An Artistic Journey from the Darling Downs to Fraser Island – September 2021
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The Wood Engravings of Lionel Lindsay
still• ife• lying images The wood engravings of Lionel Lindsay Heather Lowe Assistant Curator of Prints (1993)* The years from around 1910 to the mid 1930's were marked in Australian art by the swift rise of printmaking as a highly popular art-form. A great number of Australian artists adopted printmaking, in particular etching, as one of their prin- cipal forms of expression, such that the period became known as the "etching- boom". Lionel Lindsay first achieved his reputation as a leader in printmaking in Australia through his etched work, in which he established a personal style and assured technique around 1908. The rapid growth in popularity of printmak- ing had its precedent in France and Eng- land, in the Painter-Etcher movements of the late 19th and early 20th centuries. 100 Australian artists hungrily searched for 0/ 10 information and examples of printmaking techniques and styles, and a sharing of no. knowledge amongst artists from Sydney, ing, v Melbourne, Adelaide, and Perth was one ra of the major characteristics of this period. Australian artists shared not only knowl- d eng edge of techniques, but also their tools and home-made printing presses. Artists Woo such as Lionel Lindsay, Sydney Ure 1923. Smith, Victor Cobb, and John Shirlow r, studied the printmaking techniques of the te modern international etchers such as Jes Charles Meryon and Whistler, and the The old master wood engravers such as ■ Durer, from the few prints held in nation- al art collections, books such as P.G. Hammerton's Etching and Etchers, and reproductions in international magazines, primarily The Studio. -
Past-Exhibitions-2011.Pdf
Past Exhibitions: 2011 ground floor... BATIK OF JAVA: POETICS AND POLITICS THE PROMISED LAND: ZOOKINI A CALOUNDRA REGIONAL ART GALLERY THE ART OF LAWRENCE DAWS 2011 XSTRATA CHILDRENS EXHIBITION TOURING EXHIBITION A CALOUNDRA REGIONAL GALLERY FEATURING JENNY ORCHARD 3 December 2010 until 6 February 2011 TOURING EXHIBITION 15 April until 10 July 11 February until 10 April Batik, a cloth that traditionally uses a manual Zookini is the 2011 Xstrata Children’s Exhibition, wax-resist dyeing technique, has special meanings The Promised Land: The Art of Lawrence Daws is and centres on the wild ceramic creatures and rooted to the Javanese conceptualisation of the a major touring exhibition that celebrates the life illustrations of celebrated artist Jenny Orchard. universe. The three major Hindu Gods, Brahmā, and career of long-time Glasshouse Mountains Visnu, and Śiva, are represented by the colours resident and iconic Australian painter, Lawrence The exhibition also includes prominent local artists, indigo, brown and white, dictated by the fact Daws. In recognition of his unique place in known for their creativity; Christine Spain and Mel natural dyes are most commonly available in Australia’s art history, The Promised Land features Williams, Hugh Martin, Jenny Finn and Robert indigo and brown. Patterns in the batik also reflect over 50 paintings and sketch books from National, Crispe. a person’s nobility. State, regional, public and private collections, including work from each of the six decades that this respected artist has been painting. -
Teacher's Notes
Teacher’s Notes These teacher’s notes support the exhibition Cream: Four Decades of Australian Art. They act as a lesson plan, and provide before, during, and after gallery visit suggestions to engage your class with Australian modern art. This resource has been written to align with the draft version Australian Curriculum: The Arts Foundation to Year 10 – 2 July 2013 for Visual Arts as standard reference at the time of production. Used in conjunction with Rockhampton Art Gallery’s Explorer Pack, educators can engage students with concepts of artists, artworks and audience. The questions and activities are designed to encourage practical and critical thinking skills as students respond to artworks in Cream and when making their own representations. The Explorer Pack is free and available upon request to Rockhampton Art Gallery or via the host gallery. This education resource could not exist without the generous support of the Tim Fairfax Family Foundation and Rockhampton Art Gallery thanks the Foundation for their commitment to arts education for regional audiences. Rockhampton Art Gallery would also like to acknowledge the contribution of Education Consultant Deborah Foster. Cream: Four Decades of Australian Art The story of Rockhampton Art Gallery’s modern art collection is a tale of imagination, philanthropy, hard work and cultural pride. Lead by Rex Pilbeam, Mayor of the City of Rockhampton (1952–1982), and supported by regional businesses and local residents, in the mid-1970s the Gallery amassed tens of thousands of dollars in order to develop an art collection. The Australian Contemporary Art Acquisition Program, run by the Visual Arts Board of the Australia Council, would match dollar for dollar (later doubled) all monies raised locally. -
Escape Artists Education
ESCAPEartists modernists in the tropics education kit INTRODUC TION & H TEAC ERS NOTES Almost two years in development, Escape Artists: Modernists in the Tropics is the first exhibition by Cairns Regional Gallery to tour nationally. In this exhibition, you and your students will see how the tropical north of Australia has influenced Australia’s greatest artists, some of whom you will be familiar with, others less familiar. The artists featured in the exhibition are: • Harold Abbott • Valerie Albiston • Douglas Annand • Yvonne Atkinson • John Bell • Yvonne Cohen • Ray Crooke • Lawrence Daws • Russell Drysdale • Ian Fairweather • John Firth-smith • Donald Friend • Bruce Goold • Elaine Haxton • Frank Hinder • Frank Hodginson • Sydney Nolan • Alan Oldfield • Margaret Olley • John Olsen • Tony Tuckson • Brett Whitely • Fred Williams • Noel Wood The lure of an exotic, untouched, tropical paradise has a tradition in modern art beginning with Gaugin in Tahiti. It was this desire to discover and explore new worlds which attracted these artists to the Far North - a part of Australia like no other they had seen. Here they found a region of extraordinary, abundant natural beauty and a cultural pot pourri of indigenous inhabitants and people from all over the world. This exciting mixture of important artworks was assembled from major private and public collections by Gavin Wilson,curator of the successful Artists of Hill End exhibition at The Art Gallery of News South Wales. Escape Artists provides a significant look at the cultural and historic heritage of North Queensland and the rest of northern Australia. You and your students will find some pleasant surprises among the works in the exhibition. -
A Fringe of Leaves”
Cicero, Karina R. Time and language in Patrick White's “A fringe of leaves” Tesis de Licenciatura en Lengua y Literatura Inglesa Facultad de Filosofía y Letras Este documento está disponible en la Biblioteca Digital de la Universidad Católica Argentina, repositorio institucional desarrollado por la Biblioteca Central “San Benito Abad”. Su objetivo es difundir y preservar la producción intelectual de la Institución. La Biblioteca posee la autorización del autor para su divulgación en línea. Cómo citar el documento: Cicero, Karina R. “Time and language in Patrick White's A fringe of leaves” [en línea]. Tesis de Licenciatura. Universidad Católica Argentina. Facultad de Filosofía y Letras. Departamento de Lenguas, 2010. Disponible en: http://bibliotecadigital.uca.edu.ar/repositorio/tesis/time-and-language-patrick-white.pdf [Fecha de Consulta:.........] (Se recomienda indicar fecha de consulta al final de la cita. Ej: [Fecha de consulta: 19 de agosto de 2010]). Universidad Católica Argentina Facultad de Filosofía y Letras Departamento de Lenguas “Time and Language in Patrick White’s A Fringe of Leaves. ” Student: Karina R. Cicero Tutor: Dr. Malvina I. Aparicio Tesis de Licenciatura Noviembre, 2010 1 Introduction A Fringe of Leaves starts, just like two of the most significant events in Australian history - colonisation and immigration- with a journey across the sea. Journeys often entail changes in one’s personality. Sometimes, radical ones. Travellers have always ventured to meet the unexpected in order to find answers to unasked questions having as a consequence a different approach to existence. In A Fringe of Leaves (1976), written by 1973 Nobel Prize- winner Patrick White, the character of Ellen Roxburgh assesses her whole existence through the hardships she faces during her journey to and within Australia. -
Lamington National Park Management Plan 2011
South East Queensland Bioregion Prepared by: Planning Services Unit Department of Environment and Resource Management © State of Queensland (Department of Environment and Resource Management) 2011 Copyright protects this publication. Except for purposes permitted by the Copyright Act 1968, reproduction by whatever means is prohibited without the prior written permission of the Department of Environment and Resource Management. Enquiries should be addressed to Department of Environment and Resource Management, GPO Box 2454, Brisbane Qld 4001. Disclaimer This document has been prepared with all due diligence and care, based on the best available information at the time of publication. The department holds no responsibility for any errors or omissions within this document. Any decisions made by other parties based on this document are solely the responsibility of those parties. Information contained in this document is from a number of sources and, as such, does not necessarily represent government or departmental policy. This management plan has been prepared in accordance with the Nature Conservation Act 1992. This management plan does not intend to affect, diminish or extinguish native title or associated rights. Note that implementing some management strategies might need to be phased in according to resource availability. For information on protected area management plans, visit <www.derm.qld.gov.au>. If you need to access this document in a language other than English, please call the Translating and Interpreting Service (TIS National) on 131 450 and ask them to telephone Library Services on +61 7 3224 8412. This publication can be made available in alternative formats (including large print and audiotape) on request for people with a vision impairment. -
Thesis Title
Creating a Scene: The Role of Artists’ Groups in the Development of Brisbane’s Art World 1940-1970 Judith Rhylle Hamilton Bachelor of Arts (Hons) University of Queensland Bachelor of Education (Arts and Crafts) Melbourne State College A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2014 School of English, Media Studies and Art History ii Abstract This study offers an analysis of Brisbane‘s art world through the lens of artists‘ groups operating in the city between 1940 and 1970. It argues that in the absence of more extensive or well-developed art institutions, artists‘ groups played a crucial role in the growth of Brisbane‘s art world. Rather than focusing on an examination of ideas about art or assuming the inherently ‗philistine‘ and ‗provincial‘ nature of Brisbane‘s art world, the thesis examines the nature of the city‘s main art institutions, including facilities for art education, the art market, conservation and collection of art, and writing about art. Compared to the larger Australian cities, these dimensions of the art world remained relatively underdeveloped in Brisbane, and it is in this context that groups such as the Royal Queensland Art Society, the Half Dozen Group of Artists, the Younger Artists‘ Group, Miya Studios, St Mary‘s Studio, and the Contemporary Art Society Queensland Branch provided critical forms of institutional support for artists. Brisbane‘s art world began to take shape in 1887 when the Queensland Art Society was founded, and in 1940, as the Royal Queensland Art Society, it was still providing guidance for a small art world struggling to define itself within the wider network of Australian art. -
Foundation Annual Report 2012–13
FOUNDATION ANNUAL REPORT 2012–13 FOUNDATION ANNUAL REPORT 2012–13 Polixeni Papapetrou born Australia 1960 Mark Elvis impersonator at Elvis Grotto Melbourne 1992 gelatin silver photograph image 100 x 100 cm gift of Patrick Corrigan, 2013 through the Australian Government’s Cultural Gifts Program © Polixeni Papapetrou Contents Office bearers 5 Objectives 5 Chairman’s report 7 Contributors 22 Membership 39 Financial statements 61 Colin McCahon New Zealand 1919–1987 Muriwai. Necessary protection 1972 synthetic polymer paint on composition board 60.8 x 81.2 cm bequest of Jane Flecknoe, 2013 100 Works for 100 Years © Colin McCahon Research and Publication Trust 4 natIonal gallerY of AUStralIA Office bearers Objectives Patron The National Gallery of Australia Her Excellency Ms Quentin Bryce AC Foundation, a company limited by The Governor-General of the Commonwealth of Australia guarantee under the Corporations Law, is a non-profit organisation established to Board members support the National Gallery of Australia. Mr John Hindmarsh AM (appointed 20.9.04; The principal objectives of the Foundation Chairman 27.10.10) are to: Ms Susan Armitage (appointed 11.5.11) Mr Philip Bacon AM (appointed 26.10.00) ■■ maintain, improve and develop Mr Julian Beaumont (appointed 28.10.09) the national collection of works of Ms Sandra Benjamin OAM (appointed 27.4.06) art owned by the National Gallery Mr Anthony R Berg AM (appointed 16.3.99; of Australia Chairman 16.3.99 to 26.4.06) ■■ promote, maintain, improve and Mrs Robyn Burke (appointed 29.8.06) develop the National Gallery of Australia Mr Terrence A Campbell AO (appointed 28.2.07) ■■ support the development and conduct Mr David Coe (appointed 13.10.00, resigned 21.1.13) by the National Gallery of Australia of The Hon Mrs Ashley Dawson-Damer (appointed 5.5.04) travelling exhibitions of works of art Dr Lee MacCormick-Edwards (appointed 26.10.11) ■■ raise money to achieve these Mr James Erskine (appointed 11.5.11) objectives. -
Ii: Mary Alice Evatt, Modern Art and the National Art Gallery of New South Wales
Cultivating the Arts Page 394 CHAPTER 9 - WAGING WAR ON THE ESTABLISHMENT? II: MARY ALICE EVATT, MODERN ART AND THE NATIONAL ART GALLERY OF NEW SOUTH WALES The basic details concerning Mary Alice Evatt's patronage of modern art have been documented. While she was the first woman appointed as a member of the board of trustees of the National Art Gallery of New South Wales, the rest of her story does not immediately suggest continuity between her cultural interests and those of women who displayed neither modernist nor radical inclinations; who, for example, manned charity- style committees in the name of music or the theatre. The wife of the prominent judge and Labor politician, Bert Evatt, Mary Alice studied at the modernist Sydney Crowley-Fizelle and Melbourne Bell-Shore schools during the 1930s. Later, she studied in Paris under Andre Lhote. Her husband shared her interest in art, particularly modern art, and opened the first exhibition of the Contemporary Art Society in Melbourne 1939, and an exhibition in Sydney in the same year. His brother, Clive Evatt, as the New South Wales Minister for Education, appointed Mary Alice to the Board of Trustees in 1943. As a trustee she played a role in the selection of Dobell's portrait of Joshua Smith for the 1943 Archibald Prize. Two stories thus merge to obscure further analysis of Mary Alice Evatt's contribution to the artistic life of the two cities: the artistic confrontation between modernist and anti- modernist forces; and the political career of her husband, particularly knowledge of his later role as leader of the Labor opposition to Robert Menzies' Liberal Party. -
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. -
North Coast Bioregion
171 CHAPTER 14 The North Coast Bioregion 1. Location 2. Climate The North Coast Bioregion runs up the east coast of NSW from just north of The general trend in this bioregion from east to west is from a sub-tropical Newcastle to just inside the Qld border. The total area of the bioregion is climate on the coast with hot summers, through sub-humid climate on the 5,924,130 ha (IBRA 5.1) and the NSW portion is 5,692,351.6 ha or 96.1% of the slopes to a temperate climate in the uplands in the western part of the bioregion. The NSW portion of North Coast Bioregion occupies 7.11% of the bioregion, characterised by warm summers and no dry season. A montane state. climate occurs in a small area in the southwest of the bioregion at higher elevations. The Sydney Basin Bioregion bounds the North Coast Bioregion in the south and the Nandewar and New England Tablelands bioregions lie against its western boundary. The North Coast Bioregion has proven to be a popular 3. Topography place to live, with hundreds of “holiday towns” lining the coast and eastern inland, including Port Macquarie, Ballina, Coffs Harbour, Byron Bay, Tweed The North Coast Bioregion covers northern NSW from the shoreline to the Heads, Lismore, Alstonville, Dorrigo, Forster and Taree. Great Escarpment. Typically, there is a sequence from coastal sand barrier, through low foothills and ranges, to the steep slopes and gorges of the The Tweed, Richmond, Clarence, Coffs Harbour, Bellinger, Nambucca, Macleay, Escarpment itself, with rainfall increasing inland along this transect. -
No Place Like Home: Australian Art History and Contemporary Art at the Start of the 1970S
No place like home: Australian art history and contemporary art at the start of the 1970s Heather Barker and Charles Green This‖essay‖considers‖an‖emergent‖Australian‖art‖history’s‖dramatically‖changing‖ impact on art criticism in the late 1960s and, in turn, as a key part of a wider perspective on the intersection of contemporary art and art history in Australia from the early 1960s into the 1980s. The change in Australian art history was evident in the development of modes of professional competence modelled on formalism and a tendentious neo-Marxism in transition towards an affectless postmodernism, already strands in international art history as a discipline. So, during the period, seminal Australian art historian Bernard Smith's battle against what he saw as American cultural imperialism was well and truly lost. Young art historians writing on contemporary art from the late 1960s on, including art historians Patrick McCaughey and Terry Smith, were convinced that the centre of world art was now New York. This idea of world art did not, however, diminish the Australian preoccupation with nation, national identity and the position—and therefore the category—of Australian art.‖Rather,‖it‖was‖to‖result‖in‖key‖writings,‖from‖Terry‖Smith’s‖articles‖to‖Paul‖ Taylor’s‖postmodern‖polemics‖in‖Art and Text, all of which above all sought to locate Australian art in relation to international (which largely remained American) art. Here, we shall focus on the turn from the 1960s into the 1970s. It has been our belief, since Green wrote the conclusion