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Masterpieces from Paris artonview artonview ISSUE 60 ISSUE 60 • summer 2009 • SUmm E r 2009 NATIONAL GALLE r Y OF MASTERPIECES FROM PARIS AUST r Van Gogh, Gauguin, Cézanne & beyond ALIA POST-IMPRESSIONISM FROM THE MUSÉE D’ORSAY CANBERRA ONLY 4 DECEMBER 2009 – 5 APRIL 2010 TICKETS: NGA.GOV.AU HOTEL PACKAGES: VISITCANBERRA.COM.AU/PARIS 1300 889 024 PRESENTING PARTNERS PRINCIPAL PARTNERS VAN GOGH, GAUGUIN, CEZANNE AND BEYOND The National Gallery of Australia is an Australian Government Agency CULTURE WARRIORS IN WASHINGTON Vincent van Gogh Van Gogh’s bedroom at Arles 1889 (detail), Musée d’Orsay, Paris, © RMN (Musée d’Orsay) / Hervé Lewandowski Z00 40383 The National Gallery of Australia is an Australian Government Agency Issue 60, summer 2009–10 published quarterly by 2 Director’s foreword National Gallery of Australia GPO Box 1150 6 Foundation Canberra ACT 2601 nga.gov.au 8 Sponsorship and Development ISSN 1323-4552 exhibitions and displays Print Post Approved pp255003/00078 10 Culture Warriors storm Washington © National Gallery of Australia 2009 Bronwyn Campbell Copyright for reproductions of artworks is held by the artists or their estates. Apart from 14 Masterpieces from Paris: Van Gogh, Gauguin, uses permitted under the Copyright Act 1968, Cézanne and beyond no part of artonview may be reproduced, transmitted or copied without the prior Christine Dixon permission of the National Gallery of Australia. Enquires about permissions should be made in collection focus/conservation writing to the Rights and Permissions Officer. 22 Celebrating two outstanding sculptors: The opinions expressed in artonview are not necessarily those of the editor or publisher. Bert Flugelman and Inge King editors Eric Meredith Deborah Hart designer Kristin Thomas 26 Kenneth Tyler Collection online photography Eleni Kypridis, Barry Le Lievre, Brenton McGeachie, Steve Nebauer, Gwen Horsfield David Pang, John Tassie acquisitions rights and permissions Nick Nicholson advertising Erica Seccombe 30 J Miller Marshall Fossicking for gold printed in Australia by Blue Star Print, Miriam Kelly Melbourne enquiries 32 John Skinner Prout Break of Day Plains The editor, artonview and The River Barwon, Victoria National Gallery of Australia GPO Box 1150 Emma Colton Canberra ACT 2601 36 Mawalan Marika The Milky Way [email protected] advertising Chantelle Woods Tel: (02) 6240 6557 34 Devare & Co Prince Yeshwant Rao Holkar and Fax: (02) 6240 6427 [email protected] his sister Manorama Raje RRP $9.95 includes GST Gael Newton Free to members of the National Gallery of Australia 34 Erich Heckel White horses Jacklyn Babington For further information on National Gallery of Australia Membership: 36 Walter Burley Griffin Desk chair for Newman College Membership Coordinator Robert Bell GPO Box 1150 Canberra ACT 2601 Tel: (02) 6240 6504 40 Travelling exhibitions [email protected] 42 Faces in view (cover) Paul Gauguin Tahitian women (Femmes de Tahiti) 1891 (detail) oil on canvas 69 x 91.5 cm Musée d’Orsay, Paris gift of Countess Vitali in memory of her brother Viscount Guy de Cholet, 1923 © RMN (Musée d’Orsay) / Hervé Lewandowski Director’s foreword Félix Vallotton Our exhibition Masterpieces from Paris: Van Gogh, Paul Gauguin’s Tahitian women 1891 (see the cover of this The ball or Corner of the park with child (Le ballon Gauguin, Cézanne and beyond, Post-Impressionism issue) is both monumental and decorative. Paul Cézanne au Coin de parc avec from the Musée d’Orsay is arguably the most important is the master of still-life, and Kitchen table (Still-life with enfant) 1899 oil on card, laid on wood exhibition to come to the National Gallery of Australia basket) 1888–90 fulfils his own prophecy: ‘I shall astonish panel 48 x 61 cm in Canberra. Never before have so many famous works Paris with an apple!’ Cézanne’s beloved Mount Saint- Musée d’Orsay, Paris of art been brought together for one exhibition in this Victoire c 1890 is a classic image for the development bequest of Carle Dreyfus 1953 © RMN (Musée d’Orsay) / country. It is important for Australia because Australian of the modern landscape. The exhibition examines the Hervé Lewandowski collections are not rich in Post-Impressionist pictures evolution of Post-Impressionism, announcing the break and unfortunately never will be. We are delighted to from Impressionism. The masterpieces in this exhibition be co-curating this exhibition with the Musée d’Orsay mark the arrival of modern art—diverse in style, colourful, in Paris, which holds the most significant collection of experimental and committed to the new. Post-Impressionist art in the world. The works in this The Gallery has published a beautifully designed exhibition rarely leave the Musée d’Orsay, even singly, and illustrated book to mark this important occasion. It and never before in these numbers. includes essays by Guy Cogeval, President of the Musée Visitors to the exhibition will encounter Vincent van d’Orsay, Stéphane Guégan and Sylvie Patry, curators from Gogh’s Bedroom at Arles 1889, his intense yet simple the Musée d’Orsay, and the National Gallery of Australia’s rendition of coloured surfaces influenced by Japanese Christine Dixon. There are entries on each work written by aesthetics. Van Gogh’s Starry night 1888 is of course iconic. National Gallery of Australia curatorial staff. 2 national gallery of australia It has been three months since the Hon Peter Garrett AM, Withers and another attributed to Percy Lindsay is on loan Minister for the Arts in Australia, launched Culture Warriors from the Castlemaine Art Gallery. This is a rare at the Katzen Arts Center in Washington. The exhibition opportunity to see side-by-side these three interesting has received critical acclaim in the United States: The works painted together at the same moment in Creswick, Washington Post said, ‘Australian Indigenous Art Victoria, in 1893. Triennial: Culture Warriors is one of the most revolutionary One of the most remarkable nineteenth-century exhibitions of its ilk. Though the show acts as the most Australian paintings recently acquired was Tom Roberts’s civil of diplomats, it also subverts expectations …’. oil sketch of breathtaking brevity, Shearing shed, Newstead The showing of the exhibition in Washington is a triumph 1893–94, an iconic depiction of a sunlit landscape and for Australia, Aboriginal people and Aboriginal art, as well one of the artist’s finest works left in private hands. It as for the National Gallery of Australia. Culture Warriors is was largely funded by a successful national appeal, the the largest contemporary Indigenous art exhibition ever to Masterpieces for the Nation Fund, and the Gallery is very leave Australian shores and is part of the Australia Presents grateful to those who generously donated to the fund. cultural initiative to promote Australia in America. From the early twentieth century, the Gallery acquired It has been an outstanding year for acquisitions of a desk chair that Walter Burley Griffin designed as part major works of art in all collection areas, both in numbers of his 1915 concept for the University of Melbourne’s of works purchased and in numbers and value of works Newman College, his second largest project in Australia given. Many gaps have been strategically filled. In after his designs for the national capital in 1913. Australian art, our growing collection of early colonial art Our Aboriginal and Torres Strait Islander collection was recently enhanced by the acquisition of a fascinating grew substantially during the year, in the lead-up to the pre-gold rush John Skinner Prout watercolour of the opening of the new Indigenous galleries later in 2010. Barwon River near Geelong in 1847; it is one of his few Among the very recent works acquired is a large early bark Victorian works and our earliest landscape from that state. painting by Mawalan Marika. Marika was an important Another even more brilliant and lively watercolour sketch leader in Yirrkala in the Northern Territory and a key figure by Prout, Break of Day Plains, Tasmania c 1845, was also in the development of the distinctive style of bark painting acquired. Together, these works are fine representations from Arnhem Land. of the artist’s Australian period. We continue to raise From India, the Gallery acquired an interesting group funds for the Turneresque masterpiece in watercolour by of hand-coloured photographs from the nineteenth and Conrad Martens, Campbell’s Wharf 1857, through the early twentieth centuries. Among them is a stunning new Members Acquisition Fund, which we highlighted 1918 photographic portrait of the young Prince Yeshwant in the last issue of artonview. The painting, which is in and his younger sister Manorama Raje of Indore. The immaculate condition, came directly from a Scottish photograph is exquisitely hand-coloured and retains its branch of the Campbell family. With the assistance of original gilded frame. The work not only enriches our Asian Gallery members it will be our finest work by this, the photography collection but also has a special connection to most eminent New South Wales colonial artist. Thanks our two Brancusi Bird in space sculptures, which Yeshwant go to those members who have already responded to the commissioned at the beginning of the 1930s for his palace invitation to play a direct role in acquiring an important outside Indore. These works, among the Gallery’s greatest work for the National Collection. It is still possible to treasures, were acquired in 1973. contribute and we hope members will consider giving $100 The Gallery acquired White horses (Weisse Pferde) 1912 towards this exceptional and rare work now on display in by Erick Heckel for our international prints collection. This the colonial gallery. landscape is markedly different to the figurative work that We also recently acquired Fossicking for gold 1893 underpinned the early German Expressionist movement by English-born Australian artist J Miller Marshall.
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