventurous attitude towards colour: from the buses and telegraph poles of Beckett’s Sydney Harbour Bridge. Women artists tackled Melbourne bayside suburbs; to the South a wide variety of subjects, including those Australian landscapes of Sauerbier; urban scenes more accepted in the male domain, and which such as Tempe Manning’s Princes Street and the modern women now inhabited. Rix Nicholas intimate depictions of home or studio as seen in ventured out to capture Australians in remote Gurdon’s Under the Window and as favoured by rural areas as seen in the well-known Fair Cossington Smith. -
Misty Moderns’ Exhibition Brings Landmark Art Movement to Light at the National Gallery of Australia
MEDIA RELEASE 20 February 2009 ‘Misty Moderns’ exhibition brings landmark art movement to light at the National Gallery of Australia Exhibition dates: 20 February – 27 April 2009 The National Gallery of Australia today opened the national touring exhibition, Misty Moderns: Australian Tonalists 1915-1950. Developed by the Art Gallery of South Australia, the exhibition explores one of the most influential but forgotten movements of 20th century Australian art, Australian Tonalism. It brings together 82 works by the pioneering and often controversial Melbourne painter Max Meldrum (1875-1955) and 17 of his followers. “This is the first exhibition to bring together such a collection of Australian Tonalist works. The Art Gallery of South Australia has put together a superb exhibition drawing works from both public and private collections from around Australia and the National Gallery is thrilled to be able to show this exhibition for the next two months,” said Ron Radford AM, Director of the National Gallery of Australia Tonalism was a movement of the inter-war period often characterised by a ‘misty’ or atmospheric quality. Tonalist works were created by building ‘tone on tone’, a painting method developed and espoused by Max Meldrum. “Tonalism is probably the most misunderstood, underestimated and underappreciated movement in Australian art history. It was hugely important to the development of 20th century art in this country,” said exhibition curator and Curator of Australian Art at the Art Gallery of South Australia, Tracey Lock-Weir. Tonalism developed from Meldrum’s ‘Scientific theory of Impressions’ and flourished in Melbourne and Sydney. Controversially, it opposed Post- Impressionism and Modernism, and is now regarded as a precursor to Minimalism and Conceptualism. -
Council Meeting Meeting Held on 23/02/2021
PLACE ADDRESS ‘Gurawalla’ Alan Marshall Bungalow, 13 Park West Road, Eltham Prepared by: Context Survey Date: December 2020 Place Type: Residential Architect: N/A Significance level: Significant Builder: ‘Sid’ Extent of overlay: As shown on map Construction Date: c.1955 Figure 1. Curtilage for HO147 shown outlined in pink. The curtilage is to a distance of five (5) metres from the north, east and south of the bungalow and to the western property boundary. And, a strip of land the width of the bungalow to Park West Road to retain the setting and context of the significant place. (Source: Nearmap). Figure 2. ‘Gurawall’ Alan Marshall Bungalow, 13 Park West Road, Figure 3. ‘Gurawall’ Alan Marshall Bungalow, 13 Park West Road, Eltham, East Elevation. (Source: Context 2020) Eltham, North Elevation. (Source: Context 2020) 1 HISTORICAL CONTEXT Eltham is located on the country of the Wurundjeri-willam clan of the Woi wurrung people. The first European to explore the Eltham region is believed to have been Joseph Tice Gellibrand, who named the Plenty River in 1836. Pastoral leases were subsequently taken up and timber-cutters started harvesting the stringy-bark forests of the area (Bartolomei 2008). A reserve for a village, later to become Eltham, was surveyed in the Parish of Nillumbik in 1840 near the junction of Diamond Creek and the Yarra River. The reserve was to be located approximately on the track used by the Ryries to provide access from their ‘Yering’ run near Yarra Glen to the Heidelberg village (Victorian Places 2015). In 1841, William Bell and Thomas Armstrong occupied land for a squatting run east of Diamond Creek in what was to become the Eltham district (Eltham District Historical Society 2000:np). -
Behind the Scenes Hans Heysen's Art World Networks
Behind the Scenes Hans Heysen’s Art World Networks Ralph Body Department of Art History School of Humanities Faculty of Arts University of Adelaide February 2019 Behind the Scenes Hans Heysen’s Art World Networks Volume One Ralph Body Department of Art History School of Humanities Faculty of Arts University of Adelaide February 2019 i Table of Contents – Volume One Abstract .................................................................................................................. iii Thesis Declaration ................................................................................................... v Acknowledgements ................................................................................................ vii Abbreviations .......................................................................................................... ix Introduction .............................................................................................................. 1 Literature Review ................................................................................................ 8 Conceptual Framework and Methodology ........................................................ 22 Chapter One: Establishing a Career, c.1903-1914 ................................................. 33 1.1. 1904: Getting Established in the Cultural Field ...................................... 34 1.2. Gallery Validation: Recognition of Heysen’s Art by Municipal Collections ........................................................................................................ -
An Australian Woman's Impression and Its Influences
NOTE: Green underlined artist names indicate that a detail biography is provided in Dictionary of Australian Artists. Page 1 Copyright © 2019 David James Angeloro “ An Australian Woman’s Impression and Its Influences ” David James Angeloro “( A More Complete Picture )” by David James Angeloro was born and raised in Syracuse, New York and graduated from Columbia University ( New York City ) and (Excerpt of Draft January 2019) Hobart University ( Geneva ). In 1971, he immigrated to Australia where he has worked as a management- technology consultant for commonwealth-state-local government organisations and large corporations throughout Australasia. David’s interest (obsession) with fine arts started while attending university in New York City. In Australia, he earned a Masters of Art from Sydney University for his thesis Sydney’s Women Sculptors: Women’s Work in Three Dimensions [ 1788-1940 ]. His passion for art extends to art history with particular interests in women artists (his two daughters are well-known artists of mashed-up video works), sculptors and painter-etchers. The Angeloro family collections have been nearly fifty years in the making. David’s collecting philosophy focused on affordable second tier artists, who were generally well- known in their day, but have been ‘forgotten’ by art historians and curators. David has followed the world-wide trend of reassessing the position and value of pre-1940 painters, illustrators, printmakers and sculptors, especially marginalized women artists. Why I’m Selling The Collection ? I’m selling my collection because after nearly fifty years, I’m returning to New York and I don’t want these Australian treasures to be lost and unappreciated. -
The Art of Seeing – Through the Eyes of Clarice Beckett Olga Gostin The
The art of seeing – through the eyes of Clarice Beckett Olga Gostin The Covid19 pandemic has had diverse impacts that still unfold before us, eighteen months after its ravages became an established world-wide fact. Under the privileged (Australian) conditions of restricted movement within the confines of homes provided with water and electricity, not to mention access to others through the internet, we have learnt to live with a keener sense of awareness and possibly even, mindfulness. Some of us may even have developed the art of listening and actually hearing those within our ambit. As the pall of nationwide lockdowns lifts from our nation, it seems extraordinarily fortuitous that the Art Gallery of South Australia (AGSA) has opened an exhibition of the works of Clarice Beckett that invites us to refine the art of seeing. And not only seeing, but doing so in a context of inner stillness and wonderment at the innate beauty of the present moment captured in the simple, the mundane, the very ordinary. The exhibition is appositely named Clarice Beckett: The Present Moment, and is curated by AGSA’s Tracey Lock whose splendid accompanying catalogue The Present Moment: The art of Clarice Beckett seduces the reader with verve and clarity into the life and works of this intriguing and much under-recognised painter, effectively an important pioneer of modern Australian art in the 1920s and 30s. The cover of the catalogue presents as a real-size framed reproduction of Beckett’s painting Luna Park (1919) – a masterly touch promising to inveigle even those who may not be able to sight the exhibition before it closes in mid-May.