A Tasmanian Museum and Art Gallery National Touring Exhibition, in association with Art Exhibitions Australia

IN T RO D U C T I O N

This exhibition traces the life and work of the Ang l o - Au s t r a l ian pai n ter John Glover (1767-1849).

Gl o ver made importa n t contri b utions both to the British art world of the early nineteenth centu r y and to the early de vel o p m e nt of settler land s c a pe art in Aus t r a li a .

The earlie st exa m p l e s of what Tasmania looked lik e are fou n d in coastal views observed and recorded on voyage s of European maritime exploration, by Abel Tasman (1642), Jam e s Cook (1777) and Nicolas Baudin (1802). Af t e r se t t l e m e nt, these were fol l o wed by topographical drawi n gs of the inte r ior by explorers, surveyors and the occasional co n vict draughtsman, works designed for use by the colonial administrators both in Aus t r a l ia and Great Britain.

By the 1830s, increasing numbers of free settlers led to an increasingl y affluent society, with growi n g cultural needs an d aspirations. Some artists began to make a livi n g from settler commissions – for famil y portraits or views of their pr o p e rt i e s – or from prov i di ng drawi n g tuition for their children. Most colonial artists conti n ued to pai n t in the European style – not only from the habits of their orig i n al training, but probably also from a homesick longi n g to fin d the famil iar in an unfa mi l iar land .

Ho wever , by the 1840s, John Glover had evol v ed new and innovat i ve ways of seeing and pai nt i n g the marvellous and in c o m pa r a b le Aus t r a l ian land s c a pe, breaking to some ext e nt with the classical tradition to give a more accurate and faithful represe ntation of his new envi r o n m e nt.

Ed u c a tional Mate ri a l :

This material traces the devel o p m e nt of John Glover ’ s work in Europe and Aus t r a l ia. For the most par t in chronological order, it invi t e s users to study Glover ’ s devel o p m e nt through a stimula t i n g and app r o p r iate selection of his works, fol l o wed by exc i t i n g activi t i e s and thought-provok i n g discussion points . Ou t l i n e :

The Educational Material covers the central themes of ‘John Glover and European Lands c a pe’, ‘John Glover and Aus t r a l ian Lands c a pe’, ‘John Glover and the Tasmanian Ab o ri g i n e s’ and ‘Compar isons with Conte m p o r a r y Livi n g Tasmanian Lands c ap i s t s ’ .

It is intr o d u c ed by a short summary of ideas perti n e nt to the ‘Concept of Lands c a pe – Changi n g View s ’ .

Cu r ric u lum Links:

De signed to suit a range of learning objectives and associated crit e r ia derived from syllabu s e s relevan t to Seconda r y, Upper Seconda r y and Senior Seconda r y students, (Yrs. 7-12), some mo di fication and selection may be necess a r y to ac c o m m odate var ious needs. Teachers and students are enc o u r a ged to select and adapt these materials according l y.

As well as its relevan c e to Ar t and Design and the Visual Ar ts subjects, this website material may be relevan t to other subjects of the curriculum, such as History, Urban Studie s, Fine Ar ts, Tou r ism Studie s, Engl ish Studie s and Ge o g r ap h y.

Cat a l o gu e :

A comprehens i ve catalogue (by David Hansen, Senior Curator of Ar t at the Tasmanian Museum and Ar t Gallery) will accompan y the exh i b i t i o n .

A major reso u r c e for study and enj oy m e nt, it is beauti f u l l y designed and pr es e nted, with full colour illustrations. It includes a thorough and access i bl e ac c o u n t of the arti s t ’ s life and work and specialist ess a ys by leadin g scholar s (on Glover ’ s Aus t r a l ian land s c ap e s, his represe ntation of Ab o ri g i n e s, his pai nt i n g materials and methods, his sketchbooks and his prin ts), as well as detailed notes on individual works and an ex t en s ive biblio g r ap h y.

Se nior Seconda r y students will fin d the catalogue inval u a b le for in-depth study of part i c u l ar aspects of Glover ’ s wor k .

Exhibition Date s :

Tasmanian Museum & Ar t Gallery, Hobart 28 November 2003 to 1 Feb ru a r y 2004

Ar t Gallery of South Aus t r a l ia, Ad e l aide 19 Feb ru a r y to 12 Apr il 2004

Na t i o n al Gallery of Aus t r a l ia, Canberra 24 Apr il to 18 Jul y 2004

Na t i o n al Gallery of Vic t o r ia, Melbourne 13 August to 3 October 2004 EDUCATIONAL MATERIAL

LANDSCAPE IN CONTEXT – CHANGING VI E W S

What is a landscape?

A piece of inlan d scene r y? A picture of it? An attempt to organise, improve or order a piece of lan d by gardeni n g? A spa c e we inhabit? More than our backdrop?

In art, ‘land s c a pe’ usually means a work based on the arti s t ’ s observation and interpretation of a plac e, scene or view. This can take many forms and invol v e the use of a diverse range of media from pai nt i n g to print m a k i n g, drawi n g, ph o t o g r ap h y, film, and mul t i - m e d ia and more! A look at your local gallery collections and recent exhibitions will co n firm this vari e t y .

Co nt e m p o r a r y interpretations of nature in land s c a pe, include concepts which at times have moved away from mere ob s e r vation of the view. Some deal with political issues such as Ab o ri g i n al lan d rights or envi r o n m e ntal conservat i o n . Some explore dif f e r e nt visual perspectives, from aerial photograph y to microscopic close-ups. Some draw maps. Some em p l o y ‘on-site’ installation and/or perfor m a n ce .

We all inhabit the land s c a pe to some ext e nt, though maybe not the wild, pastoral or far dis t a n t one! We imagine it, an d dream of it as we sit in offic es, classrooms or the bus or train that takes us there.

The artists of mid to late eighteenth centu r y Engla n d used land s c a pe ex t en s ivel y as conte nt for their work. Th e y st u d ied the sevente e nth centu r y classicism of Italian and Fre nch pai nt i n g, which was considered to set a standard of exce l l en c e. Works by Claude Lorrain (1604/5-1682), Salvator Rosa (1615-1673)and Gaspard Dughet (called Gaspar d Poussin, 1615-1675) are exa m p l e s. Subjects were drawn from An c i e nt Greek and Latin literature or from the Bible , an d fol l o wed a restrained, noble style. Something imagined and idealised, this “elevated” style of land s c a pe pai nt i n g included elements of both ‘the Beautiful’ and ‘the Sublime’ (‘See catalogue: ‘John Glover and the Colonial Pi c t u r es q ue` pp. 25-8)

Br itish artists taking the ‘Grand Tour’ to the Conti n e nt saw such works in Italy and Fra n c e. Those unab le to travel th e m s e l v es saw exa m p l e s in the private collections of aristocrats or in fol ios of engr av i n gs of Old Master works, whi c h were being published in Engla n d at the time.

The late eighteenth and early nineteenth cent u ri es saw the emergen c e of a style known as ‘the Picturesq ue’. A pe c u li a r l y Engl ish obsession, ‘Picturesq ue’ means simply ‘suitable for’ or ‘lik e a picture’. This implie s the accep t a n c e of cer tain crit e r ia in judging what was suitable subject material, and how it was to be arranged in the picture. De f initions of the Picturesq ue became greatly elaborated by numerous ‘auth o ri t i e s’; philosophers, poets and other th e o r ists all eager part i c i pa n ts. The vogue for the ‘Picturesq ue’ reached its peak in the 1790s, just as Glover began his ar tistic career.

Wil l iam Gilpin, (‘Tours’, 1782), claimed that: ‘an artist cannot exa c t l y improve on nature, but he can use a lit t l e pr a c t i c e in the rul e s of picturesq ue composition’. Gilpin and his successors promoted the pleasures of the wild and of wi l d e r n e ss travel. His definitions of ‘a Picturesq ue scene r y’ included: ‘roughness of texture, singu la ri t y , var iety and ir r e g u la r ity: deep recess e s of shade on dis t a n t mou n tains and lak es (in the mid dle dis t a n c e) and a for e g r o u n d with br o k en ground, a rough road, or rocks with a fractured surface’. C entral to this eng ag e m ent with la nd s c ape was the concept of artistic tourism, es p e c i a l ly to the ru gg e d la nd s c ap es of Wa l es and the Eng lish Lake District, and an en h a n ce m ent of the role of private tutors or ‘draw i ng masters’. Both the gent ry and the ri s i ng mi ddle cla s s es eng aged artists to instruct their children, es p e c i a l ly their daughters at home; the ‘polite feminine accompli s h m ent of draw i ng’ soon repla c i ng the more tradi t i o na l n e e d l ework and other indoor pa s t i m es .

Because of its porta b i li t y , ease of handli n g on location, and suitability for smaller hangi n g spac e, watercolour became hu g e l y popular at this time. Watercolour artists soon formed the avan t-garde of pai nt i n g, producing inte r es t i n g, novel , an d advan c ed work, and givi n g rise to a ‘golden age’ of British land s c a pe pai nt i n g. Masters of the medium included the pai n ters J.M . W . Tur n e r , Thomas Girtin, John Sell Cotman and Richard Par k es Bonington amon g many others. Se veral watercolour societies were formed, the first being the Society of Pai n ters in Water Colours. Glover was a fou n dation member (and later Presi d e nt), and his early success in London coincides with that of the Society.

Though land s c a pe pai nt i n g (in both oil and watercolour), conti n ued to develop throughout the 19th centu r y, after ab o u t 1830 the great age of British watercolour had passed. In Europe, the Barbizon School realists of Fra n c e became pi votal to the rise of Fre nch land s c a pe pai nt i n g as a major for c e. Twentieth centu r y modernists and postmod e r n i s t s ha ve expa n ded the purely perceptual view of land s c a pe, to include exp r e ssionist and conceptual considerations. Co nt e m p o r a r y land s c a pe pai n ters conti n ue to push the bounda ri e s of this artistic convention. For many land s c ap i s t s such as John Glover , the challenge of pai nt i n g the land s c a pe of a plac e on the other side of the world proved as exc i t i n g and stimula t i n g as the resu l t i n g works are for the careful viewer today. JOHN GLOVER AND EUROPEAN LANDSCAPE I

“God bless me, I thought you would have posed over every tree ...... but it never trou b led you to go about, not when you was quite young, as ever I could see” (J ohn Glover , from his dia r y, 1803: par t of a remembered conversation with an old woman who knew him as a small child growi n g up)

“Whate’er Lorrain light-touched with softening hue, Or savage Rosa dashed, or learned Poussin drew ” (Ja m e s Thompson, ‘The Castle of Indo l en c e’, 1748)

John Glover ’ s early relationship with land s c a pe commenc ed in and around Houghton-On-The-Hill, Leicest e r s h i r e , where he was born, and at nearby App l e b y, where he had his first employm e nt, as a writ i n g master at the local grammar school. His art was enc o u r a ged by his employers and he soon est a b lished an initial circle of arti s t i c pat r o n age, securin g several commissions for ‘house portraits’ as well as extra income as a private drawi n g tuto r .

Gl o ver travelled up to London to see exhibitions. He began to fami li a ri ze himself with the land s c ap e s of Clau d e Lorrain, Salvator Rosa and Gaspard Poussin, artists whom he greatly admired all his lif e .

At this time art education favoured the practice of making pai n s t a k i ng l y accurate copies of celebrated sevente e nth centu r y Italian and Fre nch classical works. In order to learn about ‘specific forms, stylistic manners and ex ce l l en c i es ’ , ma n y artists travelled to Europe to work dir e c t l y from these. In Eng la nd, some artists even gained access to clas s i c a l pi c t u r e s hangi n g in the great countr y mansions of the aristocratic elit e .

Ea r l ier in the eighteenth centu r y, Richard Wilson (cat. no. 4) was amon gst the fir s t wave of British artists to visit Rome. Called the ‘Engl ish Claude’, his work was greatly ad m ired by Glover who was later to own one of his pai nt i n gs. (Glover also owned two pai nt i n gs by Clau d e ) .

cat. no. 4 Activities and Discussion Points: cat. no. 1: Lo o k at this pai nt i n g. Wr it e some words to desc r ibe it. Is it from prese nt day lif e ? Co n s i d e r what is taken from reality and what is from the arti s t ’ s imagi n ation? Is there a nar r a t i ve (story) here? cat. no. 1 cat. no. 2: Im a gi n e you are in this land s c ap e . Can any sounds be heard? Se l e c t an d play music that you think des c ri b es the mood of this wor k . cat. nos. 34 & 71: cat. no. 2 Co m p ar e with John Glover ’ s copies of 1815 and 1833. Ma k e an image of your own in the ‘classical manner’ that in c l u d e s collaged material taken from photocopies of pi c t u r e s of castles, brid g e s, monu m e nts etc.

cat. nos. 34 (left) & 71 cat. nos . 1 & 3: Lo o k for views in your envi r o n m e nt which are framed or have a side-screen effect such as a tree, bui l di n g or fen ce . Ma k e ske t c h e s or take photographs exp l o ri n g these devi c es. Re a d Wil l iam Wor d s wo rt h ’s Romantic poem: “On the Island at Gras m e re ”

On the Island at Gras m e r e cat. no. 1 Rude is this edifice... yet to these walls The heifer comes in the snow-storm, and here The new-dropped lamb fin ds shelter from the wind. An d hither does one poet sometimes row His pinnace.... and beneath this roo f He makes his summer couch, and here at noon Sp r eads out his limbs, while, yet unshorn, the sheep Pan t i n g beneath the burthen of their wool cat. no. 3 Lie rou n d him, even as if they were a par t Of his own household: nor, while from his bed He through that door-place looks towards the lake An d to the stirring breezes, does he want Cr eations lovely as the work of sleep, Fair sights, and visions of romantic joy.

Consider and discuss a) the ‘manners’ of exp r e ssion in the work, and how in lang u a ge, as all else, fashions and styles change . b) Make a picture based on the poem’s ‘word pictures’ . JOHN GLOVER AND EUROPEAN LANDSCAPE II

“...in looking at Nature’ s works he seems to penetrate into futurity. He really looks throu g h Na t u r e up to Nature’ s God...” (G . T. W .B. Boyes, letter 20/4/1831)

As a ver y you n g child, John Glover made sket c h e s of birds, plan ts and trees and eage r l y copied drawi n gs and print s . His early effor ts seem to have been enc o u r a ged. He was brie f l y a pupil of John ‘Warwick’ Smith, ( a highly regarded wat e r c o l o u r ist of the time) and of Wil l iam Payne, a fashionab le London drawi n g master.

From Payne, Glover learned new effects of pai n t app l ication such as ‘split t i n g’ and ‘draggi n g’ the brush. (He su b s e qu e ntl y added many mannerisms of his own invention). He also exp e ri m e nted in the medium of print m a k i n g an d pai n ted several portr a i t s .

Gl o ver became a popular and successful drawi n g teacher, leavi n g his teaching position at App l e b y in 1792, to set up in pr ivate practice as an artist and drawi n g master in his own right. Realis i n g that further success could be achieved by livi n g and wor k i n g in London, Glover moved there in 1805.

Ac t i vi t i e s and Discussion Poi n ts : cat. no. 9: Ex a m in e this study of an elderly wom a n . Wh a t was the arti s t ’ s inte ntion? Has Glover desc r ibed more than her app e a r a n c e? How has he done this? Co m p ar e with 20th centu r y ‘social realist’ art (e.g. George Grosz in Germany in the 1920s, Josl Bergner and Noel Counihan in Melbourne in the 1940s). cat. no. 9 cat. no. 10: Ex p l o r e the qua li t i e s of a range of drawi n g pencils (e.g.2H, 4H, B, 2B, 4B, 6B). How ma n y dif f e r e nt kinds of marks can you make? Se a r c h for a patch of weeds or wild plan ts growi n g in your neighbourhood (there mig h t be some in your garden or in the street). Ex a m in e them using a simple handc u t viewfi n der or hand magn i f ier for a closer look. Ma k e se veral pencil studie s of this vegetation in your sket c h b o o k . cat. no. 10 cat. no. 11: Co l l e c t some broad-leafed plan ts (e.g. docks, rocket lettuce or kale). Ex p e r im e nt with Indian Ink, softhair brus h e s and water wa s h es . Ma k e a study of your plant s . cat. no. 17: cat. no. 11 Ex p e r im e nt with brus h e s and blots of ink on wet pape r . Or ga n i s e this method to suit a subject of your choice, e.g. a qui c k l y wor k ed dir e c t pai nt i n g of your pet fluffy cat, rabbit or guinea pig. Co m p ar e with ink drawi n gs by other artists such as Donald Frie nd, Lloyd Rees, Davi d Ho c k n e y, Rembrandt .

cat. no. 17 cat. nos. 19 & 20: Pai nt i n g the elements of sky (clouds) and sea (waves) in motion requi r e s great practice. Th e se beautiful studie s of the sea, (an unusual subject for Glover), were pai n ted dir e c t l y from his observation of the sea at Scarborough on the Yorkshire coast. Ob s e r ve clouds on a windy day. Ma k e some quick studie s in charcoal, conté or other chalks on pastel paper or simil ar coarse- te xtured pape r . Re p e a t but with thin pai n t, watercolour or ink and wash on strong white pape r . Co m p ar e with cloud studie s by other artists (e.g. Constable, Tur n e r , Wil l iam Robinson). cat. no. 19 Ch o o s e what you consider the best one and frame it with a cardboard window - mo u nt .

cat. no. 20 JOHN GLOVER AND EUROPEAN LANDSCAPE III

“...the magic of his effects, the truth and beauty that prevailed in his works, excited the gen e ra l ea gerness to become possessed of his draw i ng s ...... ” (A c ke r m a n n ’ s Repository Vol IX, 1813)

Th r o u g h o u t his lifetime Glover is known to have completed over 100 sketchbooks. He regarded these as the mos t im p o rt a n t referenc e for his pai nt i n g, kee p i n g them all, even up until the time of his death in Van Diemen's Land in 1849. Many sket c h e s represe nt prelimi na r y studie s for foli a ge, fig u r e s and animals in his oils and watercolours, cows be i n g a part i c u l ar specialty. Apar t from their usefulness as props for ‘Picturesq ue’ composition, such details point to the greater nat u r a l ism which became fashionab le as the nineteenth centu r y progress e d .

Activities and Discussion Points:

Co n s t r uc t your own sketchbook. Make it porta b le and user frie ndl y. (Glover ’ s would fit into his coat pocket ) . Per h a ps the simplest method would be to staple sheets of good qua l ity white drawi n g paper betwee n two pieces of ca r d .

John Glover freque ntl y included goats, cattle, donkeys, fowls, asses, birds and foals in his wor k . cat. no. 36: Although this work is heroic in scale, it contains elements of tender inti m a c y . A cu ri o u s l y conte m p o r a ry - l o o k i n g infor m a l ity appears to the right of the pyr a mi d a l ‘p i c t u r es q ue’ grouping of cattle and the scienti fi c a l l y detailed-looking plant s . Di s c u s s , ma k i n g observations of both elements of conte nt and of form which may su p p o r t this view. Is o l at e the figure lyi n g on the ground, playi n g with his dog (use your viewfi nd e r ) cat. no. 36 consider lig h t i n g effects, colour and scale. Do Cl audean prin c i p l e s play a par t in this wor k ? cat. no. 14: Co m p ar e with cat. no.36. De si g n , construct and pai n t lif e - s i z e cut- o u ts of cows from composition board or ca r d b o a r d . In s t a l l in a location of your choice. Ph o t o g r a ph , sketch or use as props for drama, music, writ i n g or just for fun. Lo o k at the work of other artists who have used animals as their subjects e.g. Henr i Rousseau, John Kel l y, Jenn y Watson, Brett Wh i t e l e y, Rosslyn d Piggott, Peter Booth, cat. no. 14 Re w Hanks and Daniel Moyn i h a n . Cr e a t e a fantasy creature based on exp e ri m e nts with the Surrealist game Exqui s i t e Corpse (This could be a collab o r a t i ve group activi t y ) . Im a gi n e ske t c h i n g a bull on location! Read Glover ’ s account from Sketchbook 59, Catalogue notes p166. JOHN GLOVER AND EUROPEAN LANDSCAPE IV

“Like the industrious Bee, he (Glover) has wande r ed over the fields of Ar t and enri c h e d himself with her trea s u re s ” (from an unidentified contemporary press cutting)

As well as capt u ri n g the Picturesq ue rural land s c a pe, Glover was skilful at rende ri n g architectural form. His sketchbooks show image s of York, Chest e r , Newcastle and Durham as well as var ious ruined castles and abbe ys. Later, in Van Diemen’ s Land, he made several house portraits of the recentl y built colonial homes of rural settlers.

In his depiction of the great metropolis of London, he tended to favour the greene r fri ng e s (‘Greenwich’ (cat. no. 37), Hampstead and Harrow), however his ‘Thames near cat. no. 37 St. Pau l ’ s Cathedral’ (cat. no. 28), shows him wor k i n g at Londo n ’ s centr e .

In accordance with the fashionab le British Romantic enthusiasm for Greek culture and ‘e xotic’ plac es, Glover pai n ted ‘Vie w of Mount Olympus and Town of Brusa’, 1813 (c a t . no. 33). Glover was alert to the needs of the market, and though havi n g gained wel l fina n c i a l l y from the sale of his land s c a pe watercolours, he diver s i f ied into oils in the 1810s. At times he employed Biblical and Classical subjects for these works. He cat. no. 28 exhibited at the 1814 Par is Salon, and was awarded a Gold Medal by Louis XVIII for ‘P ays a ge Composé, Berge r e s en Repos’. Durin g his Italian Tour of 1818, Glover sk etched ext en s i vel y at Tivol i, in the hills outside Rome, returning to this subject aga i n an d again. Glover ’ s solo exhibitions, (the first in 1820), also recei ved critical acclai m ; ‘T ivol i’, 1820 (cat. no. 42) at t r a c t i n g part i c u l ar praise.. cat. no. 33

Th r o u g h o u t the 1820s, Glover remained a consistent and promin e nt presen c e in the Br itish art scene. He did not slow down, journeyi n g to Scotlan d in 1825, the Isle of Wight in 1826, and Irelan d in 1827, enth u s i a s t i c a l l y engag i n g with further aspects of the land s c a pe of the British Isles. cat. no. 42 Activities and Discussion Points: cat. nos. 16, 38 & 45: Se a r c h for a really old bui l di n g in your dis t ri c t . Sk et c h details in your visual dia r y (or sketchbook) – include shape s of windo ws, doors, mou l di n gs etc. Ma k e rubb i n gs of var ious surfaces of the bu i l di ng. Co m p o s e an imagi na r y castle or fantasy structure by using the cut- o u t rubb i n gs and dr aw i n gs and plac e it in a ‘Glover- li k e’ setting (e.g. cat. no. 45) Lo o k at the work of Hieronym ous Bosch, Giorgio de Chirico, Paul Delvaux, Edwar d cat. no. 16 Ho p p e r , Jef f r e y Smart and Leon Kossoff for other exa m p l e s based on the ‘bui l t envi r o n m e nt’ . Co n s i d e r ho w tourism promot e s ‘plac es to see’ using the natural local scene r y in ‘perfect picturesq ue post cards’. Di s c u s s co n c epts of for m a t t i n g and edit i n g to make a more ‘pleasing’ view. De si g n an d make a postcard to send to a frie nd. (N.B. postage - s i z e lim itations may cat. no. 38 app l y in some regions of Aus t r a li a ) . Co n s i d e r ho w our use of the word ‘picturesq ue’ signals our pleasure in recognising how cl o s e l y the reality of a plac e can app r o ximate to the ‘ideal’. Us e your viewfi n der to isolate and frame sections of a view. Hold it at arms length in your non-drawi n g hand to do this. Choose the best views to draw and sket c h . Co n s i d e r the work of Malcolm Morley, (hand- pa i n ted Photo Realist wor k s app r o p ri a t i n g post-card ‘heroics’), and David Hockney (in part i c u l ar his photo mont ag e s and recent pai nt i n g: ‘A Bigger Grand Canyon ’ ) cat. no. 45 JOHN GLOVER AND EUROPEAN LANDSCAPE V

“He is a sturdy untidy, thick-build man with two club feet. His countenance a good, but almost heavenly aspect.... A regular sober man, he enjoys excellent health and spirits....” (Pe r e g r ine Massingberd, dia r y 1832-3)

John Glover was an even-tempered, gregarious, ene r getic, adventurous and enthusiastic man. He made his fir s t jo u r n e y to the Engl ish Lake District in 1793. (This plac e remains a favou r ite dest i n ation of tourists from all over the wor l d ) .

One conte m p o r a r y writer observed: there is a Rage for the Lakes, we travel to them, row upon them, we write about them... Tour guides were plentiful and desc r iptions of var ious excursions were published as books. Glover made at least nine tours betwee n 1793 and 1824 and at one stage owned Blawick farm near Ullswat e r . The ver y first work he had accepted by the Royal Ac a d e m y was a view of Rydal Wat e r , and of the many works he exhibited with the Society of Pai n ters in Water Colours, a third were of Lake District subjects. Tou r ists sought to locate plac es desc r ibed in works by poets, romantic novel ists and pai n ters of the time which would accord with the ‘beautiful’, ‘sublim e ’ , ‘p i c t u r es q ue’ and ‘romanti c ’

The tourin g artist often carried special items designed to assist in `aesthetic response’. The ‘Claude Glass’, a convex, optical, mir r o r- li k e devi c e, was used to reduce the land s c a pe to mo di fied, manage a b le proportions. ‘Ordered visual app e a r a n c e’ was emphasised by adherents of the ‘Picturesq ue’. Glover also used the camera lucida, which was int e nded to aid an accurate transcription of what was seen, rather than an ‘artistic’ dis t o rt i o n .

Activities and Discussion Points:

Co n s i d e r the nature of portraiture and self-portr a i t u r e . Co m p ar e co n venti o n al app r o a c h e s to portraiture with some more recent exa m p l e s e.g. Picasso, Chuck Close, Robert Ma pplethorpe, Frida Kahlo, Mike Par r , Otto Dix, Lucian Freud, Wil l iam Dobell, Brett Wh i t e l e y, Avigdor A ri k a . Di s c u s s the artists inte ntions in these works: the ‘Why’ as well as the ‘How’ of the wor k . cat. nos. 5 & 59: What do these self portraits tell us about John Glover ? Do you think he had any specific inte ntions other than showi n g his lik enes s ? (s e l f - a d vert i s e m e nt? ) Ex a m ine the role of pat r o n age in relationship to portr a i t u r e . Co n s i d e r : a) historical conte xt – dress, exp r e ssion or attitude. b) formal elements – style, composition. Cr e a t e a Self Por trait – Will you choose a conventi o n al approach (from a mirror or photograph s ) or something more abstract, conceptual or exp r e ssionist, that uses a material or technology suited to your inte nti o n ? cat. no. 5 (Pe r h a ps you won ’ t include any represe ntation of your physical app e a r a n c e at all, and instead focus on your ‘unseen’ self). Ma k e a portrait of one of your heroes. You might include ‘the real’ as well as constructed or illusionistic treatment (e.g. text, sound, other dim en s i o n s ) . Ex p e r ie nc e dif f e r e nt effects and ideas for depicting ‘self’ e.g. try dif f e r e nt illusions such as st a n din g side-on to a lar ge wall mirror while holdin g a hand- mi r r o r . Look in this mirror to locate your reflection in the lar ger mir r o r . Wh a t hap p e ns in your reflected reflection? Sketch this and other ideas for an art wor k .

Re se a r c h Richard Estes, Francis Bacon, R.B.Kitaj, Gerhard Richter and other artists who use cat. no. 59 dis t o r tion and other illusionistic app r o a c h e s in pai nt i n g. Re c o r d vi e ws glimpsed as you walk, skateboard, cycle, drive or run along your street (sketch, video or photograph ) . Re p e a t this journey recordin g the sounds of the street (video or tape - r e c o r d e r ) . Combine these observations of plac e into a finished work (installation, film sequen c e etc.) Re f e r to conte m p o r a r y art films such as Tra c ey Moffatt’s Night Crie s and Nicholas Roeg’s Wal k a b o u t cat nos. 85 & 89: Although he did often refer to his sketchbooks, Glover had an amazing ability to m e mo rise detailed scene s and plac es. He completed works from memor y with su r p ri s i n g accuracy (even of plac es that he had not seen for many yea r s ) . Lo o k ou t of your windo w – try to observe every t h i n g in the view. Cl o s e the blin d or curtains, or just turn indoors, and without looking back, try to wor k up several sket c h e s from memor y. cat. no. 85 De vi s e a way to combine these in a wor k . Or ga n i s e a group of your frie nds to go on a sket c h i n g tour. (It need not be out in the countr yside, a city park, public garden or rese r ve would be id e a l ) . Di s c u s s what you will need to take and what you inte nd to do. Re f e r to works by artists who use a var iety of means to record a ‘sense of plac e’, e.g cat. no. 89 Tom Roberts, John Wol s e l e y, Wil l iam Robinson, Tim Storrie r , John Olsen, Fre d Wil l iams, Sidney Nolan and Russell Drysdale, Donald Frie nd, Brett Wh i t e l e y and other ar tists who wor k ed together sket c h i n g and pai nt i n g in the Aus t r a l ian countr y towns of Hill End and Sofala. JOHN GLOVER AND AUSTRALIAN LANDSCAPE I

“...the expectation of find i n g a new and Beautiful World – new lands c a pes, new trees, new flowers, new Animals, Birds &c &c is delightful to me...” (J ohn Glover in a letter to Sir Thomas Phillips 15/1/1830)

John Glover migrated to Van Diemen’ s Land in 1830 – 31. Ma ybe he missed his sons, (Wil l iam, Jam e s and Henr y had been there for 3 years already), maybe he succumbed to the temptation of exp l o ri n g the world before he became too old, or maybe it was the lure of the free lan d grants then be i n g offered to emig r a n ts Many reasons have been proposed by his biographers for his leavi n g, and it is bafflin g given his success, popular ity and economic security in Engla n d. However one thing is cer tain: Glover had immense drive an d an irrepress i b le curiosity and sense of adventure. It appears that he was ready for a challenge!

Ac t i n g qui c k l y to settle his affairs, Glover sold his London house, put his art collection (Old Masters as well as his own works) up for sale, and he, his wife Sarah, and son John Richardson Glover , set sail on the ‘Thomas Laurie’ from Gr a vese nd on Sept. 1, 1830.

After five mon ths on board ship, the Glovers arrived in the Tamar River , Launceston, on Feb ru a r y 18, 1831 (Joh n Gl o ver ’ s 64th birth d a y). He had been unab le to do much work durin g the journey due to his wife’s sea-sickness and his own bad reaction to the debilit a t i n g heat. He did however make several beautiful studie s, and completed sket c h es , an d a unique oil pai nt i n g: The Islan d of Madeira, 1831/39 (c a t . n o . 6 0 ) . Ea ger to record his new surroundin gs, he immedia t e l y returned to his habit of topographical sket c h i n g. From their ac u te observat i o n al accuracy, these drawi n gs reveal something of his ene rg y , enthusiasm and immediate fascinat i o n for his new envi r o n m e nt.

Activites and Discussion Points:

Im a gi n e what it would be lik e to travel on board ship for five mon ths without setting foot on lan d! Exciting? Scary? Bo ri n g? Am a z i ng ? Wh a t might you see as you sailed along? cat. no. 60: John Glover started pai nt i n g this work six weeks after leavi n g Engla n d, as the Islan d of Madeira came into view from the ‘Thomas Laurie’. (He did not finish it then, but yea r s later in Van Diemen’ s Land (1839). Ma k e an imagi na r y ‘sea creature’ out of ‘fou n d’ or ‘junk’ materials. Work in 3 dim en s i o n s . Gl o ver ’ s son, John Richardson Glover desc ri b e s sea-life in a letter to his sister back ‘home’ in Eng la nd: The Dolphin is a long fish, something lik e a broad thick eel of a cat. no. 60 br ight yel l o w and green colour, and play in numbers around the vessel, conto rt i n g their bo di e s in wavy serpentine forms, with the two vary i n g colours making them the mos t int e r es t i n g spectacle inhabiting the ocea n . cat. no. 61: Another islan d! This view was completed from sket c h e s made while the ship was de l ayed by bad wea t h e r , tanta li s i ng l y close to their dest i na t i o n . Consider and dis c u s s : ‘islan ds’ as a subject for art and poetry. Wh y are they so often used in imagi na t i ve or romantic wor k s ? St u d y Arnold Böcklin ’ s famous Symbolist pai nt i n g: Isle of the Dead. Wh a t would you lik e to have with you if marooned by yourself on an island ? cat. no. 61 Ma k e a pai nt i n g which shows you, an islan d, and what you would choose to take with you. cat. no. 63: Id e nti f y some characteristic elements of ‘the Picturesq ue’ that Glover has used in his co m p o s i t i o n . Wh a t aspects of conte nt show that Glover has ‘tuned’ his art to the new envi r o n m e nt? cat. no. 66: Ma k e a quick sketch of 2 birds havi n g a conversation – are they talking about the cat. no. 63 weather?! Use speech bub ble s with text or invent another way to show the ‘conver s a t i o n ’ . Im a gine yourself as a bird flyi n g high over the lan d or sea. Dr a w or pai n t what you can see – a ‘bird’s eye view’ ! Cr e a t e a drawi n g of yourself with a bird’s head on your human body. This could be ad a pted to make a mask. Ex p l o r e the dif f e r e nt ways birds are represe nted in a var iety of cultures such as Ab o ri g i n al, Egyptian and Chinese . Gl o ver always had a special inte r e st in birds and pai n ted a number of bird pictures. It is kn o wn that in Tasmania, he kept rosellas, wattle birds and a rainbow lorik eet. Sadly, it is cat. no. 66 thought that this (cat. no. 66) is the only one of his ‘bird pictures’ to survi ve. JOHN GLOVER AND AUSTRALIAN LANDSCAPE II

“T h e r e is a trilling and graceful play in the lands c a pe of this country which is more difficult to do justice to than the lands c a pe of Engl a nd ” (J ohn Glover , hand writ t e n note on ‘Vie w of Mills Plains’; Van Diemen’ s Land, Ar t Ga l l e r y of South Aus t r a li a )

The Glovers returned to the ship after three weeks in Launceston, arrivi n g at Hobart Town on Apr il 1st, 1831. Th e y moved into Stanwell House (upper Melville St., West Hobart), six days lat e r . At both ports, Glover had ke en ly observed his new surroundin gs, qui c k l y completing hundreds of sket c h e s, (over 300 in Hobart Town), as he explored the country s i d e .

After purchasing two farms, (at Tea Tree and Bagdad in Tas m a n i a ’ s south), Glover success f u l l y app l ied for a lan d gr a n t. This property , at Mills Plains near Ben Lomon d, became his prin c i p al home for the next sevente e n years unti l the time of his death; his growi n g affection for the plac e being evi d en c ed in his pai nt i n gs and in letters to frie nds and fa mi l y ‘at home’ in Engla n d. To his daughter Emma Lord he wrote: I think we shall live prin c i pa l l y here, it also suits me because ver y rich and Picturesq ue... I lik e the countr y much.

The Glovers set off for Mills Plains on 12th March 1832, arrivi n g eleven days lat e r , after what must have been an arduous 145 kms. by bullock cart. Glover ’ s son John jr reported that they were: not incommoded by rain, bus h r a n gers, snak es or any other ver mi n .

Though ver y busy est a b lis h i n g house and garden and supervi s i n g his sons, his ‘free man’ servan t and his assigned co n victs, Glover kept sket c h i n g and pai nt i n g. He wor k ed from a tent, as he had in the old days of his British ‘tours’. Gl o ver named his house ‘Pat t e r d a l e ’ ’, after a famil iar plac e in the Engl ish Lake Distric t .

By 1834, he sent 68 new pictures to London to be shown at New Bond Street. Revi e wers desc r ibed the land s c a pe as: be a u tiful and picturesqu e . . . . m ag n i fi c ent and sublim e . . . . d e l ightful and noble, and noted: the works are highly curio u s an d val u a b le as conveyi n g a ver y vivid idea of the scene r y of a colony which is rapi d l y ris i n g in wealth and i m p o rt a n ce .

Ac t iv i t i e s and Discussion Poi nt s : The Glovers rented Stanwell Hall, Hobart Town, for the first nine mon ths of their life in Van Diemen’ s Land. In des c ri b i n g it John Glover said: situated at the further end of the town, on a steep hill, and over l o o k i n g the whole town , harbour and surroundin g hills, a romantic, pleasing view. cat. no. 64: By the use of several viewp o i n ts, Glover has manipulated the scene to include mor e in formation for potential viewers e.g all the streets, the ‘importa n t’ colonial bui l di ng s , as well as the flouris h i n g for e g r o u n d garden and the house, appear in a somewha t fla t t e ned pan o r a m ic vista.

Co n s i d e r : what were Glover ’ s main inte ntions in pai nt i n g this scene? Is it mere cat. no. 64 ob s e r vat i o n ? Di s c u s s the ‘devi c es’ Glover uses in this work. How does it make you feel? Co m p ar e with a current photograph of the city of Hobart. cat. no. 74: Dr a w or pai n t a house with a gorgeous flower and vegie garden and a dis t a n t view (from your imagi n ation or from observat i o n ) .

cat. no. 74 cat. no. 69: This is one of the first pai nt i n gs of Glover ’ s Nile River property , `Patterdale`, at Mills Pla i n s . St u d y the conte nt of this work. What can you see? De sc r ib e an y characteristic Aus t r a l ian flora you may recognise. Ma k e a prin t from leaves, grasses or other nat i ve veg e t a t i o n . cat. no. 69 In vest i g a t e natural surfaces (tree bark, stones etc.) by taking rubb i n gs. Combine them in to a collage . Co n s i d e r ho w this work shows that Glover has adapted his pai nt i n g style to embrace the new realit i e s of the Aus t r a l ian land s c a pe, movi n g away from the ordered Picturesqu e an d from the Romanticism of his early Engl ish wor k s . Ron Radford (Art Gallery of South Aus t r a l ia) has recentl y desc r ibed this pai nt i n g as: pe r h a ps the first triu m p h a nt l y Aus t r a l ian land s c a pe pai nt i n g and one of the great works of Aus t r a l ian A rt . cat. no. 75: Id e nti f y the tasks of the harvest . Co m p ar e the change s in prese nt day harvest i n g methods. Co n s i d e r dev i c es used by Glover to charge the scene with Romantic feelin g (lig h t , sh a d o ws, movem e nt) . Can we identify the artist`s feelin gs about this scene ? Co n s i d e r other pai nt i n gs which ‘elevate’ and ‘dignify’ the concept of lab o u r . cat. no. 75 e. g . The Gleaners, by Jean Francois Millet, The Stonebreakers by Gustave Courbet, Th r es h i n g, Coolmore, Tasmania by Tom Roberts as well as works by Vin c ent Van Gogh, Noel Counihan and Thomas Hart Bento n . cat. no. 80: This subject, transposed to a Tasmanian setting and enacted by Ab o ri g i n e s, tells us that Glover did not for get his ‘classical’ referenc es. The work also comments on the aq uatic skills of Pal awa wo m en . The dis t i n c t i ve rock can still be seen today. Ob s e r ve the rhythms that Glover has used in the work (e.g. the twisting, curvi n g trees, the curved shape s of rocks and hills, the for e g r o u n d upward movem e nt towards the left, cat. no. 80 an d the curvi n g, almost serpentine log). Co m p o s e a work that shows your interpretation of a rhyt h m ical piece of music of your choice. Re se a r c h ar tists works where rocks are the main subject matter e.g. Russell Drys d a l e ` s The Rabbiters,1947, Lloyd Rees Aus t r a l ian Façade,1965, and The Olgas .....Soon, by Brett Wh i t e l e y,1 9 7 0 . Co m p ar e some early pai nt i n gs of artists campsites/ s t u d ios e.g. John Skinner Prout`s Camping Spot,Tasmania, c1845 and Fre d e r ick Mc Cubbin`s For e st Camp,1 9 1 4 Or ga n i s e an d exp e ri en c e a camping trip for art`s sake. JOHN GLOVER AND THE TASMANIAN AB O R I G I N E S

“I wish to shew the Natives at a Corrob a r y , under the wild woods of the country – to give an idea of the manner they enjoyed themselves befor e being disturbed by the White Peo p l e . . . . ” (J ohn Glover , letter to G.A. Robinson, 1835)

John Glover ’ s inclusion of the Pal awa (the Tasmanian Ab o ri g i n al people) in his land s c ap e s, startled, intr igued and fa s c i n ated his audi en ce of the time. Subseque nt scholars of his work have given var ious theorie s as to his inte ntions in do i n g so, (e.g. symbolism, allegorie s of their impendin g doom etc.)

It is however , in kee p i n g with his former practice of ‘staffin g’ his works with the people, animals and things he ob s e r ved first hand. His inte r e st in the curious was par t and par c el of an historical attitude that saw in nature and wi l d e r n e ss something marvellous, and in ethnographic subjects, idealised notions of the ‘noble savage’. European museum collections willing l y accepted artefacts and specimens of Van Diemen’ s Land’ s indig e nous inhabitants .

Gl o ver arrived in Van Diemen’ s Land towards the end of the Black War of the late 1820s, whe n many colonists wer e ad voc a t i n g the complete “ext i r p ation” of the Ab o ri g i n e s. Glover , however , appears to have been eager to make conta c t with the Pal awa. From his own accounts, we can deduce that he was happ y to observe their positive reactions to his dr aw i n gs of them. He made effor ts to learn and transcribe the nam e s of those he met, and to interact dir e c t l y with them, never depicting them as a threat. Wh e n they appear in his pai nt i n gs it is as peaceful, happ y people: a catalogue note to one of his corroboree pictures noted: one seldom sees such gaiety in a Ball Room, as amon gst these unta u g h t Sa vage s. He included their dancing, sw i m mi ng, hunti n g and rest i n g in what some feel are his greatest pai nt i ng s .

Within a few years of Glover ’ s arrival in Van Diemen’ s Land, most of the last free Pal awa had been deported to Fli n ders Islan d. Wh e n Glover died in 1849, there were only about for ty Pal awa still alive.

Activities and Discussion Points: cat. no. 73: Ge o r ge Augustus Robinson, (the ‘Conciliator’), entered Hobart Town in triumph with the last of the ‘wild’ Oyster Bay and Big River trib e s in Janu a r y 1832. Some of them da n c ed and swam for Glover , provi di n g human subject matter for this great pai nt i n g. Gl o ver used a synth e sis of several of his ‘on the spot’ sket c h e s of Ab o ri g i n e s for this co m p o s i t i o n . cat. no. 73 In vestigate and compar e this view of Mt. We l li ngton, Hobart, Tasmania, with a ph o t o g r a ph taken from the Eastern Shore of the River Derwent. Co m p ar e with cat. no. 65 – it has been said that these two works are ‘companion pieces’ . Can you see why? Di s c u s s the composition. Does Glover plac e the viewer in this work? If so, whe r e ? Co n s i d e r the use of Symbolism – the work has been desc r ibed as an ‘elegy’ to the Tasmanian Ab o ri g i n al people as well as an affirmation of the ext e nt to which man can impose order on awesome scene r y and wild plac es. Per h a ps the work is also an assurance that the Colony offered the prospects and comfor ts of home. St u d y var ious dance forms and fashions. Ch o o s e your favou r ite to illustrate in a medium of your choice. Re f l e c t on the work of Jul ie Gough and Bea Maddock, (artists, who through their works have raised awa r en ess of is s u e s such as European invasion, reconcilat i o n , an d land ri g h t s ) . cat. no. 67 The group of Ab o ri g i n al people dancing around the campfire have been identi f ied, in part i c u l ar by their head-dress e s, grass skirts and shields, as being from New South Wal e s. Th e y were brought to Van Diemen’ s Land by Glover ’ s Ben Lomon d neighbour John Batman, and were kept as farm wor k ers and trackers for hunti n g local Ab o ri g i n es . Ob s e r ve Gl o ver ’ s characteristic lig h t i n g, (assisted by the campfire light), that he uses in this work. Make compar isons with his Engl ish wor k . cat. no. 67 Co n s i d e r the use of contrast as a dramatic tool in this and other Glover pai nt i ng s . Ex p l o r e some lig h t i n g effects by: a) sket c h i n g the qui c k l y changi n g light of late eveni n g skies with a coloured medium such as pastel and b) using a dir e c t i o n al side-light,(or back light), plac e a readin g lamp at first close to an object, (apple, ball), and then fu r ther away. Dr a w what you see, ex p l o ri ng the elements of light and tone. A conte m p o r a r y commentator observed of Glover ’ s Aus t r a l ian works whe n they were first shown in London: nothing could be more faithful than they were in represe ntation of the views; his trees in part i c u l ar were incompar a bl e . Eu c a l yptus ovata and E.rubida grew on Glover ’ s place . Re se a r c h the var ious species of Eucalypt known as the ‘Aus t r a l ian Gum Tree’, and identify the part i c u l ar ones ende m ic to your dis t ri c t . Ma k e some drawi n gs of gums and other Aus t r a l ian trees. See some exa m p l e s by Hans Heys e n, Al b e r t Namatjira, artists of the Heidelberg School, Fred Wil l iams, Wi l li a m Robinson and Lorraine Biggs . The ‘leaning tree’ has been widely used as a subject for art (e.g. Frag o n ard, Corot, Millais, Frie d ri c h ) . The one beneath which the Ab o ri g i n e s have their campfire, with its 45 degree lean, actually existed on Glover ’ s farm. It obvi o u s l y delighted him, as he made many sket c h e s of it. It is typical of the growth pattern of many eucalypts in Tasmania, that probably grew that way due to the island ’ s preva i li ng strong and gusty winds . cat. no. 76: Ob s e r ve the compar ison of active with still and of light against dark (tone). Fol l o w all the curvi n g lin e s with your eyes. Im a gi n e you ’ re a possum, that havi n g climbed a tree, is looking down on the Ab o ri g i n e s dancing. Dr a w a nat i ve animal in the bus h .

Pai n t a pool of wat e r . cat. no. 76 Re f l e c t on Glover ’ s use of water in his wor k s . cat. no. 78: It is thought that this is an imagined composition, rather than a record of an actual event, (as the name implies ) . Wh a t e ver the case, it seems to represe nt a last mom e nt of innocenc e before the in vas i o n . Ob s e r ve the increased simplif ication and exa ggeration of curvi n g tree trunks and br a n c h e s, which has its basis in real gums growi n g in Mills Plai n s . cat. no. 78 Di s c u s s ae sthetic purpose in relation to this. In c l u d e the ideas associated with Romantic and Picturesq ue Taste, which may be evi d e nt in this pai nt i n g. Co n s i d e r in n o vation as a tende ncy in Glover ’ s Tasmanian works (refer to the for e g r o u n d in part i c u la r ) . Co m p ar e with the mid dle and far dis t a n t view. In Aus t r a l ia we often see the view by looking through the trees. Co n tr a s t the dif f e r e nt fo li age dens i t i e s of Eucalypts and European deciduous trees. Re f l e c t on Conte m p o r a r y Ab o ri g i n al art practice by referrin g to works of Gordon Bennett, Tra c ey Moffatt, Karen Ca s e y, Banduk Marika, and Jud y Wat s o n . Consider and rese a r c h the works of Emil y Kame Kngwa r r e ye, Rover Thomas, Clif f ord Possum Tj a pal t j a r r i and other Ab o ri g i n al artists whose work records their tradit i o n al Dreamin gs. Discuss this signific a n t dim e nsion of our cultural he ri t a ge, esp e c i a l l y in referenc e to lan d and place . CO M P ARISONS WITH CONTEMPORARY TASMANIAN LANDSCAPE PAI N T E R S

Tas m a n i a ’ s natural beauty and seclusion has conti n ued to inspire its artists throughout the 20th and into the 21st centu r y. However although this islan d state has a conti nu i n g tradition of conventi o n al land s c a pe pai nt i n g, in recent years the concept of ‘land s c a pe’ has expa n ded to include many more conte m p o r a r y forms of exp r e ssion. This of course is consistent with art practice elsewhere. However it has been said that our island ’ s isolation, relat i vel y small po p u l ation and diver s e l y magn i fi c ent scene r y and remo t en ess, imbue s its creative work with ver y special and unique qua li t i e s of pla ce .

Wh e n John Glover arrived from Engla n d in 1832, he was immedia t e l y inspired to record this strange new envi r o n m e nt in Van Diemen’ s Land. More recentl y (in fact nearly 200 years on), some artists have other ideas on their min ds. Th e y search for ways to exp r e ss issues regardin g the ‘wild plac es’ and natural land s c ap e s, and part i c u la r l y the p e r ce ived threat and reality of their dest r uction. Many resi d e nt practitioners are kee n bush wal k ers (Raymo n d Ar n o l d an d Philip Wol f h ag e n for example), and have intimate knowledge of even exce p t i o na l l y remote areas of Tas m a n i a . Others, lik e David Ke e li ng, set image s app r o p r iated from historical art sources in ke en ly observed land s c a pe settings . Such works provide an indirect commenta r y on urbanisation (the enc r o a c h m e nt of the built envi r o n m e nt onto rur a l or bush lan d), and on the degradation of that lan d by loggi n g and clearin g.

Ph o t o g r ap h y, print m a k i n g and drawi n g has assumed a pivotal role in the prese ntation of conte m p o r a r y Tas m a n i a n land s c ap e s. Photograph y in part i c u l ar is a potent tool, cel e b r a t i n g ‘the wilderness’ in both macro and micro view. The growth of tourism and its accompany i n g hype has accommodated the many exa m p l e s of wilderness photograph y. A growth indu s t r y enc o m pa s s i n g many facets of advert i s i n g, this trend orig i na t e s in the 19th centu r y with ph o t o g r a phers such as Morton Al l p o r t and J.W . Beattie, but its most celebrated exp o n e nts are the two great co n s e r vat i o n i s t / p h o t o g r a phers, Olegas Truc h a n as and Peter Dombrovskis. In the 1960s and 1970s, Truc h a n as and Do m b r o vskis used photograph y to show the unique plac es that were threatened by the Hydro Electric dam projects.

Si mi l ar issues conti n ue to be of concern today. Tasmanian artists Peter Stephenson (pai n ter) and David Stephens o n (p h o t o g r a pher), both deal with the contr o versial issue of woo d - c h i p p i n g Tas m a n i a ’ s for e sts. Peter Stephens o n ’ s Woodchip Fai r y, 1988 (gouache on paper), shows an armless human torso centr a l l y plac ed in a denuded and deso la t e land s c a pe; the one remaining tree- fragm e nt a lone and desperate symbol. He includes confused and rapi d ly - e xec ut e d te xt, that with its pai nt e r l y flurrie s may allude to flyi n g woo d - c h i p s .

Da vid Kee li ng ’ s Fro n tier Fou n dation 1994, (oil on canvas), comments gentl y, if persistentl y, on urban enc r o a c h m e nt on to the lan d. The figure of a you n g woman who tenta t i vel y perches on a part i a l ly - b uilt red brick fou n dation, is app r o p r iated from Hope, a pai nt i n g by Pierre Puvis de Chavan n e s, (1824-98), and is quite fronta l l y positioned. A fl imsy woo d e n house frame is located behind her in a val l e y over which towers a vast hill of dense Aus t r a l ian bus h .

While both Stephenson and Ke e li ng nudge at concepts of conservation and lan d degradation, David Stephens o n ’ s ph o t o g r a ph, Lake King Wil l iam on the River Derwent Hydro Electric Devel o p m e nt, Tasmania, 1982, dir e c t l y co nf r o n ts its viewers. Degradation caused by indu s t r ial waste pollution is a subject that once would have been considered inapp r o p r iate for art. The work measures 37.5 x 136.5 cms and is in 3 panels – a slim pan o r a m ic view, co nf r o nt i n g in its realit y . Ph i l ip Wol f h ag en ’ s Van i s h i n g Poi n t IV, 1995 (oil and wax on lin e n), brin gs us back to the natural beauty of Tas m a n i a n mou n tain plateau regions; in this case the Great Western Tiers. The viewer is entr a n c ed by a gentle palette of cool misty colour, yet heavi l y viscous in it app l ication: beauty and terror, with perhaps some vest i g e s of the ‘Sublime’ and the ‘Romantic’ implie d . Van i s h i n g Poi n t IV and Wol f h ag en ’ s recent work on Deal Island ’ s rocky archipelago, bear test a m e nt to the many days he spends observi n g and recordin g in sket c h e s and pai n ted studie s out-of-doors. Both works show the broodin g monu m e nta l ity and ‘sense of plac e’ of these locations.

Bea Maddock, one of Tas m a n i a ’ s most celebrated artists, is an insistent voi c e in raising our awa r en ess of colonialis m an d its inherit a n ce . In Tro u we r n e r ... The white ships came from the West and the Sea of Darkness, 1992-3, (encaustic with pigment, was h an d cord), we fin d ourselves looking at the dis t a n t shore from the deck of a sailin g ship. The 4 panel, 8 metre long wor k sh o ws a pan o r a m ic view of the Southern Tasmanian coastline, here and there dotted with faint plumes of camp-fir e s mo ke at Ab o ri g i n al tribal sites. White cords over l aid across the panels represe nt both the navi g a t i o n al co-ordina t e s an d the rigg i n g that cuts across the view from aboard. Five hundred and twenty six selected plac e nam e s from pre- se t t l e m e nt tribal areas of Tasmania, form borders of text at top and bottom of the work and are an attempt to dis p e l the notion of Terra Nullius. ‘The Sea of Darkness’ was an ancient name for the stretch of wat e r , i.e. Southern Ocea n , tr a versed by the many ships that rounded the Southern Cape of Tasmania, from 1642 until settlement on the Derwent Ri ver in 1803.

Though not always through land s c a pe, other signific a n t Tasmanian artists to comment on the plight of Tas m a n i a ’ s first inhabitants include Jul ie Gough and Karen Casey.

Please note: All named works are held in the collection of the Tasmanian Museum and Ar t Gallery. It is sugge sted that st u d e nts and teachers construct a compar a b le project relat i ve to their own state or regional collections.

Activities and Discussion Points: Co m p ar e land s c ap e s by John Glover that include indig e nous people, with the exp r e ssions by conte m p o r a r y Tasmanian Ab o ri g i n al artists of their culture and associated issues. Co n s i d e r ph o t o g r a phic represe ntations of Tasmanian land s c a pe – include the inf l u en ce of media cover a ge and exposure of political issues such as lan d rights and reconciliation in your dis c u s s i o n . Re f l e c t on ‘exp e ri en c e of plac e’ and its par t in land s c a pe pai nt i n g. (John Glover activel y explored his new Van Di e m en ’ s Land envi r o n m e nt, even clim b i n g Ben Lomon d with John Batman). Ar tists Wol f h ag e n and Arnold wal k an d camp at remote plac es, exp e ri en c i n g their atmosphere, spirit and realit y . Co m p ar e the above with the practice of wor k i n g from photographs unde rt a k en by some conte m p o r a r y land s c ap i s t s . R e f l e c t on Glove r ’s ‘Pictures que combination of ex ce l l en c i es’ where classical va l u es were favoured in la nd s c ap e pa i nt i ng. Was the viewer ‘dis t a n c ed’ from the realit y ? Is this still the case in conte m p o r a r y exa m p l es ? St u d y John Glover ’ s materials and technique s. In Van Diemen’ s Land he adapted his materials and invente d te c h n i qu e s to his best advant a ge (cat. p. 242) Co m p ar e with conte m p o r a r y technique s, materials and methods. Co n s i d e r avai la b i l ity and range of materials then and now, modernist innovations etc. cat. nos. 106, 108, 112 & 113: St u d y the technique of etching with referenc e to these exa m p l es . Co m p ar e with Ray mo nd Ar n o l d ’ s Hard Ground – Soft Ground, Fra n k l in River Watershed II, 1993, (softground etching) . Lo o k esp e c i a l l y at the dif f e r e nt ways of handli n g the drawi n g technique s for etching in both artists works. Ma k e a dryp o i n t etching. Ma n y people nowad a ys ‘exp e ri en c e the land s c a pe from a position of phys i c a l im mo b i l ity’ (television, books, computers, cinema, maga z i n es ) cat. no. 106 Co n s i d e r this concept of ‘immob i l isation’ in relation to the role of the land s c a pe pai nt e r an d also the function of art gallery exhibitions in this scena ri o . St u d y some watercolour techniqu es . Us e watercolour to pai n t a Tasmanian view. Co n s i d e r the immense popular ity of Engl ish watercolours in Glover ’ s early Londo n yea r s . Re f l e c t on the conti nu i n g world-wide inte r e st in this medium by pai n ters of land s c ap e . Lo o k at works by Tasmanian artists (Max An gus, Pat r icia Giles, Jack Carring t o n - S mi t h , Ge o r ge Davis and Stephen Lees) . cat. no. 108 Co m p ar e their var ious uses of wat e r c o l o u r , gouache (body-colour) and oil, in exp r es s i n g ch a r a c t e r istics of Tasmanian land s c ap e . Co n s i d e r spa c e, light, colour and treatment of the ende m ic flora and fauna of Tasmania in your discussion of the above. Consider: ‘Our significant painters teach us to continually rei n vent the way we see and experience our su r ro u nd i ng s . ’ cat. no. 112 ‘Ar t is something that makes dialogue possible . ’

cat. no. 113 TIMELINE

1767 Birth of John Glover, son of William Glover, grazier, and Ann (née Cole), at Houghton- on-the-Hill, Leicestershire.

1770 Captain James Cook charts the east coast of Australia.

1775 Birth of Thomas Girtin, English watercolour painter.

1776 Birth of John Constable, English landscape painter.

1782 Birth of John Sell Cotman ,English landscape and watercolour painter.

1786 Appointed writing master, Sir John Moore’s Free School, Appleby, Leicestershire.

1788 British annexation of Australia. Arthur Philip arives at Port Jackson with fleet of convict transports ships and takes possession of New South Wales.

1790 Birth of John Richardson Glover, son of Glover & Mary Richardson. Marries Sarah Young Visits London, calls on Sir Joshua Reynolds

1791 Birth of William Glover

1792 Death of Reynolds Birth of Ann Glover Resigns from Sir John Moore’s School to set up as a private drawing master

1793 First free settlers arrive in New South Wales. France declares war on England Travels to London, takes lessons fromWilliam Payne and John ‘Warwick’ Smith Sketching tour of Lake District

1794 Birth of Sarah Glover Glover teaching at Misses Parkers’ school, Ashbourne, Derbyshire Visits London, calls on Joseph Farington Sketching tour of Wales Settles in Lichfield

1795 Teaching at Harewood House, Yorkshire First works shown at Royal Academy Food riots in southern English counties

1796 Birth of Thomas Glover

1798 Birth of Emma Glover First portraits Publication of "Lyrical Ballads" (Wordsworth/Coleridge)

1799 First oil painting shown at Royal Academy Sketching tour of Wales Engravings published in Brooke Boothby, Sorrows... and Anna Seward, Sonnets... 1801 Exhibits at Royal Academy Makes first etchings 1802 Sketching tour of Lake District Peace of Amiens – cessation of Anglo-French hostilities Turner elected to membership of the Royal Academy Death of Girtin

1803 Exhibits at Royal Academy Sketching tour of Scotland (?) Birth of Henry Glover Matthew Flinders circumnavigates Australia British annexation of Tasmania. John Bowen arrives at Risdon Cove on the "Lady Nelson" and takes possession of Van Diemen’s Land. England declares war on France.

1804 David Collins moves British settlement to Sullivan’s Cove. Establishment of Hobart Exhibits at Royal Academy Sketching tours of Lake District and Yorkshire Birth of Mary Glover Establishment of the Society of Painters In Water Colours(SPWC).

1805 Birth of James Glover Elected Sherriff of Lichfield Sketching tours of Lake District (with Robert Hills) and County Durham Exhibits with SPWC. Elected to committee. Battle of Trafalgar. Moves to London Establishment of the British Institution for Promoting the Fine Arts

1806 Exhibits with SPWC 1807 Exhibits with SPWC Sketching tours of South Wales, Windsor, Margate

1808 President of SPWC Exhibits with SPWC John Varley (English landscape painter) invents "graphic telescope" "Rum Rebellion" in New South Wales, deposition of Gov.William Bligh Wordsworth publishes "Guide to the Lakes"

1809 Fire at Drury Lane Theatre Exhibits with SPWC

1810 Exhibits with SPWC, Liverpool Academy Establishment of Artists Benevolent Fund Lachlan Macquarie appointed Governor of New South Wales.

1811 Madness of George III. George, Prince of Wales becomes Rege nt Exhibits with SPWC National census, England. Population of Greater London: 1,099,104

1812 Economic recession in England. Byron publishes "Childe Harold’s Pilgrimage" Sells Durham Cathedral to J G Lambton for 500 guineas Purchases two works by Claude Lorrain Exhibits SPWC and British Institution SPWC dissolved. Reformed as Society of Painters in Oil and Water Colours (SPOWC) Elected to committee of SPOWC

1813 Exhibits SPOWC

1814 Abdication and exile of Napoleon Exhibits SPOWC, Royal Academy, Liverpool Academy Travels to France, sketching in Alps, copying Old Masters in Louvre Exhibits Paris Salon, awarded Gold medal by Louis XVIII

1815 President, SPOWC Exhibits SPOWC Sketching tour of Lake District Recession continues in England Napoloeon’s " Hundred Days, Battle of Waterloo, Napoleon abdicates, Louis XVIII restored

1817 Rural unrest in England. Rick-burning in the Midlands. Exhibits SPOWC (inc plaster sculptures), British Institution Sketching tour of Wales SPOWC votes to cease paying dividends to exhibitors. Glover resigns.

1818 Nominates for membership of the Royal Academy. Not elected. Travels to Italy with Henry Curzon Allport, sketching in Alps, Rome, Tivoli, Umbria, Manferrato, Lake Geneva Exhibits British Institution Buys "Blawick Farm", at Patterdale, Ullswater, Lake District (?)

1819 Exhibits British Institution

1820 Solo exhibition, Old Bond Street Sketching tour of Wales Gericault’s "Raft of the Medusa" shown in London. Death of George III; accession of George IV

1821 Solo exhibition, Old Bond Street Sketching tours of Wales, Midlands, Lake District Death of Napoleon

1822 Solo exhibition, Old Bond Street Birth of grandson, John Glover Lord

1823 Legislative and judicial systems established for New South Wales andVan Diemen’s Land. Solo exhibition, Old Bond Street Establishment of Society of British Artists (SBA). Glover on committee.

1824 National Gallery opens Constable receives gold medal at Paris Salon for "The Hay Wain" Death of Benjamin West, President of Royal Academy Sketching tour of Lake District Treasurer, Society of British Artists Solo exhibition, Old Bond Street Exhibits SBA

1825 Separation of New South Wales andVan Diemen’s Land proclaimed. Sketching tour of Scotland Vice-President, SBA Exhibits SBA, British Institution Work commissioned by G F Robson for Haldimand collection Worldwide depression 1826 Sketching tours to Devon and Isle of Wight, Durham President, SBA Exhibits SBA, British Institution Works with Welsh printmaker Hugh Hughes on projected wood engravings Augustus Earle opens his gallery in Sydney

1827 Sketching tour of Ireland Exhibits SBA, British Institution, Royal Manchester Institution William Glover meets George M Evans (ex Deputy Surveyor General, Van Diemen’s Land) in London; buys 80 acres in exchange for £300 worth of pictures

1828 Exhibits SBA, Birmingham Institution, County of Hampshire Picture Gallery Martial law declared in the settled dstricts of Van Diemen’s Land: beginning of "The Black War"

1829 Swan River setllement scheme (Western Australia) promoted in London Glover’s sons James, William and Henry sail for Van Diemen’s Land on "Prince Regent. Augustus Earle exhibits Panorama of Sydney in London Legislative Council established in Van Diemen’s Land Exhibits SBA

1830 Sells painting collection through the auctioneer Stanley, Old Bond Street Death of George IV. Accession of William IV John, Sarah and John Richardson embark for Van Diemen’s Land on Thomas Laurie, a journey of almost six months Total population of Australia 55,795

1831 Arrives Van Diemen’s Land 18 February, in Hobart Town 1 April Purchases farm at Tea Tree Artist and engraver Thomas Bock opens a gallery in Hobar t Town (while still an assigned convict) Sale of last possessions at Stanley’s, London

1832 George Augustus Robinson ( ‘The Conciliator’) successfully negotiates armistice with Big River and Oyster Bay tribes Two Van Diemen’s Land paintings exhibited SBA, London Granted land at Mills’ Plains Glover, Sarah and three sons move to "Patterdale Farm", Mills’ Plains Visits Hobart Town, sits for Mary Morton Allport portrait.

1833 Opening of Theatre Royal, Sydney Climbs Ben Lomond with John Batman and three New South Wales Aborigines.

1834 Visit from George Augustus Robinson and "Friendly Mission" to Mills Plains

1835 68 paintings exhibited Old Bond Street, London, more than 60 painted in Van Diemen’s Land Approx. 150 Palawa (Tasmanian Aborigines) remain in Van Diemen’s Land. Commission from Robinson for frontispiece of proposed book Takes Charles Merrett as pupil Settlement at Port Phillip Bay established, later to become the city of Melbourne. Establishment of a colony in South Australia.

1836 Presents painting to Robinson

1837 Sends second consignment of pictures to London – not exhibited First art exhibition held in Hobart Town Royal Victoria Theatre (Theatre Royal) opens in Hobart. Australia’s first passenger railway completed (in Van Diemen’s Land). propelled by convicts.

1838 Bushrangers raid hut at Patterdale.

1840 Sends 2 paintings to Louis Philippe of France Gould publishes first volume of "Birds of Australia" Economic depression in Australian colonies

1841 Death of William IV. Accession of QueenVictoria Total population of Australia 206,759

1842 Foundation of Nile Chapel, Deddington. Glover signatory to Trust deed

1843 Convict population of Van Diemen’s Land 17,703 ( 34.3%of total). Transportation of convicts to N.S.W. abolished, V.D.L. doubles its intake of convicts

1844 Royal Society of Van Diemen’s Land established

1845 John Skinner Prout visits "Patterdale"and makes portrait of Glover. Art exhibition in Legislative Chamber, Hobart Town, organised by Prout

1849 Death of Glover

1851 Discovery of gold in Victoria and New South Wales, start of gold rushes.

1853 Death of Sarah Glover End of convict transportation to Van Diemen’s Land BIBLIOGRAPHY

Malcolm Andrews, The Search for the Picturesque: Landscape Aesthetics and Tourism in Britain 1760-1800, Stanford, Stanford University Press, 1989

Jane Bayard, Works of Splendor and Imagination: the Exhibition Watercolor 1770-1870 (exhibition catalogue), New Haven, Yale Center for British Art, 1981

Ann Bermingham, Learning to Draw: Studies in the Cultural History of a Polite and Useful Art, New Haven and London, Yale University Press, 2000

Tim Bonyhady,Australian Colonial Art in the Australian National Gallery, Melbourne, Australian National Gallery/Oxford University Press, 1986

Tim Bonyhady, Images in Opposition: Australian Landscape Painting 1801-1890, Melbourne, Oxford University Press, 1985

Peter Chapman, “John Glover’s migration to Australia”, Art Bulletin of Tasmania, 1985, pp. 23-33

Geoffrey Dutton, White on Black: the Australian Aborigine Portrayed in Art, Melbourne and Sydney, Macmillan / Art Gallery Board of South Australia, 1974

Lewis Hawes, Presences of Nature: British Landscape 1780-1830 (exhibition catalogue), New Haven, Yale Center for British Art, 1982

Jeanette Hoorn, “Pastoral and Georgic in Tasmania”, Art and Australia, vol. 32 no. 2, XXX 1994, pp. 250-259

Elizabeth Johns, Andrew Sayers and Elizabeth Mankin Kornhauser, with Amy Ellis, New Worlds from Old 19th Century Australian and American Landscapes (exhibition catalogue), Canberra, National Gallery of Australia, 1998

Joan Kerr (ed.), The Dictionary of Australian Artists: Peinters, Sketchers, Photographers and Engravers to 1870, Melbourne, Oxford University Press, 1992

John McPhee, The Art of John Glover, Melbourne & Sydney, Macmillan, 1980

Sharon Morgan, Land settlement in early Tasmania: Creating an Antipodean England, Cambridge, Cambridge University Press, 1992

John Olsen, “John Glover”, Art and Australia, vol. 2 no. 3, December 1964

Ron Radford, “Et in Arcadia Ego (I too once l ived in Arcady): John Glover,AView of the Artists House and Garden, in Mills Plains, Van Diemand’s Land, 1835” in Daniel Thomas (ed.), Creating Australia: 200 Years of Art, Adelaide, International Cultural Corporation of Australia / Art Gallery Board of South Australia, 1988

Ron Radford and Jane Hylton, Australian Colonial Art 1800-1900, Adelaide, Art Gallery Board of South Australia, 1995

L l oyd Robson, A History of Ta s m a n i a: Volume I Van Diemen’s Land from the Earliest Times to 1855, Melbourne, Oxford Unive r s i t y P r ess, 1983

Michael Rosenthal, British Landscape Painting, Oxford, Phaidon, 1982

Andrew Sayers, Australian Art, Oxford, Oxford University Press, 2001

Bernard Smith, European Vision and the South Pacific 1768-1850: A study in the history of art and ideas, Oxford, Clarendon Press, 1960

Greg Smith, The Emergence of the Professional Watercolourist: Contentions and Alliances in the Artistic Domain, 1760-1824, Aldershot, Ashgate Publishing, 2001

Helen Topliss, “‘Our own Glover’?”, Art and Australia, vol. 16, no. 3, March 1979, pp. 260-268

Vivienne Webb (ed.), John Glover: “Natives on the Ouse River,Van Diemen’s Land” 1838 (“Australian Collection Focus” exhibition catalogue), Sydney, Art Gallery of New South Wales, 2001

Andrew Wilton and Anne Lyles, The Great Age of British Watercolours (exhibition catalogue), London, Royal Academy of Arts, 1993