The Heidelberg School
Art Appreciation Lecture Series 2017 Site Specific: The power of place The Heidelberg School Georgina Cole 9/10 August 2017 Lecture summary: The landscapes of the Heidelberg School brought progressive European painting techniques to the colonies and are important contributions to the aesthetic exploration of the Australian bush. In their open-ended treatment of form they also fostered a new kind of relationship between the viewer and the Australian landscape that invited him or her to complete the picture in the imagination. In this sense, the paintings of Roberts, Streeton, Conder, Sutherland and McCubbin might be understood as attempts to create a personal and emotional relationship between migrant Europeans and the bush. Slide list: 1. Tom Roberts, A quiet day on Darebin Creek, 1885, oil on wood panel, National Gallery of Australia 2. James Abbott McNeill Whistler, Nocturne: Blue and Silver: Chelsea, 1871, oil on wood, Tate Britain 3. Jules Bastien-LePage, At harvest time, 1880, oil on canvas, private collection 4. Tom Robert, Moorish Doorway, 1883, National Gallery of Victoria 5. Tom Roberts, A quiet day on Darebin Creek, 1885, oil on wood panel, National Gallery of Australia 6. Tom Roberts, The artist’s camp, 1886, oil on canvas, National Gallery of Victoria 7. Frederick McCubbin, Lost, 1886, oil on canvas, National Gallery of Victoria 8. Jane Sutherland, Obstruction, Box Hill, 1887, oil on canvas, Art Gallery of Ballarat 9. Tom Roberts, Holiday Sketch at Coogee, 1888 10. Charles Conder, Coogee Bay, 1888 11. Charles Conder, A holiday at Mentone, 1888, oil on canvas, Art Gallery of South Australia 12.
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