DOCSLIB.ORG

Diploma Lecture Series 2011 Art and Australia Ll: European Preludes and Parallels

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Diploma Lecture Series 2011 Art and Australia Ll: European Preludes and Parallels Diploma Lecture Series 2011 Art and Australia ll: European Preludes and Parallels The endurance of Romanticism Barry Pearce 26 / 27 October 2011 Lecture summary: Although Romanticism is more a state of mind than an art movement, certain paradigms of Romantic landscape painting from the early 19th century are essential to our understanding of the term in the context of European cultural history. Three artists in particular - Caspar David Friedrich, Samuel Palmer and J. M. W. Turner - produced images that have an uncanny resonance with how the the work of three Australians blossomed in the second half of the 20th century: Rick Amor, William Robinson and Lloyd Rees respectively. The Romantic impulse, that complex phenomenon with elusive boundaries treated warily by most art historians, may be seen here alive in our time within the Australian vernacular, and destined to continue. Recommended reading: Gavin Fry Rick Amor Beagle Press 2008; Lynne Sear (ed) Darkness & Light: the art of William Robinson Queensland Art Gallery 2001; Lloyd Rees/Renee Free Lloyd Rees: an artist remembers Craftsman House 1987; Andreas C. Papadakis (ed) The new Romantics Art & Design (London) 1988. William Robinson: The Transfigured Landscape (2011) Hart, Deborah. UT & Piper Press Barry Pearce Slide list: Introduction 1. Caspar David Friedrich 1774-1840 Wreck in the moonlight 1835 Nationalgalerie Berlin 2. J. M. W. Turner 1775-1851 A mountain scene, Val d’Aosta c.1835 NGV 3. Samuel Palmer 1805-81 A hilly scene c.1824-26 Tate, London 4. Ferdinand Hodler 1853-1918 The Dents Blanches near Champéry 1916 Winterthur, Switzerland Rick Amor b.1948 5. The artist in his studio, Melbourne 2007 6. Various photographs of the artist 1952-99 7. Maquette for Figure in a landscape 2004-06 Private collection 8. Nightmare 1982 Private collection 9. The empty shop 1990 Private collection * 10. By the long sea 1995 Private collection 11. The beach at the end of the world 1997 NRAG 12. Morning in the city 1999 Private collection 13. The wave 1999 Private collection * 14. Sailing to the west (evening) 2001 Private collection 15. Returning storm 2001 Private collection 16. Shark in a wave 2002 Private collection 17. The street at night 2004 Private collection 18. Cypresses (a town by the sea) 2005 Private collection 19. Self-portrait 2002 Private collection 20. Self-portrait with a postcard of Greco-Roman bust 2003 Qld Uni Art Museum 21. Figure in landscape 2007 Private collection William Robinson b. 1936 22. The artist in his studio, photo by Greg Weight 1994 23. Interior with black dog 1970 Private collection 24. Morning 1976 Private collection 25. Birkdale farm construction with willy wagtail 1983-4 Private collection 26. William and Shirley, flora and fauna 1985 Private collection 27. Dawn with riders 1986 Private collection 28. Valley landscape 1988 Private collection * 29. Landscape with night and day 1989 Private collection 30. The sunshine painting 1990 Private collection 31. The rainforest 1990 Gold Coast City Art Gallery 32. Emerging light towards Canungra 1994 Private collection 33. detail of above 34. detail of The blue pools, Springbrook to Beechmont 2000 Private collection * 35. The blue pools, Springbrook to Beechmont 2000 Private collection 36. Self-portrait with goose feathers 1989 Private collection 37. Self-portrait for town and country 1991 Private collection 38. Unanimous self-portrait 1994 Private collection Lloyd Rees 1895-1988 39. The artist in his studio, photo by Max Dupain 1979 40. Old boats, Wollstonecraft Bay c,1920 AGNSW 41. The end of the garden 1936 NERAG 42. Autumn morning, Lane Cove River 1937 NGV 43. The silent bush 1939 AGSA * 44. The road to Berry 1947 AGNSW 45. The road to the mountain 1954 AGWA 46. The Upper Hastings River 1963 QAG 47. The surge of the sea 1964 Private collection 48. Sydney - the source 1973 Private collection 49. Solitude 1978 Private collection 50. Fire haze, Gerringong 1980 AGNSW * 51. The waterfall, Tasmania 1982 AGNSW 52. The awakening 1985 Private collection (All works are paintings, except 7 & 21 sculpture, and 17 drawing) Rick Amor b.1948, By the long sea 1995 Private collection Rick Amor b.1948, Sailing to the west (evening) 2001 Private collection William Robinson b. 1936, Landscape with night and day 1989 Private collection William Robinson b. 1936, The blue pools, Springbrook to Beechmont 2000 Private collection Lloyd Rees 1895-1988, The road to Berry 1947 AGNSW Lloyd Rees 1895-1988, The waterfall, Tasmania 1982 AGNSW .
Load more

Recommended publications
  • The Music and Musicians of St. James Cathedral, Seattle, 1903-1953: the First 50 Years
    THE MUSIC AND MUSICIANS OF ST. JAMES CATHEDRAL, SEATTLE, 1903-1953: THE FIRST 50 YEARS CLINT MICHAEL KRAUS JUNE 2009 TABLE OF CONTENTS List of figures................................................................................................................... iii List of tables..................................................................................................................... iv Introduction.......................................................................................................................1 Chapter 1 – Music at Our Lady of Good Help and St. Edward’s Chapel (1890- 1907)..................................................................................................................5 Seattle’s temporary cathedrals......................................................................5 Seattle’s first cathedral musicians ................................................................8 Alfred Lueben..................................................................................................9 William Martius ............................................................................................14 Organs in Our Lady of Good Help ............................................................18 The transition from Martius to Ederer.......................................................19 Edward P. Ederer..........................................................................................20 Reaction to the Motu Proprio........................................................................24
    [Show full text]
  • Class 10: Between Reason and Romance
    Class 10: Between Reason and Romance A. William Blake and the Crisis of Faith 1. Title Slide 1 (Blake: Newton) 2. Phillips: William Blake (1807, London, National Portrait Gallery) I have shown pictures before by William Blake (1757–1827)—his Ezekiel in last week’s class, for instance. He keeps on cropping up whenever you look at the turn of the Eighteenth and Nineteenth Centuries, the passage from Reason to Romance. And yet he is difficult to fit into any continuity before or after: a maverick, a genius, a mystic, or simply a madman. I struggled a lot with the shape of today’s class, until I realize that it was this quality—Blake’s refusal to fit in—that made him such a perfect entry into what appears to have been a very troubled time. 3. Blake: “The Lamb,” video reading 4. Blake: “The Lamb” (1789, Library of Congress) Blake was a Christian—or at least he began as one. When looking at his early poetry collection, Songs of Innocence (1789), we might think of his faith as rather simplistic, as exemplified, for instance, in his poem “The Lamb.” The images in this video enhance the poem’s apparent naiveté, though hardly any more than Blake’s own hand-tinted engraving. Blake apprenticed as an engraver before studying at the Royal Academy; his work as a poet is entirely that of an amateur, though he published his poetry and art together as integrated artwork. 5. Blake: “The Tyger,” video reading by Tom O’Bedlam 6. Blake: “The Tyger,” detail (1795, British Museum) Blake followed up Songs of Innocence in 1794 with Songs of Experience, in which the naïve images are replaced by altogether more disturbing ones.
    [Show full text]
  • Samuel Palmer Trail Leaflet
    Samuel Palmer (1805 – 1881) was a WALK DIRECTIONS British artist most celebrated for the work he produced while living in Shoreham in 1. From Shoreham station, make your way down to the village. the Darent Valley in Kent. Turn right out of the station and walk down Station Road, passing the golf course on your left. Follow the road around to your right and you will see the church in the corner opposite the pub. There is no pavement from the station to the village so please take extra care when walking along the road edge. 2. From the church, turn right and walk down Church Street. Shortly after the pub on the corner, you will find Ivy Cottage on your right. 3. Continue down Church Street until you reach the bridge over the River Darent. Pause before the bridge at the junction with Cornfield by Moonlight © The Trustees of the British Museum. Shared under a Creative Commons Darenth Way. Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0) licence. 4. Turn right along Darenth Way (do not cross the bridge), following the Darent Valley Path. Walk towards a large white straight up the hill. Look out for ancient oaks on your right house (Water House) with a plaque on the left-hand side of after about 20 metres. the wall. 12. Before getting to some agricultural buildings, take a sharp 5. Follow the small lane to the left of Water House and pause at left turn along a path through a hazel grove. Follow this the green.
    [Show full text]
  • British Neo-Romanticism 10 June – 24 September 2017
    PRESS RELEASE 2017 A Different Light: British Neo-Romanticism 10 June – 24 September 2017 In summer 2017, Pallant House Gallery will present an exhibition on British Neo-Romanticism, exploring the lyrical, mystical and often poetic work of a group of young artists during and just after the Second World War. This exhibition explores the personal and artistic journeys taken by Paul Nash, John Piper, Graham Sutherland, Prunella Clough, Robert Colquhoun, John Craxton, , Robert MacBryde, and Keith Vaughan. The display draws from Pallant House Gallery’s permanent collection of 20th century Modern British art and coincides with a major exhibition on John Minton, a contemporary and friend to many of these artists . The term ‘Neo-Romanticism’ was first used in the early 1940s to loosely define the work of a group of artists who had a personal and often poetical identification with nature. Although never an organised movement there was a shared interest in the work of Romantic British visionaries such as William Blake (1757 – 1827) and Samuel Palmer (1805 – 1881) especially amongst the older generation of artists; Paul Nash (1889 – 1946), Graham Sutherland (1903 – 1980) and John Piper (1903 – 1992). Along with a number of younger artists including John Craxton (1922 – 2009) and Keith Vaughan (1912 – 1977) they also responded to the work of modern European art movements such as Cubism and Surrealism. Graham Sutherland, Two Trees, 1947, Ink and wash with black chalk on paper, Pallant House Gallery, Chichester During the long, culturally isolated years of the Second (Hussey Bequest, Chichester District Council, 1985) © The World War, these artists drew inspiration from a estate of Graham Sutherland romantic spirit found within British art.
    [Show full text]
  • Von Analogen Und Digitalen Zugängen Zur Kunst – Festschrift Für Hubertus Kohle Zum 60
    Samuel Palmer and German Art William Vaughan Abstract The striking imagery and style of the early landscapes of Samuel Palmer stand out in the history of British art for their unusual character. At the same time, it has often been remarked that this work, particularly its so-called “visionary“ nature, has affinities with some landscapes produced at the time in Germany, particularly those of Caspar David Friedrich. The possibility of any connection between the two is so remote that it can almost certainly be ruled out. On the other hand, it can be shown that Palmer had an interest in certain aspects of German art, both historical and contemporary. This article explores those interests and considers the extent that these supported the way in which he developed his unique approach to art. Keywords British Art, German Art, Anglo-German relations, Romanticism, Landscape, Samuel Palmer, William Blake, Albrecht Dürer, Carl Wilhelm Kolbe, Nazarenes. Introduction approach to landscape and that of certain German con- Samuel Palmer’s remarkable early pictures, created temporaries, most notably Caspar David Friedrich. Like between 1825 and 1835, stand out in the tradition of Friedrich, Palmer promoted the inner vision in approach- English landscape painting. Their radical primitivism ing landscape (Figs. 2, 3). makes them some of the most innovative and original of There are also some visual affinities, particularly in the period – rivalled in this respect only by the most ex- the use of silhouettes and lighting affects, and in a radi- perimental work of J.M.W. Turner. They are furthermore cal approach to spatial design.
    [Show full text]
  • The Romantic Age of English Painting
    The Romantic Age • The Romantic period started in the eighteenth century but was at its peak between 1800 and 1850. Among the greatest Romantic painters were Henry Fuseli (1741-1825), JMW Turner (1775-1851), John Constable (1776-1837), and overseas, Francisco Goya (1746-1828), Caspar David Friedrich (1774-1840), Theodore Gericault (1791-1824) and Eugene Delacroix (1798-63). • The Romantic movement can be seen as a way of liberating human personality from the limitations of social convention and social morality. ‘Man is born free and everywhere is in chains’–Jean-Jacques Rousseau (1712-1778). He later stated during a controversial essay that ‘Man is naturally good, and only by institutions is he made bad’. However, ‘The Social Contract’ was even more dangerous for it advocated democracy and denied the divine right of kings: thus bringing Rousseau a storm of social condemnation. Romantics: • Value emotions. Romanticism regards intense emotions as providing an authentic source of aesthetic experience and social validity. This included emotions such as horror and awe which were associated with a new aesthetic category, the sublime. React against reason and the ‘Age of Enlightenment’ with its assumption that all problems can be solved through the application of reason. Romanticism also created and valued childhood as an age of innocence whereas previously children were simply young adults who had not yet grown up. • Value nature. William Wordsworth and Samuel Taylor Coleridge presented poetry as an expression of personal experience filtered through an individual’s emotion and imagination. They believed the truest experience was to be found in nature and the sublime strengthened this through an appeal to the wilder aspects of nature where the sublime could be experienced directly.
    [Show full text]
  • Summer 2017 | Free
    trees in art issue | summer 2017 | free THE ART OF TREES, FLOODING, A NEW ARBOREAL MAP, THE NEWSPAPER FOR TREES, WOODS AND PEOPLE THE GREAT STORM, ARTIST RESIDENCIES Detail from TREE TRAILS by Adam Dant LEAF! | FOR THE ART OF TREES THE NEWSPAPER FOR TREES, WOODS AND PEOPLE Trees have been loved and venerated in cultures across the world since earliest times, and continue to be a source of inspiration and imagination. With his arboreal map, featured on the front cover of LEAF!, the celebrated illustrator Adam Dant shows us just how significant trees are to the story of art in the British Isles, and just how rich and widely located this visual heritage is. Common Ground is adding a new layer to the history of trees in art by curating and commissioning a series of artist residencies around the UK. The Tree Charter campaign Editors has challenged people all across the country Sara Hudston to consider their relationship with trees, Adrian Cooper and to reflect on the importance of trees Art Direction and woods in our culture, environment Gracie Burnett and economy. Over the next few months, Cover Artist eight artists will bring this thought process Adam Dant to life through a series of varied and very Resident Artists exciting residencies that explore, question Alice Pattullo and express the relationship between trees, Bea Forshall woods and people. Illustration Kurt Jackson Inside the Chapter House of Lincoln Eliza Glyn Cathedral, the Turner Prize-winning Harriet Lee-Merrion collective Assemble are making a round John Harmer wood structure, inspired by bodgers – that Simon Pemberton lost tribe of men and women who lived Common Ground Art Collection and worked in woodlands.
    [Show full text]
  • Issues) and Searcher Based at the Centre for Eighteenth Century Studies, Begin with the Summer Issue
    AN ILLUSTRATED QUARTERLY Blake Books: Publications and Discoveries, 2006 VOLUME 41 NUMBER 1 SUMMER 2007 &Uk e AN ILLUSTRATED QUARTERLY www.blakequarterly.org VOLUME 41 NUMBER 1 SUMMER 2007 CONTENTS Article Minute Particulars William Blake and His Circle: Blake in the Times Digital Archive A Checklist of Publications and Discoveries in 2006 By Keri Davies 45 By G. E. Bentley, Jr., with the Assistance ofHikari Sato for Japanese Publications "VISIONS OP BLAKE, THE ARTIST": An Early Reference to William Blake in the Timet By Angus Whitehead 46 Review Blake Society Annual Lecture, 28 November 2006: Patti Smith at St. James's Church, Piccadilly Reviewed by Magnus Ankarsjo ■II ADVISORY BOARD (,. I . Bentley, Jr., University of Toronto, retired Nelson Hilton, University of Georgia Martin Butlin, London Anne K. Mellor, University of California, Los Angeles Detlcf w. Ddrrbecker, University of Trier Joseph Viscomi, University of North Carolina at Chapel Hill Robert N. Lssick, University of California, Riverside David Worrall, The Nottingham Trent University Angela Esterhammer, University of Western Ontario CONTRIBUTORS David Worrall, Faculty of Humanities, The Nottingham Trent University, Clifton Lane, Nottingham NG11 8NS UK Email: [email protected] G. E. BENTLEY, JR., is a recovering book collector but is still ad• dicted to scholarship, at the moment to Blake's heavy metal and bibliomania (a confession) and Blake's murderesses. MAGNUS ANKARSJO ([email protected]) is a lecturer at Nottingham Trent University and Loughborough Universi• ty. He is the author of William Blake and Gender (2006) and is currently completing the manuscript of Reconstructing Blake, on the substantial changes that Blake studies are now under• going in the wake of recent discoveries about Blake's life, par• ticularly his Moravian family background.
    [Show full text]
  • Romanticism.Pdf
    Romanticism 1 Romanticism Caspar David Friedrich, Wanderer Above the Sea of Fog, 1818 Eugène Delacroix, Death of Sardanapalus, 1827, taking its Orientalist subject from a play by Lord Byron Romanticism 2 Philipp Otto Runge, The Morning, 1808 Romanticism (also the Romantic era or the Romantic period) was an artistic, literary, and intellectual movement that originated in Europe toward the end of the 18th century and in most areas was at its peak in the approximate period from 1800 to 1850. Partly a reaction to the Industrial Revolution,[1] it was also a revolt against aristocratic social and political norms of the Age of Enlightenment and a reaction against the scientific rationalization of nature.[] It was embodied most strongly in the visual arts, music, and literature, but had a major impact on historiography,[2] education[3] and the natural sciences.[4] Its effect on politics was considerable and complex; while for much of the peak Romantic period it was associated with liberalism and radicalism, in the long term its effect on the growth of nationalism was probably more significant. The movement validated strong emotion as an authentic source of aesthetic experience, placing new emphasis on such emotions as apprehension, horror and terror, and awe—especially that which is experienced in confronting the sublimity of untamed nature and its picturesque qualities, both new aesthetic categories. It elevated folk art and ancient custom to something noble, made spontaneity a desirable characteristic (as in the musical impromptu), and argued for a "natural" epistemology of human activities as conditioned by nature in the form of language and customary usage.
    [Show full text]
  • Visual Representations of the Numinous: a Philosophical, Art Historical and Theological Inquiry 1780-1880
    Visual Representations of the Numinous: a philosophical, art historical and theological inquiry 1780-1880 David M.Greenwood B.Sc (Eng), M.Sc, B.Th (Oxon), C.Eng, FIET. Aberystwyth University School of Art 2015 VISUAL REPRESENTATIONS OF THE NUMINOUS CONTENTS Abstract iii Preface iv Introduction vi SECTION ONE Setting the Context - Philosophical Background Chapter One - The English and German Romantic Paradigm - An examination of Aesthetics from Baumgarten and Blake to Kant and Hegel – Beauty, the Sublime and the Transcendental 1 Chapter Two - A New Paradigm is opened by Schelling 36 Chapter Three - A Qualitative Analysis of the Cultural Influences at play between German speaking and British people during the Romantic period which in turn have Influenced the Artists under Consideration 58 Chapter Four - The Characteristics of the Religious Experience and Possible Trigger Factors 89 SECTION TWO Transcendence in the Iconography of Samuel Palmer and Caspar David Friedrich Introduction to the Section 111 Chapter Five - The Iconography of Samuel Palmer 116 Chapter Six - The Iconography of Caspar David Friedrich 156 SECTION THREE Practical Theology Chapter Seven - A Work of Art as a Sacrament 206 Chapter Eight: Art as an Aid to Religious Contemplation 226 Conclusions 273 Glossary Bibliography 280 ii ABSTRACT This thesis embraces the disciplines of philosophy, art history and practical theology. It is concerned with the ways in which artists have endeavoured to express the numinous or point towards the Transcendent through landscape painting. The Transcendent is described as that recognition in mankind of the capacity of knowing truth intuitively, or of attaining a scientific knowledge of an order of existence transcending the reach of the senses, and of which we can have no sensible experience.
    [Show full text]
  • 2015 · Maastricht TEFAF: the European Fine Art Fair 13–22 March 2015 LONDON MASTERPIECE LONDON 25 June–1 July 2015 London LONDON ART WEEK 3–10 July 2015
    LOWELL LIBSON LTD 2 015 • New York · annual exhibition British Art: Recent Acquisitions at Stellan Holm · 1018 Madison Avenue 23–31 January 2015 · Maastricht TEFAF: The European Fine Art Fair 13–22 March 2015 LONDON MASTERPIECE LONDON 25 June–1 July 2015 London LONDON ART WEEK 3–10 July 2015 [ B ] LOWELL LIBSON LTD 2 015 • INDEX OF ARTISTS George Barret 46 Sir George Beaumont 86 William Blake 64 John Bratby 140 3 Clifford Street · Londonw1s 2lf John Constable 90 Telephone: +44 (0)20 7734 8686 John Singleton Copley 39 Fax: +44 (0)20 7734 9997 Email: [email protected] John Robert Cozens 28, 31 Website: www.lowell-libson.com John Cranch 74 John Flaxman 60 The gallery is open by appointment, Monday to Friday The entrance is in Old Burlington Street Edward Onslow Ford 138 Thomas Gainsborough 14 Lowell Libson [email protected] Daniel Gardner 24 Deborah Greenhalgh [email protected] Thomas Girtin 70 Jonny Yarker [email protected] Hugh Douglas Hamilton 44 Cressida St Aubyn [email protected] Sir Frank Holl 136 Thomas Jones 34 Sir Edwin Landseer 112 Published by Lowell Libson Limited 2015 Richard James Lane 108 Text and publication © Lowell Libson Limited Sir Thomas Lawrence 58, 80 All rights reserved ISBN 978 0 9929096 0 4 Daniel Maclise 106, 110 Designed and typeset in Dante by Dalrymple Samuel Palmer 96, 126 Photography by Rodney Todd-White & Son Ltd Arthur Pond 8 Colour reproduction by Altaimage Printed in Belgium by Albe De Coker Sir Joshua Reynolds 18 Cover: a sheet of 18th-century Italian George Richmond 114 paste paper (collection: Lowell Libson) George Romney 36 Frontispiece: detail from Thomas Rowlandson 52 William Turner of Oxford 1782–1862 The Sands at Barmouth, North Wales Simeon Solomon 130 see pages 116–119 Francis Towne 48 Overleaf: detail from William Turner of Oxford 116 John Robert Cozens 1752–1799, An Alpine Landscape, near Grindelwald, Switzerland J.M.W.
    [Show full text]
  • Letters of Denization and Acts of Naturalization for Aliens in England & Ireland
    Gc M 942.006 H87pu v.27 1417132 ENEALOGY COLLECTION «* Digitized by the Internet Archive in 2015 https://archive.org/details/lettersofdenizat2717hugu LETTERS OF DENIZATION AND ACTS OF NATURALIZATION FOR ALIENS IN ENGLAND & IRELAND 1701-1800 A ' ' " • ^ . I V .. - V. THE Publications of The Huguenot Society of London FOUNDED A.D. MDCCCLXXXY VOLUME XXVII Printed by SHERRATT AND HUGHES, MANCHESTER 1923 The COUNCIL of the HUGUENOT SOCIETY OF LONDON desires it to be understood that it is not answerable for any opinions or observations that may appear in the Society’s publications; the Editors of the several Works being alone responsible for the same. Cbe Ibuguenot Society of Xonbon. (Inaugurated 15 th April, 1885 .) OFFICERS AND COUNCIL FOR THE YEAR 1922=23. president. WYATT WYATT-PAINE, F.S.A. Dice-lprestoents. The Right Hon. the Earl of Radnor. Sir William Wyndham Portal, Bart., F.S.A. George Beaumont Beeman. Charles Poyntz Stewart, F.S.A. Scot. William Minet, F.S.A. Council. The Rev. William George Cazalet. Sir Robert Alfred McCale, K.C.V.O., K.C. Thomas Colyer Colyer-Fergusson. W. H. Manchee. Robert William Dibdin. Ernest Carrington Ouvry, M.B.E., F.S.A. Alfred Edward Duchesne. Ft. -Col. Sir Alexander Brooke Pechell, Sir W. Everard B. ffolkes, Bart. Bart., R.A.M.C. Francis de Havilland Hall, M.D., F.R.C.P. Samuel Romilly Roget, A.M.Inst.C.E., Edward Heathcote Lefroy. A.M.I.E.E. treasurer. Arthur Herve Browning, 16 Victoria Street, Westminster, S.W. 1 Ibon. Secretary. Colonel Duncan George Pitcher. Deputy Ibon.
    [Show full text]