MASTERPIECES FROM PARIS HOTEL PACKAGES: VISITCANBERRA.COM.AU/PARIS 1300889024 TICKETS: NGA.GOV.AU 4 DECEMBER2009–5APRIL2010 ONLY Vincent vanGogh Van Gogh’s bedroom atArles1889(detail), Muséed’Orsay, Paris,© RMN(Muséed’Orsay) /HervéLewandowski Agency The NationalGalleryofAustralia isanAustralianGovernment PRESENTING PARTNERS V an Gogh, Van Gogh, POST-IMPRESSIONISM FROMTHEMUSÉE D’ORSAY agi,Czne&& Cézanne Gauguin, PRINCIPAL PARTNERS beyond

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• ALIA r AUST OF Y r GALLE NATIONAL 2009 r E SUmm 60 ISSUE ISSUE 60 • summer 2009 summer • 60 ISSUE artonview VAN BEYOND AND GOGH, GAUGUIN, CEZANNE CULTURE WARRIORS WASHINGTON IN

The National Gallery of is an 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 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 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 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. by Mawalan Marika. Marika was an important Another even more brilliant and lively watercolour sketch leader in 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 acquired. Together, these works are fine representations from . 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 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. of 1905–20. It joins our important collection of German The painting was donated by Jenny, David and Melissa Expressionist prints and sets itself apart from Heckel’s more Manton in memory of Jenny’s late husband Jack Manton, tormented psychological portraits in the collection, the a distinguished collector of small Australian Impressionist most famous of which is, of course, his postwar woodcut works. For a short time only, this oil painting of a mining print Portrait of a man (Männerbildnis) 1919. scene is on display with two companion pieces depicting In October, the Gallery officially launched the website the same subject—one owned by the Gallery is by Walter for the Kenneth Tyler Collection. The collection includes

artonview summer 2009–10 3 In late November, we opened a new purpose-built gallery for our popular Sidney Nolan Ned Kelly series 1946. This new gallery, off the main foyer in the space formerly occupied by the Gallery Shop, has been specially designed to enhance visitor experience of these famous and much-loved Australian works. Their previous home in the main Australian galleries on the first floor is now a dedicated space for our remarkable collection of Australian , including, of course, the recently given Agapitos/Wilson collection. Other newly opened display areas near the Ned Kelly gallery include showcases for Asian and international costumes and fashion, a large showcase for our stunning jewellery collection, and a dedicated space for changing displays of photography— the first display is of John Gollings’s colourful New Guinea suite 1973–74. Until now, the Gallery has never had a permanent exclusive place for its jewellery, costume and photography collections. We have also just opened our new Polynesian gallery in the space previously occupied by the Childrens Gallery. Immediately above it upstairs, the former Pacific arts gallery is now devoted to Melanesian art. The Childrens Gallery reopens in mid February 2010, near the Gallery’s Small Theatre. A new art loading dock and a goods loading dock, a new staff entrance and vitally needed spaces for registration, exhibition preparation, packing, quarantine and mount-cutting have been completed as part of Stage 1 early this year. These crucial back-of-house spaces are of the international standard now expected of a major art museum. Gallery 3, which until recently housed The Aboriginal memorial poles, has been restored and refurbished and has had new lighting installed for international art. All these changes complete the planned extensive refurbishment of the current Gallery building and its displays, which has Henri-Edmond Cross over 7000 works by 77 artists—more than 3000 of which Hair (La chevelure) c 1892 been going on for several years. The current Gallery display oil on canvas have been digitised for the website. The dynamic features spaces have been redesignated, all extensively refurbished 61 x 46 cm of the Kenneth Tyler Collection website allow our online Musée d’Orsay, Paris and redisplayed. We can now look forward to the opening purchased 1969 visitors to take a journey through the decades-long creative © RMN (Musée d’Orsay) / of your new Gallery building later in 2010. collaboration behind some of the most famous images of Hervé Lewandowski American art from the second half of the twentieth century. The collection was compiled over decades by Ken and Marabeth Tyler and gifted exclusively to the National Gallery of Australia in 2002. The online content includes hundreds of behind-the-scenes photographs of artists at work as well as rare film footage and audio from these years. This Ron Radford AM website demonstrates the role of the internet in preserving and publishing archival material and in providing electronic access to an important part of the national collection.

4 national gallery of australia credit lines

Grants R.M.Williams, The Bush Outfitter Masterpieces from Paris has been indemnified by the WIN Television Commonwealth through the Australian Government’s Wesfarmers Limited Art Indemnity Australia program, administered by the Yalumba Wines Department of the Environment, Water, Heritage and ZOO the Arts. The Australia Council for the Arts through its Aboriginal Donations and Torres Strait Islander Art Board’s Showcasing the Jason L Brown Best International Strategy John Calvert-Jones AM and Janet Calvert-Jones AO The Gordon Darling Foundation The Hon Mrs Ashley Dawson-Damer Australian Government: Warwick Hemsley Department of Families, Housing, Community Services Merrill Lynch and Indigenous Affairs (FHCSIA) Perin Family Foundation Department of Foreign Affairs and Trade (DFAT) and the Jason Prowd Australian International Cultural Council Peter G Webster Department of Health and Ageing‘s Dementia The Yulgilbar Foundation Community Grants Program Founding Donor 2010 Department of the Environment, Water, Heritage and Antoinette L Albert the Arts through Visions of Australia, an Australian Luca Belgiorno-Nettis AM Government program supporting touring exhibitions Tony Berg AM and Carol Berg by providing funding assistance for the development Catherine Harris AO and David Harris and touring of Australian cultural material across Neil Hobbs and Karina Harris Australia, and through the Visual Arts and Craft Terry Peabody and Mary Peabody Strategy, an initiative of the Australian Government, Julien Playoust and Michelle Playoust and state and territory governments Prescott Family Foundation The Queensland Government (Australia) through the Penelope Seidler AM and the late Harry Seidler AC, OBE Queensland Indigenous Arts Marketing and Export Village Roadshow Limited Agency (QIAMEA) Arts Partnership Program Ray Wilson OAM and the late James Agapitos OAM

Sponsorship Masterpieces for the Nation Fund ABC Radio Joan Adler Accor Hotels Sarah Brasch ACT Government (through Australian Capital Tourism) Cheryl Bridge ActewAGL Ann and Dr Miles Burgess apARTments Dr Stuart Cairns Brassey Hotel of Canberra Deborah and Jim Carroll BHP Billiton Paula Davidson Canberra Times Anne H De Salis Casella Wines Anthony Eastaway Champagne Pol Roger Neilma Gantner Diamant Hotel Wendy Gray Eckersley’s Art & Craft Aileen Hall Forrest Hotel and Apartments Annette Hearne JCDecaux Elizabeth Hilton Mantra on Northbourne Rev Bill Huff-Johnston and Rosemary Huff-Johnston National Australia Bank Elspeth Humphries NewActon Dr J Vaughan Johnson CSC, AAM, and Madeleine Johnson Nine Network Australia Brian Jones Qantas Dr Dominic H Katter

artonview summer 2009–10 5 Carolyn Kay and Simon Swaney Thomas Kennedy Dr Peter Kenny Pamela V Kenny James Semple Kerr Sabra Lane Simon McGill Anne Moten and John Moten Dame Elisabeth Murdoch AC, DBE Donald W Nairn Suzannah Plowman Michael Ian Proud Dr Lyn Riddett Alan Rose AO and Helen Rose Ann Somers Helene Stead Alan Taylor Dr Caroline Turner AM and Glen Barclay Joy D Warren OAM Gabrielle Watt The Hon E Gough Whitlam AC, QC, and Margaret Whitlam AO Dr IS Wilkey and H Wilkey

Gifts Geoff Brash Ian Brown Peter Cheah Brenda L Croft The Hon Mrs Ashley Dawson-Damer James Erksine and Jacqui Erksine Gordon Darling Australia Pacific Print Fund Dr Anna Gray Richard Horvath Lesley Kehoe Inge King John Loane Matisse Mitelman Mike Parr Jocelyn Plate and Cassi Plate Anne Sanders Lyn Williams AM and the late Fred Williams OBE

The National Gallery or Australia extends thanks to the many anonymous donors who provided support during this period.

6 national gallery of australia Foundation

McCubbin opening McCubbin: Last Impressions 1907–17 exemplifies how philanthropy can greatly assist the Gallery to present exhibitions of the highest quality. Council member and Foundation director the Hon Mrs Ashley Dawson-Damer generously donated towards the cost of the exhibition, as did R.M.Williams, The Bush Outfitter. Several works of art included in McCubbin were acquired through the benefaction of Foundation members. Ashley Dawson-Damer, John Wylie AM and Myriam Wylie donated towards a key work painted in McCubbin’s final years, Violet and gold 1911. An earlier work, At the falling of the year 1886, which is also included in the exhibition, was acquired through the generous donation of Terry Campbell AO and Christine Campbell.

Masterpieces for the Nation Fund 2009 On 29 September 2009, Gallery Director Ron Radford AM hosted an event to celebrate the acquisition of Tom Roberts’s Shearing shed, Newstead 1893–94. All donors to the Masterpieces for the Nation Fund 2009 were invited to view the work that they helped acquire for Membership Acquisition Fund Christine Simpson and the Australian art collection. The Director spoke about Kerry Stokes AC with The Membership Acquisition Fund, under which members McCubbin’s Oliver’s Hill, the importance of the artist’s work for the national art have been invited to support the Gallery, has proved Frankston (Summer idyll) 1910 from the Kerry collection and how he was delighted and grateful that very popular with many donations received towards the Stokes collecton, on so many donors had contributed. display in McCubbin: Last acquisition of Conrad Martens’s spectacular watercolour Impressions 1907–17 at Campbell’s Wharf 1857. For more information about this the National Gallery of Founding Donors 2010 Australia. program, or to make your tax-deductible donation today, The Founding Donors 2010 program, which is an please contact the Membership Office on 1800 020 068. opportunity to become involved in the history of the Gallery, is progressing very well. With the completion of the Gala dinner and weekend 2010 Stage 1 South Entrance and Indigenous Galleries building The next annual fundraising weekend will be held on project less than a year away, the funds raised through the 20 and 21 March 2010 and will include behind-the-scenes Founding Donors 2010 program will be used to acquire tours, a private viewing of Masterpieces from Paris: works of art for the new galleries. Stage 1 is the most Van Gogh, Gauguin, Cézanne and beyond, and an extensive building program since the Gallery opened in exquisite gala dinner at the Gallery on the Saturday evening. 1982, when the initial Founding Donors program provided Funds raised from the weekend will assist the Gallery most valuable support to the Gallery. to acquire a work of art for the national art collection. The Founding Donors 2010 program aims to raise For further information, please contact Annalisa Millar $1 million through 100 donors contributing $10 000 over on (02) 6240 6691 or [email protected]. two years. All donors will be recognised in perpetuity through the inclusion of their name on the donor board Foundation AGM and board meeting being placed in the Gallery foyer. The Annual General Meeting of the National Gallery of If you are interested in becoming a Founding Donor 2010, Australia Foundation was held on 28 October 2009 and please contact Annalisa Millar, Executive Director of was attended by Foundation directors and a number the National Gallery of Australia Foundation, on of members of the Foundation. Chairman of the (02) 6240 6691. Your support would be most welcome. Foundation, Charles Curran AC, provided an outline of the achievements for the Foundation for this financial year and the Gallery’s Director Ron Radford AM spoke about

artonview summer 2009–10 7 Ron Radford AM, recent developments, including an update on the building donors the opportunity to enjoy a closer relationship Director, Rupert Myer AM, Chairman, Dr program. The Director also spoke about the forthcoming with the Gallery. It also enables the Gallery to formally Anna Gray, Head of major international exhibition Masterpieces from Paris: Van acknowledge and honour bequest donors during Australian Art, Ken Cowley AO, Chairman of Gogh, Gauguin, Cézanne and beyond. Thanks to everyone their lifetime. R.M.Williams, The Bush Outfitter, The Hon Mrs who has supported the National Gallery of Australia through Members of the Bequest Circle are invited to an Ashley Dawson-Damer, the Foundation. The board expressed their gratitude to Jennifer exclusive annual event as well as other Gallery events and Exhibition Benefactor, and Her Excellency Quentin Prescott, who has resigned after nine years as a board member. programs. They are formally acknowledged in the Bryce AC, Governor- The Foundation also welcomed two new board members: National Gallery of Australia Foundation Annual Report General of Australia, at the McCubbin opening on Zeke Solomon and Julian Beaumont. and in artonview. 13 August 2009 A bequest to the National Gallery of Australia is a National Gallery of Australia Bequest Circle significant and lasting contribution to the future of the The National Gallery of Australia Bequest Circle was national collection. If you have ever felt captivated, excited, launched in November 2008 as a way of recognising the challenged or inspired by a work of art, please consider important role that bequest benefactors play in the life of making a bequest to the National Gallery of Australia. the Gallery. Ray Wilson OAM spoke at the launch of the Further information on this exciting new program is program. He has been a generous benefactor and recently available on the Gallery’s website nga.gov.au/aboutus/ left a bequest as a way of reinforcing his commitment to development/bequests.cfm, where you can also download the National Gallery of Australia. the Bequest Circle brochure. The Bequest Circle was introduced to increase If you would like to join the National Gallery of Australia awareness of the Gallery as a potential bequest choice. Bequest Circle or would like more information, please The program provides existing and potential bequest contact Liz Wilson, Development Officer, on (02) 6240 6781.

8 national gallery of australia Sponsorship and Development

Masterpieces from Paris: Van Gogh, Gauguin, Cézanne & beyond Post-Impressionism from the Musée d’Orsay

Australian Capital Tourism through the ACT Government (Presenting Partner) We extend our great appreciation to the ACT Government through ACT Tourism for partnering with the Gallery to present to the people of Australia the iconic, rare and extremely important Post-Impressionist works from the Musée d’Orsay. The Gallery is thrilled that the ACT Government chose to support Masterpieces from Paris. Through this partnership, the ACT Government has proven that they value the tremendous benefits that major exhibitions bring to the local economy. Our great appreciation is extended to the staff at Australian Capital Tourism for their integrated and collaborative approach to this important partnership.

Australian Government: Art Indemnity Australia (Presenting Partner) The assistance of Art Indemnity Australia—the Australian Government’s art indemnity scheme through which loans to Masterpieces from Paris have been indemnified—has Nine Network Australia (Principal Partner) Arthur Koo’ekka been invaluable. Without this support, this exhibition could Pambegan Jr, Dennis We are very grateful to Channel Nine for their generous Richardson AO, not have taken place. Since 1979, the Commonwealth has support of Masterpieces from Paris. As the major media Ambassador to the indemnified approximately $15.4 billion worth of cultural United States, and Mavis partner, Nine is partnering with the Gallery to present Ngallametta at the objects in 103 exhibitions (including this one), with a this remarkable exhibition to Australians through a official opening of the combined audience total of more than 22 million visitors. Australian Indigenous national advertising and media campaign. Thank you to Art Triennial: Culture The scheme was established to provide greater access for Warriors at the American the team at Nine. University Museum at the people of Australia to significant cultural exhibitions. the Katzen Arts Center in We are grateful to Art Indemnity Australia for JCDecaux (Principal Partner) Washington, DC, USA. Photograph © Greg Chesman supporting the Gallery in bringing this unique exhibition We welcome JCDecaux as Principal Partner of to Australia. Art Indemnity Australia is an Australian Masterpieces from Paris and thank them for choosing to Government program managed by the Department of the support this important exhibition of European masters. Environment, Water, Heritage and the Arts. Through their significant contribution as media partners, JCDecaux have created a prominent street promotion National Australia Bank (Principal Partner) campaign, ensuring high visibility of this important We are delighted to announce a long-term strategic exhibition in all major metropolitan areas of Australia. partnership between the National Australia Bank (NAB) and We extend our gratitude to the team at JCDecaux. the Gallery, where the NAB has become the Gallery’s Art Education and Access Partner. As part of this partnership, Qantas (Major Sponsor) the NAB is also a Principal Partner of Masterpieces from Our thanks go to Qantas for their generous and continued Paris. The visionary and generous support of NAB has support of the Gallery. We are grateful to Qantas Freight reinforced their reputation as a leader in corporate for assisting with the transport of these valuable works philanthropy with a profound and tangible commitment to from the Musée d’Orsay in Paris to the National Gallery advancement and enrichment of the Australian community. of Australia in Canberra. We extend this appreciation to NAB is also the naming rights sponsor of the Gallery’s Qantas Holidays, for partnering with the Gallery to create Sculpture Gallery, which opened in 2007. We extend our packages and promotions that drive tourism and visitation thanks to the team at NAB for their continued support. to Canberra.

artonview summer 2009–10 9 The Yulgilbar Foundation (Major Sponsor) McCubbin: Last Impressions 1907–17 The Gallery thanks the Trustees of The Yulgilbar Foundation. Our appreciation is extended to R.M.Williams, The Bush The Foundation’s generosity and vision has ensured that the Outfitter who are generously partnering with the Gallery Family Activity Room and childrens program for Masterpieces for McCubbin: Last Impressions 1907–17. This exhibition from Paris will be developed and presented for the enjoyment closed at the Gallery on 1 November 2009, to travel of children and families. The support from The Yulgilbar to Perth, where it will displayed at the Art Gallery of Foundation and its Trustees is highly valued and deeply Western Australia from 12 December 2009 to 28 March appreciated by the Gallery. 2010, before travelling to the final venue, the Bendigo Art Gallery, where it will be on display from 24 April The Canberra Times (Major Sponsor) to 25 July 2010. We thank the R.M.Williams team We are pleased to announce The Canberra Times as a for their energy and commitment to the project and major sponsor of Masterpieces from Paris and thank the much-valued partnership between our organisations. them for their further commitment to promote and support We also extend our heartfelt gratitude to other exhibitions and activities throughout 2009–10. long-term supporter of the Gallery, the Hon Mrs Ashley We are very grateful to the team at The Canberra Times Dawson-Damer for being the Exhibition Benefactor. for their energy and collaborative work with the Gallery. Australian Government National Gallery of Australia Council Visions of Australia Exhibitions Fund We acknowledge and thank the Department of the We are grateful to the Gallery’s Council for their active role Environment, Water, Heritage and the Arts, through in the life of the Gallery and for their support of exhibitions, Visions of Australia, an Australian Government program including Masterpieces from Paris, through the National supporting touring exhibitions by providing funding Gallery of Australia Council Exhibitions Fund. assistance for the development and touring of Australian ABC Radio cultural material across Australia, and through the Visual We are grateful to ABC Radio as Media Partner of Arts and Craft Strategy, an initiative of the Australian Masterpieces from Paris, and thank them for their ongoing Government and state and territory governments. support of the Gallery’s major exhibitions through radio Visions of Australia has funded the National Gallery coverage and promotions around Australia. of Australia’s Travelling Exhibition Program’s 2010 New Releases: In the Japanese manner: Australian prints WIN Television 1900–1940, Robert Dowling: Tasmanian son of Empire We extend our gratitude to WIN Television for supporting and Australian street stencils. Masterpieces from Paris. In addition, we would like to thank WIN Television for their commitment towards the Council Circle Gallery’s exhibition and programs throughout 2009–10. We welcome the following companies into the Council Circle: Channel NINE, JCDecaux, Qantas, The Yulgilbar Novotel (Accor Hotels) Foundation, Accor Hotel Group (Novotel Canberra) We welcome Accor Hotel Group as partner of the Gallery and Champagne Pol Roger. We would also like to and Masterpieces from Paris, and thank them for being thank the following Council Circle Members for their the Accommodation Partner for this iconic exhibition. continued support: National Australia Bank, Wesfarmers, Champagne Pol Roger The Canberra Times, WIN Television, The Mantra on We are delighted to announce that Champagne Pol Roger Northbourne and The Brassey Hotel of Canberra. will once again be supporting a major exhibition at the National Gallery of Australia. Pol Roger will be the official Corporate Members Program supplier of French Champagne for all VIP events held in We would like to welcome Yalumba Wines and Casella conjunction with the exhibition. Pol Roger’s philosophy Wines into the Corporate Members Program for 2009–10. of ‘style and elegance’ along with their company values Thank you to Eckersley’s Art & Craft, as a sponsor of the of ‘excellence and independence’ align perfectly with this Gallery’s annual family day event The Big Draw, which was amazing blockbuster exhibition. held at the Gallery on Sunday 20 September.

Yalumba Wines National Australia Bank Art Education We welcome the iconic family-owned Yalumba Wines back and Access Partnership to the Gallery, and thank them for supporting another We thank and acknowledge the vision and leadership blockbuster exhibition. Yalumba, along with Champagne shown by the NAB in entering this partnership with the Pol Roger, have sponsored Turner to Monet, Degas and National Gallery of Australia, which is one of the most now Masterpieces from Paris. significant partnerships of its kind today.

10 national gallery of australia As an organisation, the NAB is renowned for its commitment to supporting Australian communities and helping people reach their creative potential. Its focus aligns itself closely with the Gallery’s own mandate, which is to inspire and enhance all Australians’ lives through the promotion of, and provision of access to, the national collection and the visual arts. This partnership will see NAB’s programs further developed at the Gallery, and its outreach activities increased around the country. The partnership will improve access to high-quality and inspiring teacher and student resources for schools and communities around Australia and will provide programs that will reach remote and disadvantaged schools and students. It will also support the activities of over 3000 school groups (80 000 school children per annum) that visit the National Gallery of Australia in Canberra each year. The NAB’s partnership with the Gallery will also provide the opportunity to build and strengthen current access and community programs such as Art and Alzheimers, Carers’ Art Appreciation and Viewings, Auslan sign-interpreted tours, descriptive and disability tours and art tours for highlighted by Rupert Myer AM, Chairman of the National Exhibition Benefactor refugees for whom a visit to a gallery or museum is often a the Hon Mrs Ashley Gallery of Australia, Mr Dennis Richardson AO, Ambassador Dawson-Damer, Ken transformative experience. to the United States, and the Hon Peter Garrett AM, MP, Cowley AO, Chairman of We are deeply grateful to the NAB for its generous R.M.Williams, The Bush Minister for the Environment, Heritage and the Arts. Outfitter, and Maureen support, and look forward to the far-reaching outcomes The American Friends of the National Gallery of Cowley at the opening that the partnership will deliver. of McCubbin: Last Australia, Inc welcomed its new Chairman, Philip Colbran, Impressions 1907–17 on 13 August 2009. and Vice President, Ian Phillips, to its Board of Directors, Wesfarmers Arts Indigenous Fellowship which includes Dr Lee MacCormick Edwards, Dr Helen We thank Cox Inall Ridgeway for the energy and Ibbotson Jessup, Kate Flynn, Judith Ogden Thomson and professionalism they are investing in the Consultation Susan Talbot at its 2009 Annual General Meeting. Program for the Wesfarmers Arts Indigenous Fellowship. We acknowledge and thank the outgoing Chairman, Consultation workshops have been conducted around Philip Jessup Jr, and Director, Diane Ackerman, for their the country in , Alice Springs, Broome, Cairns, leadership and longstanding contribution to the work of Canberra, Darwin, Melbourne, Perth and . the American Friends during their time on its Board of They have drawn together many people working across Directors. We look forward to their continuing association different sectors—visual arts, education and government, as members of the American Friends Advisory Board. Indigenous and non-Indigenous—and encouraged vigorous and insightful discussion, analysis and input. We would like to thank all our partners and corporate A full report from the consultation process will be members. If you would like more information about completed and launched in the first half of 2010. Sponsorship at the National Gallery of Australia, please Wesfarmers Arts continues to support and contribute contact Frances Corkhill on + 61 2 6240 6740 or to the project with tremendous generosity and energy. [email protected]. For information about We also thank them particularly for providing a location Development at the National Gallery of Australia, and forum for the Perth consultation workshop. please contact Belinda Cotton on + 61 2 6240 6556 or [email protected]. American Friends of the National Gallery of Australia The opening week celebrations of the Australian Indigenous Art Triennial: Culture Warriors incorporated a lunch on Thursday 10 September 2009, held in honour of the American Friends of the National Gallery of Australia, Inc at the Australian Ambassador’s residence in Washington, DC. The work of its directors, Advisory Council and Board, both past and present, was acknowledged and

artonview summer 2009–10 11 travelling exhibition

Culture Warriors storm Washington

(from left to right) After a highly successful Australian tour, during which it Australian artists hailing from every state and territory, Dr Brenda L Croft, exhibition curator, Arthur was seen by over a quarter of a million people, Australian living and working in remote, rural and urban areas. Koo’ekka Pambegan Jr, Indigenous Art Triennial: Culture Warriors opened at the Culture Warriors pays specific tribute to a core Mavis Ngallametta, the Hon Peter Garrett AM, American University Museum at the Katzen Arts Center, group of senior artists: Jean Baptiste Apuatimi, Phillip MP, Minister for the Environment, Heritage Washington, DC. Travelling overseas, the exhibition forms Gudthaykudthay, John Mawurndjul, Wamud Namok AO and the Arts, Ricky part of the Embassy of Australia in Washington’s Australia and Arthur Koo’ekka Pambegan Jr. The work of these Maynard, Gordon Hookey, Daniel Boyd, Christopher Presents program, which was developed to celebrate the artists is firmly grounded in custom and culture and—in Pease, Judy Watson and talent and creative excellence of Australian performing and spite of the many innovations of material, form and style Jean Baptiste Apuatimi at the official opening visual artists. that they have generated—is regarded as ‘traditional’ by of Culture Warriors in Culture Warriors first opened at the National Gallery of many viewers. Apuatimi and Pambegan Jr travelled from Washington, DC, 10 September 2009. Australia in October 2007 to commemorate the Gallery’s their ancestral homelands to be among the eight exhibition Photograph: Jeff Watts, courtesy American University 25th anniversary. Those who viewed the exhibition will artists who were present in Washington to celebrate the recall a vivid and diverse survey of contemporary Aboriginal opening of Culture Warriors. At the other end of the and Torres Strait Islander art practice, with a variety of spectrum of artists that went to Washington, Christian media ranging from weaving, bark painting and sculpture Bumbarra Thompson, a young member of the Bidjara to painting, video and installation by 30 Indigenous people of Queensland and now resident in Amsterdam,

12 national gallery of australia is a quintessentially international contemporary artist. significant degree of co-operation that this undertaking Australian Indigenous Art Triennial: Culture Warriors Speaking to the ABC, Thompson described the experience involved. Without generous corporate sponsorship and at the American University of the exhibition as ‘a great opportunity for the world to Government support, the exhibition could not have Museum at the Katzen Arts Center, Washington, DC. see such a dynamic collection of work and gain an insight travelled to the United States of America. The significant Image courtesy Geoff Chesman, ImagelinkPhoto into the complex nature of Aboriginal identity and how it is partnerships that were forged between the Embassy of in this contemporary age’. Australia in Washington, the Australian International Cultural The exhibition was officially opened on the evening Council, the Department of Foreign Affairs and Trade, of Thursday 10 September by the Hon Peter Garrett AM, the American University and the National Gallery of MP, Minister for the Environment, Heritage and the Arts. Australia will create an enduring legacy of international The launch was attended by nearly 400 people, including cooperation and cultural exchange. The contributions of members of the United States Congress, diplomats and the Australia Council for the Arts and the Queensalnd members of the American Friends of the National Gallery Arts Marketing and Export Agency were invaluable in of Australia (AFNGA). allowing the participation of exhibition artists in the Minister Garrett commended the important cultural launch events. Artists attending the events included Jean exchange between Australia and the United States of Baptiste Apuatimi, Daniel Boyd, Gordon Hookey, Ricky America which Culture Warriors represents, as well as the Maynard, Arthur Koo’ekka Pambegan Jr, Christopher

artonview summer 2009–10 13 (clockwise from top left) Christopher Pease with his New Water Dreaming, Wrong side of the Hay and Target at the media launch, 8 September 2009. Photograph: Jeff Watts, courtesy American University

Dennis Richardson AO, Australian Ambassador to the United States of America, at the media launch, 8 September 2009. Photograph: Jeff Watts, courtesy American University

Cameron McCarthy performing at the American University Museum at the Katzen Arts Center, 10 Septemebr 2009. Image courtesy Geoff Chesman, ImagelinkPhoto

The Hon Peter Garrett AM, MP, Minister for the Environment, Heritage and the Arts, at the official opening, 10 September 2009. Image courtesy Geoff Chesman, ImagelinkPhoto Pease, Christian Bumbarra Thompson and Judy Watson. Guests at the opening were moved by Jean Baptiste Apuatimi’s performance of her ceremonial Buffalo Dance in front of her paintings, which she repeated for members of the public on the afternoon of Saturday 12 September, along with talks by artist Ricky Maynard and exhibition curator Brenda L Croft and a performance by Christian Bumbarra Thompson. AFNGA members were also specially honoured by a preview tour of the exhibition and a private luncheon at the residence of the Australian Ambassador Dennis J Richardson AO. After a quarter of a century of warm support from AFNGA, giving a special preview of a National Gallery of Australia exhibition on their home soil was a welcome opportunity. Rupert Myer AM, Chairman of the National Gallery of Australia, reminded audiences that ‘the promotion of our best art internationally and the development of new audiences for our own visual culture are significant elements of [the] National Gallery’s charter’. In Washington, Culture Warriors will enable an influential and discerning audience to experience the richness and diversity of contemporary Australian Indigenous art in a unique and powerful way. It will also open up fresh audiences for the artists’ work and create new and lasting partnerships for the National Gallery of Australia. A fascinating aspect of the tour of Culture Warriors to the United States of America has been the opportunity to expand on what Americans understand about Australian Indigenous art. The process of unpacking the many crates that the show travelled in was one of constant wonder for the American University Museum staff, each crate containing a surprise, a challenge or a new favourite. The Director of the American University Museum, Jack Rasmussen, was observed standing in front of Gordon Hookey’s Grog gott’im 2005, a large-scale and direct modern allegory of the affect of alcohol dependence on Indigenous communities. Rasmussen commented to a museum benefactor that the exhibition ‘wasn’t quite what we were expecting’. American museum-goers and collectors are very aware of the Central and Western Australian Indigenous Art Triennial: Culture Warriors is Jean Baptiste Apuatimi’s performance at the Desert schools of painting but it was a delight to watch the proudly supported by principal sponsor BHP Billiton, airline opening of Culture sponsor Qantas, and Australian Government sponsors Warriors in Washington, revelation of the vast diversity and extraordinary qualities of DC, 10 September 2009. contemporary Indigenous Australian art dawn on the faces the Department of Foreign Affairs and Trade, the Visual Image courtesy Geoff Chesman, ImagelinkPhoto of visitors to the museum. The response to the exhibition Arts and Craft Strategy/Visions of Australia/Contemporary to date has been overwhelmingly positive. One of the great Touring Initiative, the Australia Council for the Arts, strengths of Culture Warriors resides in its variety: some the Queensland Government through the Queensland works lull viewers with their allusions to tradition, others Indigenous Arts Marketing and Export Agency, the issue an overt challenge to audience expectations. All of Northern Territory Government, the Government of them in some way refute conventional understanding Western Australia’s Department of Culture and the Arts, of Indigenous Australian art yet contribute to a deeper and Arts Victoria. appreciation of Aboriginal and Torres Strait Islander history, Bronwyn Campbell culture and views. Assistant Manager, Travelling Exhibitions

artonview summer 2009–10 15 exhibition

Masterpieces from Paris Van Gogh, Gauguin, Cézanne and beyond

Post-Impressionism from the Musée d’Orsay 4 December 2009 – 5 April 2010 | Exhibition Galleries

Masterpieces from Paris brilliantly reveals how Post-Impressionism burst onto the cultural scene, in France and farther afield, at the end of the nineteenth century. Among the 112 paintings brought to Canberra this summer and autumn are some of the most heralded works of modern art, reproduced in art books, posters and postcards, and always sought after for loan by other museums. Normally, they are visited by millions of tourists in Paris every year in the cathedral of nineteenth-century art, the Musée d’Orsay. Visitors will see the ways new generations of artists competed with Impressionist and Salon painters, how the experimenters influenced each other, and how explosive was the arrival of modern art throughout Europe.

Paul Gauguin Portrait of the artist with ‘The yellow Christ’ 1890–91 oil on canvas 38 x 46 cm Musée d’Orsay, Paris purchased with the assistance of Philippe Meyer and patronage organised by the Nikkei newspaper, 1994 © RMN (Musée d’Orsay) / René-Gabriel Ojéda

Vincent van Gogh Eugène Boch or The poet 1888 oil on canvas 60 x 45 cm Musée d’Orsay, Paris bequest of Eugène Boch, through the Société des Amis du Louvre, 1941 © RMN (Musée d’Orsay) / Hervé Lewandowski

16 national gallery of australia artonview summer 2009–10 17

In Masterpieces from Paris, the most famous and crisis of Impressionism include venturing beyond observed Georges Seurat Model standing, facing influential painters are represented by many works: reality to what the contemporary critic Octave Mirbeau the front or Study for Vincent van Gogh by seven, Paul Gauguin by nine, identified as Monet’s genius; this was the artist’s ability to ‘The models’ 1886 oil on wood panel Paul Cézanne by eight, and Georges Seurat by eleven. extract from a particular place ‘at a glance, the essence 26 x 15.7 cm Paintings by van Gogh, Gauguin and Seurat have been of form and colour and, I would also say, of intellectual life, Musée d’Orsay, Paris gift of Philippe Meyer, 2000 seen in Australia only rarely, and never in this depth of thought … from this supreme moment of concentrated © RMN (Musée d’Orsay) / Michèle Bellot nor represented by such high-quality examples of their harmony, where dream becomes reality’. Such genius art. There are also many paintings by Emile Bernard is made manifest in London, Parliament: sun through Model from the front 1887 (five), Pierre Bonnard (nine), Maurice Denis (ten), Claude the fog 1904. oil on wood panel Monet (five) and Edouard Vuillard (eight), among others. A grand canvas by Seurat, A Sunday afternoon on the 25 x 16 cm Musée d’Orsay, Paris Works by these artists announced a break with island of La Grande Jatte 1884–86 was shown in the 1886 purchased ex Félix Fénéon collection, 1947 Impressionist exhibition, and with it the Neo-Impressionist Impressionism, the revolutionary movement that took place © RMN (Musée d’Orsay) / Hervé Lewandowski in France in the second half of the nineteenth century. By artist transformed the nature of Impressionism. Two studies the 1880s, however, artists were experimenting with even for the painting can be seen in Masterpieces from Paris. (opposite) Instead of the Impressionists’ concentration on momentary Claude Monet more radical ideas, and their art is now classified under London, Parliament: sun the general heading of Post-Impressionism. Here we can effects of light, Seurat and his followers—Paul Signac, through the fog 1904 oil on canvas Théo van Rysselberghe, Henri-Edmond Cross and others— see such movements as Pointillism, Neo-Impressionism, 81 x 92 cm devised a science of colour. Their theories depended on Musée d’Orsay, Paris Synthetism, Symbolism, the School of Pont-Aven and bequest of Count Isaac de the Nabis. complementary hues—red and green, blue and orange, Camondo, 1911 yellow and violet—placed side by side in small marks. They © Musée d’Orsay, Dist RMN / The year 1886 marked the end of organised Patrice Schmidt Impressionism and the beginning of Post-Impressionism. also borrowed from other traditions, such as stained glass, The eighth and final Impressionist exhibition held that year cloisonné and Japanese woodblock prints, for example. was the end of an era and the triumphant announcement Neo-Impressionist painters, also known as Divisionists of a new one. Monet’s responses to what he saw as the and Pointillists, lit up their canvases with strokes or dots

artonview summer 2009–10 19 of pure colour laid side by side on light grounds. These dots or dashes combine in a viewer’s eye, blending and creating new effects as we perceive them. In Seurat’s Model from the front 1887, the nude’s shimmering pearlescent flesh is composed of white, pale orange, brown and blue paintstrokes. Similarly, in Cross’s all-but-anonymous study of his wife combing her hair, her wavy brown tresses are made of circular dots of orange and green and purple, among other colours. The rebel Cézanne, born a year before Monet, and participant in two Impressionist exhibitions, became the overarching Post-Impressionist artist, influencing almost all modern artists of the following generations. Cézanne was awkward, touchy and misanthropic in his character, but he was also bold and experimental, even audacious, in his work. He was a master of still life, and Kitchen table 1888–90 fulfils his own prophecy: ‘I shall astonish Paris with an apple!’ Gauguin looked at Cézanne for his vibrant Still-life with fan c 1889, using similar to render the fruit and displaying some of the fictional space in which the objects float. Gauguin owned several paintings by Cézanne, thus increasing the circulation of knowledge about the reclusive artist. Van Gogh’s great adventure with the drama of colour can be seen in his portrait Eugène Boch 1888. The work depicts his fellow artist and dreamer as ‘The poet’, which the painting was also titled. Van Gogh wrote to his brother Theo in September 1888 that he wanted to paint men and women with ‘something of the eternal which the halo used to symbolise’. For the portrait of Boch, he chooses a yellow- gold for the figure and a deep, rich blue as the ground, and replaces the conventional halo with stars, invoking a limitless celestial night sky. In his Portrait of the artist with ‘The yellow Christ’ 1890–91, Gauguin presents one of the most interesting and striking images of the artist as martyr. He portrays Bois d’Amour on the bank of the Aven River. He inquired: Emile Bernard himself three times: the central image as a brilliant man The harvest (Breton landscape) ‘How do you see these trees? They are yellow. Well, then, 1888 misunderstood by society, flanked by his painting of the apply some yellow. That bluish shadow, paint it with pure oil on wood panel suffering Christ and his distorted ceramic self-portrait, a 56.5 x 45 cm ultramarine blue. These red leaves? Try vermilion …’ The Musée d’Orsay, Paris radical self-realisation. The painting stands as a testament purchased 1965 resulting small painting, The Aven at the Bois d’Amour to the future, when the world would understand Gauguin’s © RMN (Musée d’Orsay) / Jean-Gilles 1888, was taken back to Paris to the Académie Julian. It Berizzi, © Emile Bernard. ADAGP/ genius and regret the lack of appreciation and success in Represented by Viscopy, 2009 was a revelation to the young painters there, especially his lifetime. It was made in Pont-Aven in Brittany, where (opposite) Bonnard, Denis, Paul Ranson and Vuillard, who were shortly Bernard met Gauguin for the second time in 1888. Artists Paul Cézanne to form the artists’ group called the Nabis, perhaps because Kitchen table (Still-life with sought renewal in the remote province, perceiving it to be a basket) 1888–90 of this painting. The work was nicknamed ‘The talisman’: oil on canvas magical Celtic realm of mysticism and pre-urban innocence. 65 x 80 cm Breton subjects, often traditionally dressed peasants in a that is, a secret and magical object. Gauguin’s instructions to Musée d’Orsay, Paris bequest of Auguste Pellerin, 1929 rural Arcadia, yet allowed original pictorial solutions such Sérusier, to intensify colour and simplify forms, led to short, © RMN (Musée d’Orsay) / Hervé Lewandowski as those Bernard devised in The harvest 1888. Striking square vertical brushstrokes, lengthened and continued as diagonal fields of colour, arbitrary divisions of the canvas flat patches of colour. The panel is now famous, regarded Paul Gauguin Still-life with fan c 1889 and denial of conventional perspective are some of the as the earliest forerunner of abstraction, although it was oil on canvas tactics the painter employed. not exhibited during the artist’s lifetime. 50 x 61 cm Musée d’Orsay, Paris It was also in Pont-Aven, in October 1888, that Gauguin As well as the rich colour and exotic themes of van transferred in application of the Peace Treaty with Japan, 1959 gave the student Paul Sérusier a painting lesson in the Gogh, Gauguin and the School of Pont-Aven, strongly © RMN (Musée d’Orsay) / Hervé Lewandowski

artonview summer 2009–10 21 22 national gallery of australia Symbolist elements can be traced through paintings A surprising and disruptive final note is sounded by Henri Rousseau War c 1894 by Gustave Moreau, Odilon Redon and Pierre Puvis de Henri Rousseau’s grand painting War c 1894. With its oil on canvas Chavannes. More intimate are the jewel-like domestic emotive and critical subject and flat application of paint 114 x 195 cm Musée d’Orsay, Paris interiors and figures by the Nabis painters, especially to two-dimensional shapes, War is different in its pictorial purchased 1946 © RMN (Musée d’Orsay) / All Bonnard, Denis, Sérusier and Vuillard. Portraits of friends language from other Post-Impressionist works. But rank rights reserved and family members, nude studies and schemes to outsiders always exist in any field of endeavour, and the (opposite) decorate rooms were common subjects. The Nabis, who artist brilliantly communicates his message of death and Maurice Denis named themselves after the Hebrew and Arabic words despair. Essentially modern elements—experiment, flatness, The Muses 1893 oil on canvas for ‘prophet’, were inhabitants of the city and rarely shock—are part of Rousseau’s vocabulary. As the painter 171.5 x 137.5 cm Musée d’Orsay, Paris ventured into rural France. Félix Vallotton paints a bird’s stated to in 1908: ‘we are the two greatest purchased 1932 eye view of a little boy playing in the park, The ball 1899, painters of the era, you in the Egyptian genre, I in the © RMN (Musée d’Orsay) / Hervé Lewandowski, © which communicates the quintessential experience of modern genre’. Maurice Denis. ADAGP/ Represented by Viscopy, 2009 a lone child in an urban park, watched over from afar The various Post-Impressionist aesthetic adventures, by two women. it becomes clear, were the basis for the development of Part of the Nabis project was an attempt to expand Fauvism, , Expressionism, and even Abstraction into their art from easel painting to include large wall paintings, the twentieth century. When we look at these paintings by screens, posters and the decorative arts. The exhibition van Gogh, Seurat, Gauguin, Denis, Cézanne and others— contains large decorative panels by Nabis artists, especially their bold colours, new theories, novel designs and complex examples by Vuillard, Bonnard and Denis. The Muses 1893 geometries—we experience the vibrant, changing world of shows Denis’s successful intertwining of outlined figures— the Post-Impressionists. the nine (or is it ten?) female figures symbolising the arts. Christine Dixon Forms are outlined with sinuous lines, pinks and browns Senior Curator, International Painting and Sculpture contrast with greens and blacks, while beautiful patterns The book Masterpieces from Paris, published in conjunction decorate the whole. The floor of the forest would make a with the exhibition, is available at the NGA Shop for $39.95 wonderful carpet! and at selected bookstores nationally for RRP $49.95.

artonview summer 2009–10 23 exhibition

Celebrating two outstanding sculptors Bert Flugelman and Inge King

an abstract way of working. Among the inspirational sculptors for her in the 1940s was Henry Moore but it was really the time that King spent in New York in 1949 and 1950 that provided a turning point. ‘Just being in New York was fantastic after the dreariness of the war years in Europe. I saw Mark Rothko, Barnett Newman and Jackson Pollock. I became infatuated by Abstract Expressionism.’ In relation to her own work, she became deeply interested in steel sculpture, which was just starting to develop. Inge King recalled in her talk that, although she had received a scholarship to go to America, her Australian- born husband, the renowned printmaker Grahame King, was not able to get a working visa. When she arrived in Australia in 1951 it was something of a shock to the system: ‘It was a bit like a can of flat beer’. She was nevertheless committed to making the most of her new life. ‘It was a new country for me and I really did want to make a go of it. I also had a very supportive husband.’ Sculpture was her chosen path, but it was not until the Inge King discussing her Over the autumn and winter months the National Gallery 1960s that she was able to dedicate herself to her work. practice and her work Wandering angel in the of Australia hosted ‘a season of sculpture’, with numerous Once she started again, King found the landscape was exhibition Reinventions. artists presenting lively and informative talks about a key source of inspiration. ‘It was really the Australian their works. Among the most memorable presentations landscape that fired my imagination ... It is a difficult were those given by two of Australia’s renowned senior landscape. No matter how large your sculpture is, it doesn’t sculptors, Inge King and Bert Flugelman. Both artists have mean anything. It can disappear. The only way to work with made major contributions to the art of this country. This the landscape is to make sculpture of great simplicity and is evident in their many public commissions that grace our clarity of form, expressing inner strength and high tension.’ cityscapes and gardens, including the National Gallery of This approach is evident in many of King’s mature Australia’s Sculpture Garden, and in their wider sculptural works, including her impressive Temple gate 1976–77 practice over several decades. in the Gallery’s Sculpture Garden. The work was in part Both King and Flugelman were born in Europe and both inspired by a visit the artist made to Japan in 1974, were adventurous exponents of contemporary art from especially the archways, known as Torii, in front of Shinto the 1950s. Born in in 1918, King described herself shrines. After the germination of the idea over two as ‘an ancient sculptor’. ‘My career has spanned the best years, King had evolved a dramatic sculpture in her own part of seventy years. So I’ve been fortunate.’ She recalled distinctive visual language. The work had come to the that she had a traditional training, just prior to the Second attention of the Gallery’s founding director, James Mollison, World War and on and off during the war years. Among who had seen it in an exhibition at Realities Gallery in the key works of this period, Warsaw 1943, in the Gallery’s Melbourne. Although Temple gate was not a commission, collection, was made around the time when the horrors it works remarkably well in its site in the Sculpture Garden. of the concentration camps were becoming more widely It has its own strong presence while at the same time known. interacting beautifully with the landscape through While this early work is overtly figurative, it was not the archway and through the open circle cut within a long before King’s works moved more emphatically towards circle above.

24 national gallery of australia There are some uncanny parallels between this with death—he was suffering from a terminal illness. Inge King Wandering angel 2000 My angels are an ode to life. Wings dominate in some, in monumental work and King’s much later smaller sculptures, welded bronze including Wandering angel 2000, acquired by the Gallery others they are part of the body jutting out into space. Some 140 x 65 x 60 cm are serious, others are humorous—the moor’s last laugh. National Gallery of Australia, in 2003. In this work the circle and wing-like forms recall Canberra the shapes in her earlier work. It was not until the 1980s Among the most striking aspects of the presentations by purchased 2003 that King had returned to working with the figure. Now, both King and Flugelman was their optimism and their Inge King ongoing engagement with their sculptural practice. At 90 Temple gate 1976–77 all these years after her European figurative sculptures, painted steel and her work was very much informed by her experience years of age King noted that her work is more optimistic aluminium 477 x 238 x 238 cm with abstraction over the years. This enabled her to be than it was earlier on; that when you have seen a lot, there National Gallery of Australia, increasingly inventive and to do things with the figure is an awareness of the importance of life and the need Canberra purchased 1977 that she had not done before. ‘I like to be spontaneous, to make the most of what you have. This is a sentiment and to do that I begin by working on a smaller scale.’ The shared by Bert Flugelman who, at 86, is still brimming with inspiration for Wandering angel and related works came ideas for his work. In recent years, the Gallery acquired from ’s drawings of angels. In King’s series of Double spiral 2007, which reveals Flugelman’s capacity to works around that theme there is a sense of liberation, of continue to create work that is dynamic and engaging; taking flight, an idea that had long interested her. As she said: precise in its geometry and inventive in its vital sense of movement and varied surface textures. Throughout my career I have been fascinated by flight. Born in Vienna in 1923, Flugelman came to Australia This fascination made me abandon carving wood and stone, for steel. Assemblage enabled me to let forms leap in 1938. In the ensuing years he experimented with a into the air and thrust out sideways … [to] balance large wide range of sculptural techniques. One of his favourite objects on small ones … or anchor shapes precariously mantras in his formative years as a sculptor was that he between two uprights (Temple Gate 1977) … found it ‘boring to be too consistent’. By the late 1960s, however, the restless experimentation abated and he began The inspiration for ‘Angels’ came from Paul Klee’s to focus on finding a visual language that worked for him. drawings done late in his life. His angels are preoccupied

artonview summer 2009–10 25 Bert Flugelman with Having experimented with aluminium and fibreglass, his work Cones in the Sculpture Garden, Flugelman soon found that he preferred stainless steel, May 2009 and he has worked with this medium ever since. As Bert Flugelman well as discussing many major commissions, Flugelman Double spiral with graffiti 2008 noted in his talk that he has from time to time enjoyed stainless steel challenging the boundaries of what constitutes a work of 85 x 107 x 85 cm National Gallery of Australia, art. A classic example of this was the burying of a large Canberra sculpture Tetrahedra, made in 1970 and laid to rest in purchased with the generous assistance of Village Roadshow Commonwealth Park in Canberra in 1975. Flugelman Limited, 2008 recalled that he was asked to make an earthwork by a former director of the Mildura Arts Centre, Tom McCullough, who was working as a curator on an art and science festival. ‘He asked if I would be interested in doing an earthwork. Quick as a flash I said, “Yes, of course”. He said, “We can let you have a bulldozer and a driver and Ultimately I find objects more exciting than ephemera. a site”.’ After some consideration Flugelman decided that This is a personal choice. I’m not legislating about what Tetrahedra, a work that had been on many journeys to you ought to like. There was so much going on that museums and sites around Australia, could be used. I had to somehow condense it … Anything was fair The process was undertaken with great care. game. I did performances and installations and ultimately As Flugelman recalled: I thought I had to pull it all together in some way. I thought, ‘I will start at the beginning’. I did this by using The bulldozer driver understood. After we had placed the simple, irreducible geometric solids … the pyramid, cube, six tetrahedra carefully in the trench, just as we would in a tetrahedron, cone, sphere and so on. I had an exhibition gallery, he gently filled in the trench making sure the work in 1972 where I made doubles of the spheres and cones, wasn’t disturbed and making good the landscape. There end to end. The geometric forms and the discipline within was nothing left except the curve of the hill and a sign geometry itself taught me that within those parameters with photographs of the work. you can be as inventive and creative as with anything else.

26 national gallery of australia Among the most fascinating images accompanying cones balancing on points and the other three held in Bert Flugelman Cones 1982 Flugelman’s talk were those of the making of Cones suspended animation, the work appears to defy gravity. polished stainless steel 1978–82 for the Gallery’s Sculpture Garden. These images Adding to this sense of dynamism, the stainless steel 450 x 2050 x 450 cm (overall) took the audience on a journey from the design and surface is continually changing with the altering reflections National Gallery of Australia, construction of an individual cone, through to the gradual of trees, ground, sky and the many people who visit and Canberra commissioned 1976, sanding and polishing of the seven main components to interact with the work. purchased 1982 attain an immaculate finish. He then showed how the Flugelman noted in his talk that for him Cones seven components needed cages built for them to travel embodies what he had always dreamed of for his public from Adelaide to Canberra and to be lifted into place. commissions; to create a work that is at once a source of Flugelman recalled: continual engagement and also something of permanence,

Work began on the commission in 1978 and it had to be that will outlast us all. Both Flugelman and King have finished in 1982, in time for the opening of the Gallery. achieved this in their works, and it was an honour to hear They were brought here from Adelaide on two enormous these senior artists discuss aspects of their remarkable low loaders and we had to arrange for a police escort … journeys into sculpture over the past decades. It was a major undertaking but we got them here in time Deborah Hart before the Gallery opened. Senior Curator, Australian Painting and Sculpture post 1920 It was remarkable to recall from the slides the nature of note the Sculpture Garden site, as image after image revealed All quotes from the artists in this article are from discussions with the author and recordings of their talks at the National Gallery of Australia: the magnificent Cones being installed in the then-bare Bert Flugelman in conversation with Deborah Hart for International landscape, flanked by imposing buildings, with an open Museums Day, 18 May 2009, and Inge King floortalk to coincide with the Reinventions: sculpture + assemblage exhibition, 30 June 2009. vista to the lake. It was fascinating to see the contrast of the original stark space with the established gardens today, and the way the work has settled into the site. Cones, stretching over more than 20 metres in length, is undoubtedly one of Flugelman’s most successful commissions. The precise clarity of the geometry is balanced by its dynamic movement. With four of the seven

artonview summer 2009–10 27 Kenneth Tyler Collection online

Kenneth Tyler (left) and To those unfamiliar with printmaking, its technical rooms as photo-mechanical techniques, the engineering of (right) discussing Lichtenstein’s processes can seem mysterious. Especially in the workshops kinetic sculptures, and the making of vast, colourful mixed- print Reflections on of master printer Kenneth Tyler, where 500-tonne media prints in three dimensions. Minerva, with paintings from the Reflections printing presses were housed alongside antique Bavarian The newly updated website for the Kenneth Tyler series in the background at the artist’s studio in stones; where staff in white overalls and rubber Collection gives visitors a unique, behind-the-scenes look Southampton, New York, boots sprayed paper pulp from moving platforms above at all these processes and more. Work began on the Tyler USA, 1989. Photograph: Jim McHugh works of art; and where traditional Japanese woodblock Collection website in 2003, and it was officially launched and papermaking methods were employed in the same in October 2009. The site features over 70 artists and

28 national gallery of australia Anni Albers . Josef Albers . John Altoon . Sam Amato . Ed Baynard . Per Inge Bjørlo . Stanley Boxer . Anthony Caro John Chamberlain . William Crutchfield . Allan D’Arcangelo . Ronald Davis . Willem De Kooning . Mark Di Suvero Kosso Eloul . Jules Engel . Sam Francis . Helen Frankenthaler . Alberto Giacometti . Joe Goode . Nancy Graves Richard Hamilton . Hardy Hanson . Michael Heizer . Al Held . David Hockney . Paul Jenkins . Jasper Johns . Donald Judd Ellsworth Kelly . Edward Kienholz . RB Kitaj . Piotr Kowalski . Nicholas Krushenick . Terence La Noue . Roy Lichtenstein Man Ray . Richard Meier . Joan Mitchell . Malcolm Morley . Robert Motherwell . Bruce Nauman . John Newman Kenneth Noland . Hugh O’Donnell . Claes Oldenburg . George (Earl) Ortman . Sam Posey . Kenneth Price . Patrick Procktor Joe Raffaele . Robert Rauschenberg . George Rickey . James Rosenquist . Edward Ruscha . David Salle . Arthur Secunda Maurice Sendak . Richard Serra . Ben Shahn . Alan Shields . Richard Smith . TL Solien . Keith Sonnier . Steven Sorman Frank Stella . Donald Sultan . Altoon Sultan . Rikio Takahashi . Masami Teraoka . Wayne Thiebaud . Gina Tomao Jack Tworkov . John Walker . Andy Warhol . Charles White . Robert Zakanitch presents an exciting visual history of printmakers working from 1963 to 2002. Prominent figures in twentieth-century American art, such as Josef Albers, Helen Frankenthaler, David Hockney, Jasper Johns, Roy Lichtenstein and Frank Stella, are included on the website. Some artists worked with Tyler over several decades while others, such as Andy Warhol and Donald Judd, collaborated with the printer on a one-off basis. One highlight of the website is an ever-expanding repository of over 3000 high-quality digital images of original works of art in the National Gallery of Australia’s collection. Experimental, abandoned and working proofs are incorporated where possible, to give the viewer an insight into the development of an image. Also available on the site are hundreds of rare candid photographs of artists at work in the different Tyler workshop locations, as well their own studios. Because candid photography is shot without the staged lighting, backdrops and poise of professional photographic portraits, it captures the action of the workshop in a spontaneous and unobtrusive way. The result is like a glimpse into a private photo album, and gives an understanding of the collaborative nature of the printmaking process, characterised by many complex, labour-intensive techniques—but also by happy accidents. This rare collection of photographs was compiled over decades by Ken and Marabeth Tyler and given exclusively to the National Gallery of Australia in 2002, where it will continue to be digitised and published online. The Tyler website also preserves rare 16-mm film and sound footage from these years that has been cleaned and copied in digital format to ensure access for future generations. In co-operation with the National Film and Sound Archive, this audiovisual material will be harnessed progressively to support future exhibitions. Roy Lichtenstein using an Along with material from the Tyler Film, Sound and electric handtool to carve Photography collection, the website showcases extensive the woodblock for the black printing of his Reflections artist and exhibition chronologies; a comprehensive on Conversation, Tyler Graphics workshop, Mount technical glossary; electronic access to original print Kisco, New York, 1990. prospectuses and publications; a virtual, three-dimensional Photograph: Jim McHugh user-navigated exhibition tour; and over 40 photographic Roy Lichtenstein carving essays that document the technical experimentation carried black woodblock element for his print Reflections on out in the Tyler workshops. The Scream, with a detail Online visitors are invited to view this site—which has of cartoon character baby Swee’pea, Tyler Graphics Ltd been developed by Andrew Powrie, the Gallery’s online artists studio, Mount Kisco, New York, 1989. manager—and to take a dynamic journey through the Photograph: Kenneth Tyler decades-long creative collaboration behind some of the (opposite) most iconic images of twentieth-century American art. Roy Lichtenstein uses a hand gouge to carve the Gwen Horsfield woodblock for his print Curatorial Assistant, Kenneth Tyler Collection Reflections on Crash, Tyler Graphics Ltd artists studio, View the Kenneth Tyler Collection website at nga.gov.au/tyler. Mount Kisco, New York, 1989. Photograph: Jim McHugh

artonview summer 2009–10 31 acquisition

J Miller Marshall Fossicking for gold

English-born landscape artist J Miller Marshall arrived in Australia in the late 1880s. It appears that he was initially drawn to Victoria in search of gold but stayed for the art. Miller Marshall had returned to England by the mid 1890s and may have taken with him a number of works painted in Australia. Fossicking for gold c 1893 is a rare oil painting from Miller Marshall’s time in Australia. It depicts a scene at the Creswick goldfields near Ballarat in Victoria and is from a period when a second large discovery of gold attracted many fossickers into the area. Fossickers were miners who searched through mined earth for any remaining gold and, in this painting, Miller Marshall portrays two fossickers at rest. One miner is standing with his shovel astride his shoulder, while the other is seated smoking a pipe; positioned beside him is the conspicuously empty gold pan. While it is probable that the figures in Miller Marshall’s painting were based on models, he has successfully conveyed a sense of a momentary break from the hard work of labouring in the blistering heat of an Australian summer’s day. Miller Marshall’s response to the colours and qualities of the Australian light and landscape reveal a glowing yet heavily mined earth, coloured with rich yellows and ochres. And the roughly textured bark of the two gum trees and scattered rocks in the foreground are rendered in shades of smoky blues, pinks and greens. For several weeks in January of 1893, Miller Marshall and fellow artist Walter Withers ran plein-air painting classes at Creswick. It is likely that Miller Marshall and Withers worked side by side at this time, with Withers painting a strikingly similar work, Fossickers 1893. This work is also held by the National Gallery of Australia and the comparison of the two paintings yields insights into the differences between the artists’ handling of paint and approach to composition.

J Miller Marshall Fossicking for gold 1893 oil on canvas 54.5 x 39 cm National Gallery of Australia, Canberra gift of Jenny, David and Melissa Manton in memory of Jack Manton, 2009

32 national gallery of australia In addition, a third, unsigned work depicting the very Norwich-based artist Peter Paul Marshall (1830–1900). Walter Withers Fossickers 1893 same scene is held in the collection of the Castlemaine Miller Marshall is most recognised for his watercolours but oil on canvas Art Gallery and Historical Museum. This work, also titled was also proficient in oil painting. He had a number of paintings 67.7 x 49 cm National Gallery of Australia, Fossicking for gold 1893, was previously attributed to Miller selected for exhibition at the Royal Academy in London. Canberra Marshall; however, it is now believed that this work may Miller Marshall’s Fossicking for gold was recently gifted gift of Mrs Alec de Bretteville, 1969 have been painted by Percy Lindsay. A member of the to the national collection by Jenny, David and Melissa Percy Lindsay (attributed) well-known Lindsay family, Percy grew up in Creswick and Manton in memory of the late Jack Manton. This painting Fossicking for gold 1893 is celebrated for his paintings of the surrounding area. is currently on public display at the National Gallery of oil on canvas 45.5 x 34 cm He and his brother Lionel were among the students who Australia, alongside the unsigned Fossicking for gold, on Castlemaine Art Gallery and Miller Marshall and Withers taught in the summer of 1893. loan from Castlemaine Art Gallery and Historical Museum, Historical Museum purchased as a tribute to Little is known about Miller Marshall except that he was and the Gallery’s Fossickers by Walter Withers. Miss BK Leviny, 2007 a founding member of the Norwich Art Circle from 1885 Miriam Kelly until 1904 and was one of five children; his father was the Assistant Curator, Australian Painting and Sculpture

artonview summer 2009–10 33 acquisition

John Skinner Prout Break of Day Plains, Tasmania and The River Barwon, Victoria

John Skinner Prout Australia Illustrated was the most popular illustrated book In December 1845, the club set out from Hobart Town Break of Day Plains, Tasmania c 1845 produced during the period of colonial expansion in the on an excursion up the east coast of Van Dieman’s Land watercolour late nineteenth century and was a clear demonstration to St Mary’s Pass, the Fingal Valley and Launceston. Painted 26 x 38 cm National Gallery of Australia, of Australia’s developing nationhood. Intended as a during this trip, Prout’s wonderfully fresh watercolour Canberra comprehensive survey of the southern colonies, the Break of Day Plains, Tasmania features a pastoral staffage purchased 2009 volumes were published in England between 1873 in the foreground, heightened with body colour, opening

The River Barwon, Victoria and 1876 by Edwin Carton Booth and were adorned with out to the wide expanse of the Mt Nicholas Ranges and c 1847 steel engravings of landscape views by John Skinner Prout the South Esk River. This view across the valley displays watercolour 27.2 x 37.8 cm and Nicholas Chevalier. Prout’s facility with the watercolour medium. He excelled in National Gallery of Australia, English watercolourist and drawing master John this technique, favouring rapid sketches rather than highly Canberra purchased 2009 Skinner Prout was born in 1805 in Plymouth, Devon, and finished paintings, which resulted in a number of small worked in Australia from 1840 to 1848. On returning to atmospheric works. London he took with him a number of sketchbooks and Accompanied by Francis Simpkinson, in mid December many of his Australian watercolours, which later featured 1846, Prout travelled to Port Phillip to paint and sketch in Australia Illustrated. The recently acquired Break of Day Melbourne and its surrounds for the lithographic folio Plains, Tasmania c 1845 and The River Barwon, Victoria Views of Melbourne and Geelong. By early January, the c 1847 were both subjects of engravings by E Brandard, artists had moved on to Tallarook and Goulburn Valley, accompanying chapters on Tasmania and Victoria returning to Melbourne via Geelong and the Barwon respectively. Valley. In the deftly painted The Barwon River, Victoria, After sketching Sydney and its environs for over Prout has positioned a couple in the foreground, looking three years, Prout moved to Hobart Town, Van Dieman’s out over the river towards a homestead nestled in a rural Land, in 1844, where he gained recognition as one of landscape. This quiet impression of everyday life is further the most progressive artists working in the colony. He emphasised by the inclusion of two men fishing off a punt was instrumental in arranging the first art exhibitions on the river and the haze of smoke from the emerging in Australia in 1845 and 1846, delivered a number of settlement of Geelong in the distance. Rather than the subscription lectures on painting, and was a stimulating more precise topographical views of Simpkinson, the largely influence on amateur artists through the sketching clubs self-trained Prout preferred a lyrical vision of the landscape, he formed. championing the right of the artist to interpret freely rather Prout explored the rural and urban landscapes of than merely imitate. Capturing the valley’s cool light, Hobart from May to December 1844, working on material The Barwon River, Victoria is among the earliest depictions for the lithographs that appeared in volume one of of the region and certainly the earliest in the National Tasmania Illustrated. It was during this period that Prout Gallery of Australia’s collection. became the centre of an extensive amateur sketching These two lively sketches depict a significant aspect culture based on the Bristol sketching club he had been a of Prout’s Australian oeuvre. Until now the National part of from 1832 to 1837. Following the principles of plein Gallery of Australia only held the highly finished exhibition air painting, the Hobart Town club was formed in 1845 watercolour, Aborigine stalking—Willoughby Falls, New and included artists GTWB Boyes, Francis Simpkinson de South Wales c 1850, completed after the artist’s return to Wesselow, Louisa Anne Meredith, Ellen Burgess and Jeanie London in 1848. Louisa Stewart Dunn, Bishop Nixon, colonial treasurer Peter Emma Colton Gordon Fraser and architect William Porden Kay. Australian Prints and Drawings

34 national gallery of australia

acquisition

Mawalan Marika The Milky Way

Mawalan Marika One of the most important artists in the history of paintings. This became characteristic of much Yirrkala The Milky Way c 1965 natural earth pigments on bark painting, Mawalan Marika was born before the time art of the 1960s to the 1980s, and this bark is a classic eucalyptus bark of early European invasion into what is now the Arnhem example of that style. Marika taught bark painting to the 177.5 x 63.5 cm National Gallery of Australia, Land region. He lived in country near Yirrkala in north-east boys at the mission school and, in 1963, lived and worked Canberra Arnhem Land, roughly 700 kilometres east of Darwin, for two months in Sydney—he was one the first Yolngu purchased 2009 which has approximately 25 homeland centres within a to travel that far south. He also played an important role 200-kilometre radius. The area itself is known as the Miwatj in encouraging Yolngu women to paint at a time when region, which means ‘morning side’, and refers to the fact women were not allowed to produce sacred paintings. that it is the most eastern part of the Top End of Australia. Marika was an influential figure at the head of one Marika was a senior religious leader, not only of the of the most important artistic families to emerge from Rirratjingu clan but also of the Dhuwa moiety, as well Yirrkala to date. His brothers Mathaman and Dadaynga as a warrior, songman and dancer. ‘Roy’ Marika, son , daughters Dhuwarrwarr In 1935, the Methodist Overseas Mission sought to and and brother-in-law Mungurrawuy establish a mission station at Yirrkala on Rirratjingu land. Yunupingu are all celebrated artists. Although he was strongly protective of traditional culture This bark painting by Marika depicts Baru the crocodile, and the Yolngu way of life, Mawalan supported the an important creation ancestor for the Yolngu people. missionaries and assisted in clearing the land for a school, The black vertical strip on the bark denotes the Milky Way, houses, roads and the mission farm. which is regarded by many northern Aboriginal people Politically, he was a key figure in several historic as a river in the night sky, teeming with fish and other negotiations between the Yolngu people and the outside creatures. The origins of the creation of the Milky Way community. From the 1940s, Marika assisted the Australian vary from group to group. According to the chronicles anthropologists Charles P Mountford and Ronald and of the Rirratjingu and related Dhuwa clans, two brothers Catherine Berndt with their research into Yolngu culture were fishing in their bark canoe when it capsized in a and society and, in the late 1950s, he was commissioned strong wind. One brother’s body washed up on shore; the by Tony Tuckson and Stuart Scougall to make large bark other’s sank. The crocodile Baru went looking for food and paintings for the Art Gallery of New South Wales. In 1962, smelled the body of the brother on the beach. The two he played a leading role in producing painted panels brothers and Baru then ascended into the night sky and on Yolngu religious themes, which were installed in the became constellations. A group of Possum ancestors who Yirrkala Church, contributing to the regional reconciliation were conducting a ceremony—playing didgeridoo and of two very different cultures—the English and the Yolngu. clap sticks while women danced—saw the stars and they In 1963, Marika was one of the signatories of the famous too ascended into the heavens. The ancestral Native Cat, Yirrkala Bark Petitions presented to Parliament to protest the submerged canoe and the Scorpion, who was once a the Commonwealth’s granting of mining rights. The historic man, also joined the others in the night sky. All became petitions were not only the first traditional documents constellations. Two bags of stars projecting from the Milky prepared by that were formally Way in the upper left represent Djulpan, the belt of Orion: recognised by the Australian Parliament but they were also the triangular bag is male, the elliptical one female. the first recognised native title claim. This work by Mawalan Marika will be a feature work in Mawalan Marika was significant in establishing the the new Indigenous Australian galleries that open next year bark painting tradition of the Top End. He led the way as part of the Stage 1 building project. in producing traditional paintings on bark for sale to Chantelle Woods outsiders and, with Narritjin Maymurru and Mungurrawuy Assistant Curator, Aboriginal and Torres Strait Islander Art Yunupingu, they developed a narrative approach for their

36 national gallery of australia

acquisition

Devare & Co Prince Yeshwant Rao Holkar and his sister Manorama Raje

Devare & Co This graceful portrait of Prince Yeshwant, the eldest child of Ray take his first honeymoon photographs in Paris with Gopinath Devare photographer HH Maharaja Tukoji Rao 3rd of the Maratha state of Indore Maharani Sanyogit Devi Holkar. As soon as he was installed Prince Yeshwant Rao in Central India, and his younger sister Manorama Raje is as ruler in 1930, Maharaja Yeshwant commissioned Holkar and his sister Manorama Raje c 1918 an outstanding example of the distinctive genre of hand- Eckart Muthesius, a young German architect, to build watercolour on gelatin silver photograph coloured royal portrait photography popular in India in the a new palace outside Indore. Called Manik Bagh (Jewel 36.7 x 26.6 cm early to mid twentieth century. The subtle colouring gives Gardens) the palace had white streamlined international- National Gallery of Australia, Canberra substance and life to the rich silks and satin garments worn style architecture and was filled with modernist designer purchased 2009 by the young royals. The photograph was taken by court furniture and works of art, including a number of pieces photographer Gopinath Devare, most likely at his studio in by the Romanian sculptor Constantin Brancusi. Bombay and perhaps prior to the prince going to Cheam In 1936, the Maharaja purchased three late versions School in England in 1920. of Brancusi’s Bird in space—one in black marble, one in The Holkar children’s portrait is more complex than the white marble and one in bronze—and commissioned the standard royal portrait pose of a figure leaning up against artist to design a ‘temple of meditation’ to house them in a plinth or seated at a table. Prince Yeshwant and sister the palace grounds. Brancusi had various designs, including Manorama appear, instead, as if the photographer had ones with a reflective water pool, and travelled to Indore come upon them in the corner of an English-style drawing in 1937 to begin work. By then, however, the Maharaja room. The foreign setting might seem odd for a portrait had apparently lost interest—he was possibly mourning of Indian royalty but European antiques were fashionable for the death of the Maharani—and the work on the in the country’s palaces and photography studios; Indian temple of meditation never began. The Maharaja’s pair photographers also adopted poses, props and backdrops of marble ‘birds’ now reside in a different ‘temple of from imported European portrait photographs. The meditation’, inside the National Gallery of Australia. inspiration for the setting was most likely the relaxed They were acquired from the Maharaja’s daughter in 1973. ‘at home’ style of the aristocratic portraiture known as a The Gallery’s display of the two stunning sculptures reflects ‘conversazione’, or conversation piece, which was in vogue some of Brancusi’s ideas for their installation in the Indore in Europe in the eighteenth and nineteenth centuries. Royal palace garden. Prince Yeshwant acceded as Rao Holkar Bahadur, Gopinath Devare became official photographer of all 14th Maharaja of Indore in 1926, but only assumed rule Indian States, and he and his associates at Devare & Co from 1930, after further Western education in England. were active as photographers of the Imperial Durbar in He remained ruler of Indore until Indian Independence in 1911. Devare was reputedly the first Indian to be awarded 1947—Indore was then subsumed into the state of Madhya Fellowship of the Royal Society of Photography in London. Pradesh. After his schooling, the prince developed a dislike He travelled to Indore in May 1930 to record the prince’s of the British, although he maintained an appreciation for investiture—the commemorative album opens with a tinted other parts of Europe and later enjoyed American culture. studio portrait of Yeshwant in the same delicate style as His second and third wives were American. his earlier portrait. This high quality work by a twentieth-century Indian Gael Newton photographer is important to the Gallery’s representation Senior Curator, Photography of the history of photography in Asia and has connections to other areas of the collection. Maharaja Yeshwant was an enthusiast for modern European art, furniture and architecture and had avant-garde photographer Man

38 national gallery of australia acquisition

Walter Burley Griffin Desk chair for Newman College

The architect Walter Burley Griffin was born near Chicago in 1876. He graduated in architecture from the University of Illinois in 1899 and worked in the office of eminent Chicago architect Frank Lloyd Wright from 1901 to 1906 before establishing his own practice in Chicago. Stirred by the Federation movement in Australia, Griffin developed an interest in town planning, and he entered and won the 1912 competition for the design of the new federal capital city of Australia, Canberra. He relocated to Australia in 1914 to work on this project and later to run his own architectural practice in Melbourne and Sydney. He left Australia in 1935 to work in India, where he died in 1937. This chair is part of the furniture from Griffin’s second largest project in Australia, the University of Melbourne’s Newman College, which he designed in 1915. The building’s character—an amalgam of meso-American and southern European Gothic styles—was expressed through strong, modern geometric detailing in stone and wood. It was reflected in the plain, angular suites of furniture designed by Griffin to provide a calm and integrated environment for research and study. Several firms produced this range of furniture for the project, using unadorned Japanese oak with minimal plain brown leather upholstery in the manner of American Arts and Crafts furniture of the period. This swivelling and tilting office chair was produced by Melbourne church furniture specialists Fallshaw and Sons (established in 1875). The chair’s uncompromising form and functionality are rare qualities in Australian design of the period. Its flat planes and slanted design elements reveal a debt to Frank Lloyd Wright’s 1903 designs for office and library furniture, while its dynamic angles show similarities in approach to Czech Cubist furniture designs of 1912–14. In synthesising such diverse Walter Burley Griffin influences, Griffin produced a suite of furniture unique Desk chair for Newman College 1917 in Australian design. Japanese oak, steel, iron, leatherette Robert Bell 104 x 59 x 60 cm Senior Curator, Decorative Arts and Design National Gallery of Australia, Canberra purchased 2009

40 national gallery of australia acquisition

Erich Heckel White horses

Erich Heckel, EL Kirchner, Fritz Bleyl and Karl Schmidt- Rottluff were the founding members of the German Expressionist group Die Brücke (The Bridge). From 1905, Die Brücke were determined to break new ground in German art by rejecting academic conventions and adopting the striking imagery and techniques that they observed in the work of African and Pacific cultures. The group radically revitalised the Germanic printmaking tradition and their works stand today as some of the most important print works ever produced. Heckel created White horses (Weisse Pferde) in 1912, a year after Die Brücke moved from Dresden to Berlin. The relocation to a large city caused a dramatic change in Heckel’s work as the artist reacted to the metropolis by producing works that were introspective and melancholy. In contrast, White horses depicts a combination of animals and figures within an Arcadian landscape, giving the scene a lyrical tone that is markedly divergent from the artist’s other figurative works. The woodcut shows two men leading two white horses along a path. As they near a junction, a third figure walks towards them. Heckel’s treatment of the landscape is masterly: three trees bend towards the right side of the image, buffeted by a breeze that is evoked by a rough cutting of the wood. The irregular slope of the top edge of the woodblock is also harnessed by Heckel as a visual Erich Heckel White horses (Weisse Pferde) device to underscore this sense of energy and to heighten 1912 woodcut the anticipation; a meeting of the three figures is imminent. image 30 x 31 cm Perhaps the art historical events of 1912 are key to sheet 68 x 53.3 cm National Gallery of Australia, Canberra Heckel’s uncharacteristic choice of subject. It was during The Poynton Bequest, 2009 this year that Heckel met the leading artists of the Munich- based artists group Der Blaue Reiter (The Blue Rider), Franz Marc and Wassily Kandinsky. Marc, in particular, viewed the horse as a symbol of energy and strength and had adopted this motif as the major theme in his work. The unusual appearance of the horse in Heckel’s White horses, in combination with the meeting of three figures, can be interpreted as a momentary fusion of the ideas of two revolutionary artist groups: Der Blaue Reiter and Die Brücke.

Jaklyn Babington Assistant Curator, International Prints and Drawings

artonview summer 2009–10 41 1 2

3 4 5

6 7 faces in view

1 Ita Buttrose and daughter-in-law Adrianne Macdonald, with The lime tree 1917, at the opening of McCubbin: Last Impressions 1907–17, 13 August 2009.

2 Larissa, Joanna and Kristiane Pang at the McCubbin opening.

3 Sir Michael Parkinson with JM Crossland’s Portrait of Nannultera, a young Poonindie cricketer 1854.

4 Performers portray iconic Post-Impressionist figures at the Gallery’s Big Draw event, 8 20 September 2009.

5 A young girl draws the garden outside as part of Big Draw, 20 September 2009.

6 Margaret Cerabona and Barbara Blake, with Bush sawyers 1910, at the McCubbin opening.

7 Tina Baum, Curator, Aboriginal and Torres Strait Islander Art, Carly Lane, Curator, Indigenous Art, Art Gallery of Western Australia, and Franchesca Cubillo, Senior Curator, Aboriginal and Torres Strait Islander Art, at the media preview for Emerging Elders, 1 October 2009.

8 Visitors of all ages participate in the many Big Draw activities at the Gallery, 20 September 2009.

9 9 Prime Minister Kevin Rudd at the World Presidents Organisation dinner at the Gallery on 22 October 2009.

10 Deborah Hart, Senior Curator, Australian Painting and Sculpture post-1920, interviews artist John Olsen in a public forum, 17 September 2009, in association with Big Draw.

10 Travelling exhibitions summer 2009–10I

Exhibition venues and dates may be subject to change. Please contact the Gallery or venue before your visit. For more information on travelling exhibitions, telephone (02) 6240 6525 or send an email to [email protected].

Frederick McCubbin McCubbin: Last Impressions 1907–17 The old slip, Williamstown 1915 Art Gallery of Western Australia, Perth, WA, private collection 11 December 2009 – 29 March 2010 Bendigo Art Gallery, Bendigo, Vic, 24 April – 25 July 2010 Discover Frederick McCubbin’s rarely displayed later works and experience his striking use of colour in the first McCubbin exhibition to be held in almost 20 years. See this iconic Australian artist in a new light as he depicted a modern Australia in cityscapes, sea views, landscapes and portraits. nga.gov.au/mccubbin Proudly sponsored by R.M.Williams, Exhibition Benefactor the Hon Mrs Ashley Dawson-Damer and Media Partner ABC Local Radio

Robert Dowling Robert Dowling: Tasmanian son of Empire Mrs Adolphus Sceales with Black Jimmie Queen Victoria Museum & Art Gallery, Launceston, Tas, on Merrang Station 6 March – 25 April 2010 1855–56 National Gallery of Australia, Robert Dowling holds a special place in the history of Australian art. He was the first Canberra artist to be trained in Australia and was renowned for his paintings of pastoralists purchased from the Founding Donor Fund 1984 and their properties, Indigenous people and biblical themes. This is the first major exhibition of his oeuvre, including his much-lauded orientalist subjects. nga.gov.au Supported by Visions of Australia, an Australian Government program supporting touring exhibitions by providing funding assistance for the development and touring of Australian cultural material across Australia. Also proudly supported by the National Gallery of Australia Council Exhibitions Fund.

Richard Bell Australian Indigenous Art Triennial: Culture Warriors Australian art it’s an Aboriginal thing 2006 American University Museum at the Katzen Arts Center, Washington, DC, TarraWarra Museum of USA, 8 September – 6 December 2009 Art Collection acquired 2006 Australian Indigenous Art Triennial: Culture Warriors presents the highly original and Image courtesy the artist and accomplished work of 30 Indigenous Australian artists from every state and territory. Milani Gallery Featuring outstanding works in a variety of media, the exhibition draws inspiration from the 40th anniversary of the 1967 Referendum (Aboriginals) and demonstrates the breadth and calibre of contemporary Indigenous art practice. nga.gov.au/aiat Proudly supported by principal sponsor BHP Billiton, airline sponsor Qantas, and Australian Government sponsors the Department of Foreign Affairs and Trade, the Visual Arts and Craft Strategy/Visions of Australia/ Contemporary Touring Initiative, the Australia Council for the Arts, the Queensland Government, the Northern Territory Government, the Government of Western Australia’s Department of Culture and the Arts and Arts Victoria.

The Elaine and Jim Wolfensohn Gift These suitcases thematically present a selection of art objects that may be borrowed free-of-charge for the enjoyment of children and adults in regional, remote and metropolitan centres. nga.gov.au/wolfensohn For further details and bookings telephone (02) 6240 6650 or email [email protected]/wolfensohn. Blue case: technology South East Arts, Bega, NSW, 8–26 February 2010 Country Arts SA, c/o Riddoch Art Gallery, Mt Gambier, SA, 3–31 March 2010 Red case: myths and rituals and Yellow case: form, space and design Arts Access Victoria (Melbourne), 15 February – 13 April 2010 1888 Melbourne Cup The National Gallery Tasmanian Museum and Art Gallery, Hobart, Tas, 9 March – 7 April 2010 of Australia Travelling Exhibitions Program is Emily O’Brien Hair chairs 2004, National Gallery of Australia, Canberra (in Blue case: technology) generously supported by Australian airExpress.

44 national gallery of australia Contemporary Visions of Touring Initiative Australia

A wide range of Australian collecting institutions and other A national touring exhibitions program making high quality organisations can apply for funding to develop and tour cultural exhibitions accessible to more Australians. contemporary Australian visual arts and craft exhibitions. Closing dates for funding applications: The program guidelines are now broader and we encourage eligible institutions and organisations to apply for funding. 1 April for projects commencing on or after 1 September that year.

Closing date: Check our website 1 September for projects commencing on or after 1 February the following year. The program guidelines and application form can be Program guidelines and applications forms can be obtained obtained from: www.arts.gov.au/visions from www.arts.gov.au/visions Email: [email protected] Email: [email protected] Phone: 02 6275 9519 Phone: 02 6275 9517

The Contemporary Touring Initiative aims to: Funding is available to assist eligible organisations to develop and tour exhibitions of Australian Cultural t FODPVSBHFXJEFSBVEJFODFBDDFTTUPDPOUFNQPSBSZ Material across Australia. Australian visual arts and craft; ‘Australian Cultural Material’ is material relevant to t QSPNPUFDPOUFNQPSBSZ"VTUSBMJBOWJTVBMBSUTBOEDSBGU Australian culture due to its historical, scientific, artistic through quality publications, education and public or Aboriginal and Torres Strait Islander significance which: programs and fora held as part of the touring exhibition; and t IBTBQSFEPNJOBOUMZ"VTUSBMJBOUIFNFPS t FODPVSBHFDVSBUPSJBMQBSUOFSTIJQTBOEDPMMBCPSBUJPO t JTCZGFBUVSFTQSFEPNJOBOUMZ"VTUSBMJBOBSUJTUTPS between funded organisations and collecting institutions. t JTGSPNBDPMMFDUJPOIFMECZBO"VTUSBMJBO organisation.

The Contemporary Touring Initiative is managed by the The Visions of Australia program is administered by the Australian Government’s Visions of Australia Program. Department of the Environment, Water, Heritage and the Arts.

Acknowledgements (clockwise from top left): Maringka Baker Anmangunga 2006 Synthetic polymer paint on canvas 136.5 x 202.5 cm. Courtesy of Art Gallery of South Australia. Featured in Culture Warriors: National Indigenous Art Triennial developed and toured by the National Gallery of Australia. © Maringka Baker | Mavis Ganambarr Basket 2006 (detail) Pandanus fibre, natural dyes, fibre string 48 x 38.2 cm (diameter). Photo: Peter Eve | Belinda Winkler Swell Slipcast ceramic vessels, dimensions variable. Photo: Phil Kuruvita | The Ngurrara Canvas painted by Ngurrara artists and claimants coordinated by Mangkaja Arts Resource Agency, May 1997, 10 x 8 m | Anne Zahalka The Bathers 1989 type C photograph 74 x 90 cm www.arts.gov.au/visions Pictureyourself in gourmetheaven!

Invite your friends and family to sample The Canberra award-winning wines, fresh regional produce region is a great and spectacular views at a vineyard cafe or restaurant in the stunning rural surrounds of destination for food the ACT. Grab a Canberra District Wineries and wine lovers Guide, tour some of the region’s best wineries and enjoy delicious food matched with cool climate wines — but be sure to leave plenty of room in your car for gourmet treats! For a copy of the Canberra Holiday Planner or the Canberra Gourmet Guide call 1300 554 114 or visitcanberra.com.au

46 national gallery of australia

artonview_summer_food.indd 1 15/10/2009 10:37:30 AM Pictureyourself in gourmetheaven!

Depuis 1849 Excellence et Indépendance

Proud supporter of the National Gallery of Australia and official French Champagne Partner of the Post Impressionist: Masterpieces from the Musée d’Orsay art exhibition.

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Invite your friends and family to sample The Canberra award-winning wines, fresh regional produce region is a great and spectacular views at a vineyard cafe or restaurant in the stunning rural surrounds of destination for food the ACT. Grab a Canberra District Wineries and wine lovers Guide, tour some of the region’s best wineries and enjoy %FBO)PNF EFUBJM 4UFQIFO5SFCJMDPDL +BNFT%BWJT EFUBJM +J$IFO delicious food matched with cool climate wines — but be sure to leave plenty of room in your car for gourmet treats! For a copy of the Canberra Holiday Planner or the Canberra Gourmet Paintbox Guide call 1300 554 114 or visitcanberra.com.au FINE ART -POTEBMF4USFFU$"/#&33""$55)PVSTBNQNEBJMZ XXXQBJOUCPYGJOFBSUDPN

artonview_summer_food.indd 1 15/10/2009 10:37:30 AM ;YELLOWTAIL=ISA PROUDSUPPORTEROFTHE .ATIONAL'ALLERYOF!USTRALIA

#ONTACT *OSEPH!NTOSZ  'LYN4HWAITES 

Create your own Masterpiece

Proudly sponsoring McCubbin: Last Impressions 1907-1917

www.rmwilliams.com.au 1800 339 532

B$UWRQ9LHZ6XPPHUBLQGG 30 artonview summer 2009–10 49 C•A•N•B•E•R•R•A

BARTON

MASTERPIECESMAST FROM PARIS Van Gogh, Gauguin, Cézanne & beyond POST-IMPRESSIONISM FROM THE MUSÉE D’ORSAY 4 DEC 2009 – 5 APR 2010 • CANBERRA ONLY

Vincent van Gogh Van Gogh’s bedroom at Arles 1889 Musée d’Orsay, Paris © RMN (Musée d’Orsay) /

Hervé Lewandowski The Brassey of Canberra

National Gallery of Australia Packageg $235.00 Per night. Extra night $192.00. Subject to availablity. Extra person $25.00. Includes Heritage room for two guests, full buffet breakfast for 2, two tickets to the Masterpieces from Paris exhibition at the National Gallery of Australia.

Belmore Gardens and Macquarie Street, Barton ACT 2600 Telephone: 02 6273 3766 Facsimile: 02 6273 2791 Toll Free Telephone: Email: [email protected] Web: http: //www.brassey.net.au 50 national gallery of australia Canberran Owned and Operated BE AT HOME WITH THE CANBERRA TIMES

The Canberra Times is the leading source for news, the arts and lifestyle and home to Canberra’s premier arts magazine, Panorama. Every week, The Canberra Times tantalises readers with the Food&Wine lift-out. Subscribe to The Canberra Times home delivery today for less than $5 per week. 17 weeks of 7-day home delivery for only $74.80*. Call 02 6280 2222 now to take advantage of the introductory offer to readers of artonview.

*Introductory offer valid only with credit card purchase and not available to existing subscribers

YOUR WORLD | YOUR CITY | YOUR NEWSPAPER 09-14623/1 Where are you staying?

Vincent van Gogh Starry night 1888 Musée d'Orsay, Paris © RMN (Musée d'Orsay) / Hervé Lewandowski

Conveniently close to both Manuka and Kingston shopping villages. Only three km from the National Gallery of Australia Packages available

KINGSTON

Call 1800 655 754 16 Eyre St Kingston [email protected] (02) 6239-9411 www.kingstonterrace.com.au BOOK NOW AND RECEIVE 15% OFF THE BEST AVAILABLE DAILY RATE. QUOTE " NGA" AT THE TIME OF BOOKING. CALL 02 6175 2222

www.diamant.com.au The Art of...

Storage

Seating

Tea Cypress Cabinet, Zhejiang province, China, late 1700s

On view at The Silk Road Gallery

Open 10 am to 4 pm every day 19 Kennedy Street, Kingston (10 mins walk from National Gallery of Australia) Porcelain Phone 6295 0192 www.silkroadgallery.com.au artonview summer 2009–10 53 GARRY SHEAD Young Prince 2003 Sold March 2006$204,000 (including buyer’s premium) ENTRIES INVITED Private collection, Sydney CONSIGNMENT OR GUARANTEE DEUTSCHER~MENZIES & LAWSON~MENZIES

SYDNEY MARCH 2010 MAJOR FINE ART AUCTION

For free, confidential appraisals by our art specialists please contact: Sydney 02 8344 5404 / Litsa Veldekis 0411 030 416 Melbourne 03 9832 8700 / Tim Abdallah 0411 079 252 WWW.MENZIESARTBRANDS.COM

Providing you with outstanding results for over a decade... MENZIESARTBRANDS INthe A USTRALIABallets 1936–1940Russes

4 DECEMBER 2009 – 5 APRIL 2010 CANBERRA ONLY

BEST WESTERN TALL TREES MOTEL 21 STEPHEN STREET AINSLIE BOOK NOW 02-62479200 NATIONAL GALLERY PACKAGE $190.00 This is a sensational package. Spend the night in one of our newly refurbished standard rooms enjoying Foxtel, high speed broadband access, mini bar and tea and coffee making facilities. Away from the noise of traffic, but still close enough to the centre of Canberra to really enjoy all Canberra has to offer. Then enjoy a scrumptious continental buffet style breakfast in our new breakfast bar looking out at the surrounding mountains. We will also provide 2 adult passes to The National Gallery of Australia’s current exhibition Masterpieces from Paris.

Vincent van Gogh Starry night (La nuit étoilée) 1888 oil on canvas Musée d’Orsay, Paris © RMN (Musée d’Orsay) / Hervé Lewandowski

artonview summer 2009–10 55 3 December 2009 – 5 May 2010 Love touches us all. Discover stories of love and longing in time of war. Explore the emotions felt by couples – the pain of separation, the grief of loss and the great joy of reunion. Free entry Open daily 10 am – 5 pm (Closed Christmas Day) www.awm.gov.au

FACING ASIA HISTORIES AND LEGACIES OF ASIAN STUDIO PHOTOGRAPHY

National Gallery of Australia, Canberra Saturday 21–Sunday 22 August 2010 A symposium on early Asian photographers and their studio practices and cross-cultural photographic exchanges in the Asia—Pacific region. Presented by the Research School of Humanities, Australian National University and the National Gallery of Australia. Call for papers Abstracts required by 24 February 2010. For details see rsh.anu.edu.au/events/2010/facingasia or contact Dr Luke Gartlan, University of St Andrews, e: [email protected], or Ms Gael Newton, National Gallery of Australia, e: [email protected] A shop like no other! From Friday 4 December, the National Gallery of Australia Shop will be filled with a range of gifts perfect for Christmas and beyond. Don’t miss out on treasures inspired by the Masterpieces from Paris exhibition and the sumptuous exhibition catalogue as well as a diverse range of fabulous books for adults and children. L_dY[djlWd=e]^ KVc

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6XXdg 6YkVciV\Z Eajh bZbWZgh gZXZ^kZ i]Z^g &% Y^hXdjci VcY Emerging Elders 6q8ajWbZbWZghl^aaZVgced^cihdcZVX]hiVn# honouring our senior Indigenous artists from the national collection 7dd`dca^cZVi WYYeh^ej[bi$Yec$Wk%WYj  VcYgZ[Zgiddjg  Until 14 June 2010 HJBB:GHE:8>6AeVX`V\Z#  CANBERRA ONLY NGA.GOV.AU 9Zh^\cZY[dgcVijgVaa^k^c\

KVa^Y)9ZXZbWZg'%%.id*6eg^a'%&%#HjW_ZXiidVkV^aVW^a^in#8dcY^i^dchVeean#7dd`^c\h VgZ eVnVWaZ Vi i^bZ d[ gZhZgkVi^dc VcY VgZ cdc"ZmX]Vc\ZVWaZ! cdc"gZ[jcYVWaZ VcY cdc"igVch[ZgVWaZ# 6aa gViZh VgZ eZg c^\]i [dg h^c\aZ! il^c dg YdjWaZ dXXjeVcXn ^c VhiVcYVgYgddb#GViZhVgZhjW_ZXiidX]Vc\ZVcYVgZWVhZYdcVa^b^iZYVaadXVi^dcd[ The National Gallery of Australia is an Australian Government Agency gddbhVcYhjW_ZXiidVkV^aVW^a^in#=diZahadXViZY^c8VcWZggV"KVa^Y[dghiVnhWdd`ZYdc National Gallery of Australia Shop | Parkes Place, Canberra ACT 2600 i]ZÈHjbbZgHeZX^VaÉgViZ[gdb)9ZXZbWZg'%%.id*6eg^a'%&%#>cXajYZhXdbea^bZciVgn WgZV`[Vhi[dgildeZdeaZVcY'm\ZcZgVaVYb^hh^dci^X`Zihidi]ZÈBVhiZge^ZXZh[gdb T (02) 6240 6420 | E [email protected] EVg^hÉZm]^W^i^dcVii]ZCVi^dcVa