1 AESCHYLUS. (By Gilbert Murray)
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Appendices 2011–12
Art GAllery of New South wAleS appendices 2011–12 Sponsorship 73 Philanthropy and bequests received 73 Art prizes, grants and scholarships 75 Gallery publications for sale 75 Visitor numbers 76 Exhibitions listing 77 Aged and disability access programs and services 78 Aboriginal and Torres Strait Islander programs and services 79 Multicultural policies and services plan 80 Electronic service delivery 81 Overseas travel 82 Collection – purchases 83 Collection – gifts 85 Collection – loans 88 Staff, volunteers and interns 94 Staff publications, presentations and related activities 96 Customer service delivery 101 Compliance reporting 101 Image details and credits 102 masterpieces from the Musée Grants received SPONSORSHIP National Picasso, Paris During 2011–12 the following funding was received: UBS Contemporary galleries program partner entity Project $ amount VisAsia Council of the Art Sponsors Gallery of New South Wales Nelson Meers foundation Barry Pearce curator emeritus project 75,000 as at 30 June 2012 Asian exhibition program partner CAf America Conservation work The flood in 44,292 the Darling 1890 by wC Piguenit ANZ Principal sponsor: Archibald, Japan foundation Contemporary Asia 2,273 wynne and Sulman Prizes 2012 President’s Council TOTAL 121,565 Avant Card Support sponsor: general Members of the President’s Council as at 30 June 2012 Bank of America Merill Lynch Conservation support for The flood Steven lowy AM, Westfield PHILANTHROPY AC; Kenneth r reed; Charles in the Darling 1890 by wC Piguenit Holdings, President & Denyse -
At the Western Front 1918 - 2018
SALIENT CONTEMPORARY ARTISTS AT THE WESTERN FRONT 1918 - 2018 100 years on Polygon Wood 2 SALIENT CONTEMPORARY ARTISTS AT THE WESTERN FRONT New England Regional Art Museum (NERAM), Armidale 23 March – 3 June 2018 www.neram.com.au Bathurst Regional Art Gallery 10 August – 7 October 2018 www.bathurstart.com.au Anzac Memorial, Sydney October 2018 – 17 February 2019 www.anzacmemorial.nsw.gov.au Bank Art Museum Moree 5 March – 29 April 2019 DEIRDRE BEAN www.bamm.org.au HARRIE FASHER PAUL FERMAN Muswellbrook Regional Arts Centre MICHELLE HISCOCK 11 May – 30 June 2019 ROSS LAURIE www.muswellbrookartscentre.com.au STEVE LOPES EUAN MACLEOD Tweed Regional Gallery 21 November 2019 – 16 February 2020 IAN MARR artgallery.tweed.nsw.gov.au IDRIS MURPHY AMANDA PENROSE HART LUKE SCIBERRAS Opposite page: (Front row, left to right) Wendy Sharpe, Harrie Fasher, Euan Macleod, Steve Lopes, Amanda Penrose Hart George Coates, Australian official war artist’s 1916-18, 1920, oil on canvas (Middle row, left to right) Ian Marr, Deirdre Bean, Ross Laurie, Michelle Hiscock, Luke Sciberras Australian War Memorial collection WENDY SHARPE (Back row, left to right) Paul Ferman, Idris Murphy 4 Salient 5 Crosses sitting on a pillbox, Polygon Wood Pillbox, Polygon Wood 6 Salient 7 The Hon. Don Harwin Minister for the Arts, NSW Parliament Standing on top of the hill outside the village of Mont St Quentin, which Australian troops took in a decisive battle, it is impossible not to be captivated From a population of fewer than 5 million, almost 417,000 Australian men by the beauty of the landscape, but also haunted by the suffering of those enlisted to fight in the Great War, with 60,000 killed and 156,000 wounded, who experienced this bloody turning point in the war. -
Magazine of the Families and Friends of the First AIF Inc
DIGGER “Dedicated to Digger Heritage” Above: The band of the 1st Australian Light Horse Regiment, taken just before embarkation in 1914. Those men marked with an ‘X’ were killed and those marked ‘O’ were wounded in the war. Photo courtesy of Roy Greatorex, the son of Trooper James Greatorex (later lieutenant, 1st LH Bde MG Squadron), second from right, back row. September 2018 No. 64 Magazine of the Families and Friends of the First AIF Inc Edited by Graeme Hosken ISSN 1834-8963 Families and Friends of the First AIF Inc Patron-in-Chief: His Excellency General the Honourable Sir Peter Cosgrove AK MC (Retd) Governor-General of the Commonwealth of Australia Founder and Patron-in-Memoriam: John Laffin Patrons-in-Memoriam: General Sir John Monash GCMG KCB VD and General Sir Harry Chauvel CGMG KCB President: Jim Munro ABN 67 473 829 552 Secretary: Graeme Hosken Trench talk Graeme Hosken. This issue A touching part of the FFFAIF tours of the Western Front is when Matt Smith leads a visit to High Tree Cemetery at Montbrehain, where some of the Diggers killed in the last battle fought by the AIF in the war are buried. In this issue, Evan Evans tells the story of this last action and considers whether it was necessary for the exhausted men of the AIF to take part. Andrew Pittaway describes how three soldiers had their burial places identified in Birr Cross Roads Cemetery, while Greg O’Reilly profiles a brave machine-gun officer. Just three of many interesting articles in our 64th edition of DIGGER. -
A Comparative Analysis of Artist Prints and Print Collecting at the Imperial War Museum and Australian War M
Bold Impressions: A Comparative Analysis of Artist Prints and Print Collecting at the Imperial War Museum and Australian War Memorial Alexandra Fae Walton A thesis submitted for the degree of Doctor of Philosophy of the Australian National University, June 2017. © Copyright by Alexandra Fae Walton, 2017 DECLARATION PAGE I declare that this thesis has been composed solely by myself and that it has not been submitted, in whole or in part, in any previous application for a degree. Except where stated otherwise by reference or acknowledgement, the work presented is entirely my own. Acknowledgements I was inspired to write about the two print collections while working in the Art Section at the Australian War Memorial. The many striking and varied prints in that collection made me wonder about their place in that museum – it being such a special yet conservative institution in the minds of many Australians. The prints themselves always sustained my interest in the topic, but I was also fortunate to have guidance and assistance from a number of people during my research, and to make new friends. Firstly, I would like to say thank you to my supervisors: Dr Peter Londey who gave such helpful advice on all my chapters, and who saw me through the final year of the PhD; Dr Kylie Message who guided and supported me for the bulk of the project; Dr Caroline Turner who gave excellent feedback on chapters and my final oral presentation; and also Dr Sarah Scott and Roger Butler who gave good advice from a prints perspective. Thank you to Professor Joan Beaumont, Professor Helen Ennis and Professor Diane Davis from the Australian National University (ANU) for making the time to discuss my thesis with me, and for their advice. -
Catalogue Price: $33.00 Important Information for Buyers
AUSTRALIAN BOOK AUCTIONS Monday 23 May, 2016, at 6.30 pm AUSTRALIAN BOOK AUCTIONS Tuesday 24 May, 2016, at 11.30 am AUSTRALIAN BOOK AUCTIONS AUSTRALIAN BOOK AUCTIONS PTY. LTD. A.B.N 60 088 582 030 A.C.N 088 582 030 Barbara Hince, Director Front cover: Lot 60 (part) Inside front cover: Lot 174 Jonathan Wantrup, Director Inside back cover: lots 22 and 24 Dr Gavin De Lacy, General Manager Lots 22 and 24 Back cover: Lot 173 AUSTRALIAN BOOK AUCTIONS MAY GALLERY SALE Voyages, Travels, Natural History, Military, Australiana, Literature, Books of Ida Rentoul Outhwaite, Ephemera, Art Books, Angling books, &c., &c. To be sold by auction in two sessions on Monday 23rd May 2016 at 6.30 pm, and Tuesday 24th May 2016 at 11.30 am At Australian Book Auctions Gallery 909 High Street, Armadale, Victoria Telephone (+61) 03 9822 4522 Facsimile (+61) 03 9822 6873 Email [email protected] www.australianbookauctions.com On View At the Gallery, 909 High Street, Armadale, Victoria Friday 20th May from 10.00 am to 4.00 pm Saturday 21st May from 10.00 am to 4.00 pm Monday 23rd May from 10.00 am to 4.00 pm Catalogue Price: $33.00 Important Information for Buyers Registration and Buyer’s numbers payment is made by credit card, an additional charge of The auction will be conducted using Buyer’s 1.1% will be added to your invoice to cover bank fees numbers. All prospective bidders are asked to register and charges. and collect a Buyer’s number before the sale. -
Copyright and Use of This Thesis This Thesis Must Be Used in Accordance with the Provisions of the Copyright Act 1968
COPYRIGHT AND USE OF THIS THESIS This thesis must be used in accordance with the provisions of the Copyright Act 1968. Reproduction of material protected by copyright may be an infringement of copyright and copyright owners may be entitled to take legal action against persons who infringe their copyright. Section 51 (2) of the Copyright Act permits an authorized officer of a university library or archives to provide a copy (by communication or otherwise) of an unpublished thesis kept in the library or archives, to a person who satisfies the authorized officer that he or she requires the reproduction for the purposes of research or study. The Copyright Act grants the creator of a work a number of moral rights, specifically the right of attribution, the right against false attribution and the right of integrity. You may infringe the author’s moral rights if you: - fail to acknowledge the author of this thesis if you quote sections from the work - attribute this thesis to another author - subject this thesis to derogatory treatment which may prejudice the author’s reputation For further information contact the University’s Director of Copyright Services sydney.edu.au/copyright Painting Anzac A history of Australia’s official war art scheme of the First World War Volume 2 Michael Scheib A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Department of Art History and Film Studies Faculty of Arts and Social Sciences The University of Sydney 2015 1 Appendices ________________________________________________________________ -
Painting the War
1 Ol-- \ rshlot Ìl PAINTING THE WAR: The Intentions and Motivations of the Official Australian V/ar Art Scheme of the First'World V/ar MARGARET VENZ HUTCHISON Discipline of History, Universþ of Adelaide Submiued in part fulfilment of the degree of Bachelor of Arts (Honours) in History. 28 October 2008 --,1 TABLE OF CONTENTS Declaration. ............... ll1 Abbreviations............ ................. lV Acknowledgements.... V Introduction.................. .......6 Chapter 1: The Memory of War............... .....13 Chapter 2: Painting the'War, 1917-1919 .. ...............27 Chapter 3: Painting the War in Retrospect,1920-1931............ ...............40 Conclusion 52 Appendix 1: Examples of the Australian War Art.... 54 68 l1 DECLARATION This work contains no material which has been accepted for the award of any other degree or diploma in any university or other tertiary institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference has been made in the text. I give consent to this copy of my thesis, when deposited in the University Library, being available for loan and photocopying. Margaret Venz Hutchison Date: )S ¡ro fog 111 ABBREVIATIONS AIF Australian Imperial Force AWM Australian War Memorial AWRS Australian War Records Section CWMF Canadian'War Memorials Fund CWRS Canadian'War Records Section 1V ACKNOWLEDGEMENTS I would especially like to thank my supervisor, Dr Vesna Drapac, for her enthusiasm, encouragement and guidance in this thesis and for her continued support and understanding throughout this year. I would like to thank V/arwick Heywood, Art Curator at the Australian V/ar Memorial, who showed me the original war art and provided me with the images for this thesis as well as with words of encouragement. -
Surface Paid Mail Australia
. 1 l ('r <J POSTAGE SURFACE PAID MAIL AUSTRALIA AUTUMN, 1993 Registered by Australia Post Publication No. WAS 1158 Lest We Forget Craterland- Ypres, 1911 By Fred Leist AWM 41 5 Commonwealth Department of Veterans' Affairs . Ccln We help you? · You·could be eligible for benefits if • you are a veteran • a widow, wife or dependent child of a veteran, or • your spouse, parent or guardian is, or was, a veteran, or member of the Australian Defence or Peacekeeping forces. • you have completed qualifying peacetime service in the case of Defence Service Homes benefits. Veterans' benefits include: • Pensions and allowances • Health-care benefits • Counselling services • Pharmaceutical benefits • Defence Service Homes - housing loan subsidy - homeowners' insurance • Funeral benefits • Commemoration ' . FIND OUT WHETHER YOU ARE ELIGIBLE FOR BENEFIT.S BY CONT A.CTING THE DEPARTMENT OF VETERANS' AFFAIRS ON . 425 8222 .. .. ''-, Country Callers Free Line: 008 113304 · Remember .... "We're only a 'phone call away" Veterans' Affairs Cares Contents Page LISTENINe POST ' Publishers Pre';ldcnt's M essage 3 . ' Returned & Services League W.A. Branch (Incorporated) Anuc House G.P.O. Box C128, Pr1111 1: Life 50 Plus 7 28 St Georges Terrace Perth. W .A. 6001 Perth, W.A. 6000 • Tel: 325 9799 AssL'mbly Are,ls AnzJc Dlly 1993 9 Operation · R i Pl<•LJ 15 South West PJcif1c A r cJ (Cone!.) 27 ... , El AIJme111 - 50111 Ann1versJr y 31 A Lonely Walk on Gall1polli 45 Editorial Ou1nn s Jnd Courtney's 53 Editor/Chairman: Mrs Pat Balfe Defcnc1 ls~ues 57 Deputy: Mr John S~rridge Veterans· Affairs 58 Committee: Mrs B. -
Double Lives : Rex Battarbee & Albert Namatjira
Double Lives Double Lives : Rex Battarbee & Albert Namatjira Martin Edmond Thesis for a Doctorate of Creative Arts The University of Western Sydney July 26, 2013 Statement of Authentication The work presented in this thesis is, to the best of my knowledge and belief, original except as acknowledged in the text. I hereby declare I have not submitted this material, either in full or in part, for a degree in this or any other institution. signed: ……………………………………… Acknowledgments I would like to thank Nigel Roberts for the generous gift of his archive of research materials; Ivor Indyk for wise supervision; Nick Jose for intelligent readings; Gayle Quarmby for the conversations; Stephen Williamson at the Araluen Centre and Nic Brown at Flinders University Art Musuem for showing me the works; all those at Ngarrutjuta / Many Hands; Maggie Hall for her constant support. Abstract This thesis consists of a creative component which is a dual biography of the two water colour painters, Rex Battarbee and Albert Namatjira, whose relationship was to have a decisive impact on Australian art; and an exegesis which describes the process of the making of that biography in such a way as to illuminate the issues, contentious or otherwise, that may arise during the progress of a biographical inquiry. The dual biography is focussed upon the public lives of the two men, one white Australian, the other Indigenous Australian of the Arrernte people, and especially upon their professional activities as painters. It is not an exercise in psychological inquiry nor an attempt to disclose the private selves of the two artists; rather, my interest is in describing the means by which each man found his calling as an artist; the relationship, life-long, which developed between them; the times in which they lived and how this affected the courses of their lives; and the results of their work in the public sphere. -
REX BUTLER and ADS DONADLSON French, Floral
Rex Butler and A.D.S. Donaldson, French, Floral and Female: A History of UnAustralian Art 1900-1930 (part 1) REX BUTLER AND A.D.S. DONADLSON French, Floral and Female: A History of UnAustralian Art 1900-1930 (part 1) ABSTRACT In this essay, which is another instalment in the authors' ongoing project of writing a history of UnAustralian art of the 20th century, the period 1900 to 1930 is characterised in terms of the three adjectives ―French‖, ―floral‖ and ―feminine‖. ―French‖ because so much of Australian art history took place in France, or in relation to France, during the period. ―Floral‖ because so much of this history can be understood in terms of flower painting, often included in still lifes and interiors, as opposed to the prevailing ‖gum tree‖ nationalism enshrined after the First World War. ―Female‖ because, extending the existing accounts by women art historians, the entire period can be understood as feminine in character. This UnAustralian account breaks with the importance attributed both to Norah Simpson bringing back books on Cubism in 1913 and to Grace Cossington-Smith's The Sock Knitter (1915) as the first signs of modernism in Australia, and to the War as an event that dramatically changed the course of Australian art history, either by sending Australian artists for the first time overseas or by explaining the prominence of women in Australian art after the War. To think of Australian art 1900-1930 as 'French, floral and female' is to imagine a different account from the usual nationalist one; to re-conceive a history that has remained fundamentally unaltered since William Moore's The Story of Australian Art (1934). -
Breaker Morant's Split Personality: Australian Male Identity Through Opposing Eyes
Breaker Morant's Split Personality: Australian Male Identity Through Opposing Eyes by Bronwyne Thomason BA (Hons), MA Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Deakin University May, 2013 Abstract Breaker Morant's Split Personality: Australian Male Identity Through Opposing Eyes Creative Artefact: Pilgrim’s Time The creative artefact is loosely based on Morant’s life and death. The narrative is written from three points of view and makes use of three variations of tense with the dual purpose of distinguishing between the different voices and to establish a dissonance that isolates the characters from each other by time and distance. The main character’s voice is written in past tense, third person and is set in Australia. It is juxtaposed against his mother’s voice that is written in present tense, third person and is set in England. The novel is framed with a prologue, that alerts the reader to the character’s imminent death, and the story begins in 1894, five years before Morant joined the Anglo-Boer war. The novel tells the story of a character known as ‘The Pilgrim’ who is unclear about his own identity and his place of belonging. His allegiance is divided between Australia and England, mother and father, friend and enemy. A number of minor characters highlight the theme of identity as central to the novel. Harvey, for instance, is a revision of Henry Lawson’s Arvie Aspinell. Fryingpan is a re-creation of A B Paterson’s innocent non-white Australian after the tradition of ‘Frying Pan’s Theology’, an overtly racist poem on the relationship between Australian Chinese immigrants, Indigenous Australians and white colonisers. -
Acquisition of British and Foreign Oil Paintings by the Art Gallery of New South Wales from 1874 to 1935
Policy, taste or chance? – acquisition of British and Foreign oil paintings by the Art Gallery of New South Wales from 1874 to 1935 Submitted by Stewart Reed MArtAdm This thesis is submitted to the School of Art History and Art Education at the College of Fine Arts of the University of New South Wales in partial fulfilment of the requirements for the degree of Master of Art Administration (Honours). 2013 University of New South Wales New South Wales Australia ORIGINALITY STATEMENT ‘I hereby declare that this submission is my own work and to the best of my knowledge it contains no materials previously published or written by another person, or substantial proportions of material which have been accepted for the award of any other degree or diploma at UNSW or any other educational institution, except where due acknowledgement is made in the thesis. Any contribution made to the research by others, with whom I have worked at UNSW or elsewhere, is explicitly acknowledged in the thesis. I also declare that the intellectual content of this thesis is the product of my own work, except to the extent that assistance from others in the project's design and conception or in style, presentation and linguistic expression is acknowledged.’ Signed …………………………………………….............. Date ……………………………………………….............. Page i COPYRIGHT STATEMENT ‘I hereby grant the University of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole or part in the University libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968.