Education kit

Gordon Bennett (b. 1955) Home décor (relative/absolute) – flowers for Mathinna 1998 acrylic on linen contents

TMAG map 3

Preface 4

Theme 1: Nature and Place 6

Theme 2: The Everyday 10

Theme 3: Identity and Emotion 14

Theme 4: Figure and Space 18

Complete list of works 22

Acknowledgments 24

Artist unknown, Anindilyakwa people, Groote Eylandt daduna-kanupa (frogs) c. 1948 earth pigments on bark TMAG map Davey Street

FIRE EXIT

Custom House FIRE administration EXIT reception C20 Dunn Place carpark Argyle Street

to cafe UP first floor ENTRY courtyard cloakroom ningenneh tunapry ningenneh discovery space zoology reception

UP gallery UP

UP to bags first floor

Commissariat Store museum shop

Macquarie Street

3 preface

One spans Australian Impressionism and the Arts and Crafts movement through students to view firsthand works by some of Overview of the exhibition to early Modernism. Gallery Two retraces our nation’s best recognised artists. Further, Figurative Expressionism, the pioneering C20: 100 years of from the it provides a context from which today’s art days of Australian studio pottery and mid- TMAG collection is an exhibition celebrating can be better understood and more deeply century movements including Colour Field, Australian art and design from the twentieth appreciated. Abstraction and the influence of Pop Art. century. It features some of the finest Gallery Three has a landscape focus and Society and History works from the Tasmanian Museum and reflects the rise to prominence of Aboriginal Many of the works in this exhibition directly Art Gallery’s Art and Decorative Arts art, and the Postmodernism of the late 1980s address the social and political history of this Collections, including key works by such and 1990s. country. Other works provide a window into notable Australian artists including Russel the personal concerns, ideas, influences and Drysdale, Emily Kame Kngwarreye, Sidney While the selection of works illuminates values of that time. The art of C20 presents Nolan, Arthur Streeton, Albert Tucker, Philip some of the significant art movements of distinctly Australian experiences and evidences Wolfhagen and many more. Indigenous art is that century, teachers should be aware how our nation’s sense of identity has evolved. important element of this exhibition. that the TMAG’s art collection (like any Students can evaluate for themselves the museum collection) is not comprehensive C20 opened to the public on the 17 contribution that art and design makes in our in its coverage. Particular strengths of this September 2010 and will continue until June understanding of society and history. exhibition include Figurative Expressionism, 2011. Due to the duration of this exhibition Abstraction, contemporary Aboriginal Innovation and Design and issues of conservation, works on paper , Australian Impressionism and The decorative art component of this (including photography) and textiles have not Tasmanian Modernism. exhibition gives insight into the influences, been included. The exhibition predominantly aesthetics, materials and processes that showcases painting, accompanied by a selection inspired Australian designers of the twentieth of sculpture, ceramics, furniture and jewellery. Relevance for students century. From handmade domestic objects C20 spans three galleries. Its lay-out The Arts to industrially-produced commercial items, follows a loosely chronological journey This exhibition sheds light on a pivotal period students can examine changing approaches through the twentieth century, supported in the development of Australian art and to craft and design and map these against by informative wall texts and labels. Gallery culture. It provides a valuable opportunity for the fine art of the era.

4 preface

These themes are:

Introduction to this resource Nature and Place

This education kit aims to support teachers The Everyday in bringing their students to the Tasmanian Identity and Emotion Museum and Art Gallery to see the exhibition A map at the beginning of each section Figure and Space C20. The questions and activities have been indicates where key works will be found. written with Grade 7 to college students in These themes are by no means exhaustive. However, many other relevant and interesting mind. However, the concepts and approaches They indicate the many paths into this rich works will be encountered along the way. in this kit also provide primary teachers with exhibition. C20 certainly warrants return The three to four art works featured in each useful tools for their visit. visits, if possible, and the multiple themes theme merely provide punctuation for your outlined in this kit provide ideas for different journey. The exhibition itself follows a chronological interpretive approaches teachers and layout. Informative wall texts in the galleries A ‘Feature Work’, represented by a full-page students may take each time they visit. focus on the historic and biographical colour image, concludes each theme. This narratives behind the artists and their works. focus point is designed to support a deeper This interpretive approach is particularly How to use this resource level of engagement and exploration of the suited to mature audiences and students of theme through discussion, research and art Each theme is like a trail through the art and Australian history. making. While this learning process may exhibition, providing stopping points for begin in the gallery, the ‘Create’ section For school groups, however, the challenge group discussion and personal response. It provides suggested ideas for extension is to meaningfully engage with this large is envisaged that prior to their visit, teachers through art making back in the classroom. exhibition in a single visit. To this end, and students will choose one theme that this education kit identifies four thematic is of greatest interest to them and their Should you or your students wish to research threads each of which runs through the studies. It should therefore not be necessary works not covered by this education kit, a full three galleries, across both fine and to print out the entire education kit, only a list of the works in C20 is included at the end decorative art works. selection of it. of this kit.

5 Nature and Place Explore

Exploring a sense of place has always been important in Australian art and design. At the heart of this theme is artists’ desire to comprehend human relationships 1 daduna-kanupa (frogs) c. 1948 is a bark painting from Groote Eylandt, to the Earth and the meaning of belonging. Art works that engage these ideas the largest island in the Gulf of Carpentaria, may utilise natural materials, depict a specific location or landscape, collect 50 kilometres off the Northern Territory data, record sensory impressions or depict the personal, spiritual or historical coast. It shows a frog, his wife and children narratives that invest a site with significance. near their ancestral waterholes. Can you identify which frogs are the father, the mother and the children? C20 The artist has not shown every detail 4 gallery map of this place, only certain important elements. Why do you think the 5 waterhole is important to these frogs? Why might the waterhole be gallery 3 gallery 3 important to the artist? Is it for the same, or different reasons?

Think about how the frogs might help the artist to locate waterholes. What does it mean to share a place 2 gallery 2 gallery with other living things?

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Artist unknown, Anindilyakwa people,

gallery 1 gallery Groote Eylandt daduna-kanupa (frogs) (detail) c. 1948 enter earth pigments on bark here Theme 1: Nature and Place 6 3 Judy Watson visited her grandmother’s Explore ancestral country, Waanyi country in north west Queensland, two years before she painted fertility stone 1992. Discuss how this painting represents place and personal connection to land.

If we say something is ‘fertile’ we mean that it is capable of creating new life. How does this idea relate to the Earth? How does this Irene Briant (b. 1934) idea relate to the human body? Is stone Reliquary (one element of Requiem) (detail) 1998 wire gauze, emu eggs and feathers, mixed media something you usually associate with fertility?

Look at the raw edges of the canvas. Donald Friend (1915–89) Hill End landscape c. 1950 Why do you think Watson has not stretched oil on canvas laid on composition board the canvas or put a frame around it? Do you 4 The subject of Reliquary (one feel it communicates a strong connection element of Requiem) 1998 by Irene Briant 2 When Donald Friend travelled to the between this work of art and the land? is Dromaius novaehollandiae diemenensis, once-prosperous gold fields of Hill End in the extinct Tasmanian emu. A ‘reliquary’ is a New South Wales he found the township in container used to hold sacred relics. Study ruins. He became very fond of that place, the form and arrangement of this installation. returning again and again to paint it and How does it reflect the idea or atmosphere explore the surrounding landscape. Imagine of a ritual? what it would feel like to step inside the painting Hill End landscape 1950. What can The inspiration for this work came after Briant you hear, feel and see as you walk around? saw specimens of the extinct emus in the Look closely at the painting and consider TMAG collection. Consider why the museum which aspects of this place the artist has collects, stores and exhibits items from the responded most strongly to. What sort of natural world. Does the meaning or value of atmosphere does he convey? Speculate these items change when an animal becomes Judy Watson (b. 1959) about why Friend may have formed such fertility stone 1992 extinct? What does Reliquary say about a strong connection to Hill End. powder pigment, pastel and charcoal on hessian nature and place in ?

Theme 1: Nature and Place 7 Peter Adams (n.d.) Cathedral bench 1996 Focus work Huon pine, dolerite fieldstone, steel fasteners

Theme 1: Nature and Place 8 Focus work Cathedral is composed of evenly spaced, • Find a bench in your school or a public space. stylised, geometric forms. It is balanced and Study its materials, location and placement. symmetrical. Would you agree that Adams’ 5 Cathedral bench 1996 Who uses it? What does it feel like to sit on? has achieved ‘design unity’, meaning that Consider ways that it could be modified Key words: balance, unity, spiral, site, natural every piece appears to belong together? to make it more reflective of its location. environment What is the effect of the centre stone? How Brainstorm a series of designs then refine might design unity relate to Adams’ desire to “I try to heal humankind’s relationship to the your best concept. Make a mock-up of your preserve the Earth’s natural environment? Earth—my choice of means is wood and stones… modified bench design by creating a scale These materials have a vibration, a story we can Usually benches are for sitting on but we model or render it in 3D using a computer tap into, that we as humans should learn from in know we can’t do this in an exhibition. program. Write an artist’s statement outlining 1 order to find our meaningful place in the world” Do you think it is necessary to sit on this your inspiration and explaining how your – Peter Adams bench to fully understand the artist’s design relates to its surrounding environment. intention? Discuss the positive and negative • Take a walk and carefully collect a small Discuss & Consider aspects of Cathedral being in TMAG’s number of found objects; they might be collection. If you could locate it elsewhere, Peter Adams is a Tasmanian-based artist who natural or man-made. Back in the classroom where would you place it? is passionate about natural materials. His way examine your found objects closely and of working emphasises the unique qualities of create a detailed visual study of each using each material he uses. Use your imagination Create photography, illustration or another method. to compare the textures, colours, forms, Make notes on the unique qualities of each • Everyone has a special place they visit weight and temperatures of Huon pine versus found object. Construct a sculpture or regularly. Start recording the changing dolerite stone. Put these observations down collage that highlights the natural form of qualities of your special place, as well as your in words. Reading over your list visualise an one item. Employ the principles of design thoughts and feelings when you go there. environment that displays all those qualities. unity to ensure the final work appears Over a period of time, capture images, words, How would it feel to be in that place? balanced and harmonious. movements and sounds using a visual diary, Consider if this bench was made of coloured camera or recording device. Decide on the plastic, glass or polished steel. What would it most effective way to present the material Endnotes look like? What would it feel like to sit on? In you collect to produce a finished artwork 1 Peter Adams quoted in Marie Geissler, “Objects of what sort of place would you put that bench? that conveys what that place means to you. Contemplation”, Craft Arts International, no.42, 1998

Theme 1: Nature and Place 9 The Everyday Explore

What inspiration can be found in the familiar routines, objects and 1 Edith Holmes lived most of her adult environments of daily life? Within this theme we explore how certain artists life in the suburb of Moonah not investigate their immediate surroundings to uncover new perspectives and far from the zinc works that still operate expressions of value and beauty within everyday experience. in Lutana today. Examine her painting Zinc works c. 1945–50. Why would this site be an attractive subject for this artist? How challenging would it be to paint?

C20 gallery map Identify which colours and shapes appear most often. 3 Describe the textures that Holmes creates. Do these elements suggest that the zinc works are beautiful gallery 3 gallery or ugly?

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gallery 2 gallery 4

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gallery 1 gallery Edith Holmes (1893–1973) Zinc works c. 1945–50 enter oil on canvas laid on cardboard here Theme 1: Nature and Place 10 Explore 3 In Dusty Porsche, Hemmant scrap metal, rue du Bourg-Tibourg 1996 Ian Howard presents three seemingly unrelated photographic images. Each one features 2 Merric Boyd’s Table jug 1945 one or more metal objects. Do you find his was designed to be used in the home. subject matter attractive? How would you What would you use it for? Boyd sold many describe the feeling of this work? of his ceramic pieces in department stores Howard intentionally lets the viewer create and shops. If you were to see this jug in a their own meanings from his images. Can you shop would you call it art? Why or why not? think of a social issue he might be exploring Merric Boyd (1888–1959) through this work? Invent an alternative title Table jug 1945 earthenware, glazes to this work that would prompt viewers to think about this issue. Does it work best as a statement or a question? Why do you think some artists choose not to spell-out the Ian Howard (b. 1947) Dusty Porsche, Hemmant scrap metal, rue du meaning of their work to viewers? Bourg–Tibourg window 1996 superscan on vinyl

Theme 2: The Everyday 11 Rick Amor (b.1948) Tina ironing 1973 Focus work oil on canvas

Theme 2: The Everyday 12 Focus work Tina Ironing has several compositional focal points; elements designed to catch the viewer’s attention and direct their eye through the painting. Amor has created these Create through high contrast, varied scale, diagonal lines and the inclusion of complex shapes. • Assemble a collection of objects that reflect Identify the focal points in this painting. Use your daily life. Organise an exhibition of Tina ironing 1973 4 these to determine the primary focus of the everyday objects in your classroom. Consider Key words: focal-point, interior, domestic, image. Give reasons to explain your choice. how each object’s design and meaning Pop Art Does your awareness of the primary focus can be enhanced through its presentation point influence your interpretation of the “I tried a style a week when I was a student… and lighting. Write a curator’s statement to painting? The gem that John Brack gave us was that explain the reason for including each object. you stay away from art movements and Amor shows us an interior view of his home • Design a woodcut using Rick Amor’s work follow your own course. It takes longer but where his wife Tina is engaged in domestic as reference. Employ simplified, geometric ensures a lifetime of Art.”1 chores. He has depicted her without a face. forms and compositional focal points. Print – Rick Amor Visualise Tina’s mood as she irons clothes. your image and examine its stylistic qualities. Imagine that you can read her thoughts. How deeply has Amor’s work influenced your usual style? What does the result show you Discuss & Consider Examine the other objects in the room. about yourself as an artist? What else does Amor tell us about Tina and Rick Amor has said that the Australian painter the house they live in? • Pick a mundane activity from your daily John Brack was an important mentor to him. life, such as lining-up in a queue. Create In this exhibition there are many examples of The influence of Pop Art is evident in the flat a beautiful image or artwork from this artists who have worked together and learnt colours and simplified forms in this work. Yet, experience. What will it tell future viewers from one another. Compare Tina Ironing to in the quote above Amor says to “follow your about contemporary life? the painting John and Betty (1969) by John own course”. Research the recent work of Brack, both located in Gallery Two. Is there Rick Amor. How has his approach to painting any evidence of Brack’s influence on Amor? changed? To what extent do you think Amor Endnotes Consider painting style, colour, composition has succeeded in following his own course as 1 Rick Amor, interview on ABC TV Sunday Arts, 13 April and subject matter. an artist? 2008.

Theme 2: The Everyday 13 identity and emotion Explore

Throughout this exhibition there are many examples of artists exploring how Australians, as individuals and as a society, feel and think about themselves. 1 As a class discuss the notion of a ‘portrait’. What does this term mean? At the core of this investigation are questions about who we are, how our Must a portrait look exactly like the subject self‑awareness is created and to what extent emotions can be communicated or can it be made in other ways?

through art. Examine The onlooker 1905 by Emmanuel Phillips Fox. Carefully observe the woman’s clothes, facial expression, posture and C20 gallery map surroundings—what can you discover about this person? What sort of life does she lead? How do you think she behaves?

Compare The onlooker with other images of women in the exhibition. Explain how

gallery 3 gallery differences in clothing and posture influence 3 your perceptions of their identity.

2 4 gallery 2 gallery

gallery 1 gallery Emanuel Philips Fox (1865–1915) 1 The onlooker 1905 enter oil on canvas laid on composition board here Theme 3: Identity and Emotion 14 Explore

2 Mimic the pose of one figure in Oliffe Richmond’s Original plaster cast for Figure group 64 1964 . How does it feel? Even without facial expressions these figures are full of emotion. Describe the mood of each figure in this group. Oliffe Richmond (1919–77) Observe the colour, texture and form of this Original plaster cast for Figure group 64 1964 painted plaster sculpture. How do these elements create emotion in this work? Mathinna (1835–56), shown here in a red dress, was a young Tasmanian Aboriginal 3 Home décor (relative/absolute) – flowers girl aged four when she was taken from her Gordon Bennett (b. 1955) Home décor (relative/absolute) – flowers for Mathinna 1998 for Mathinna 1998 by Gordon Bennett appears parents and later ‘adopted’ by the Governor acrylic on linen to be made up of numerous overlapping images of Tasmania, Sir John Franklin, and his wife, structured by a colourful grid. In creating this Lady Jane for their own self-promoting The red flowers Bennett ‘gives’ to Mathinna are painting, Bennett has appropriated art works (a purposes. She was abandoned to the misery based on a print by Margaret Preston. Preston number being from TMAG’s fine art collection) of the Queen’s Orphan School when the was an Australian modernist who promoted as well as reproducing some of his own past Franklins returned to England in 1843. One the appropriation of Indigenous motifs in art work. Appropriation, a universal postmodernist of numerous Tasmanian Aboriginal children and design in order to develop what she saw as technique of the 1980s is described as “the ‘adopted’ by colonists, Mathinna was torn a “distinctly ‘Australian’ art”.2 Discuss what you practice of creating a new work by taking a between two cultures, and accepted by think is meaningful about Bennett’s act of pre-existing image from another context…and neither. She died tragically at the age of 21. returning this imagery to Mathinna. combining that appropriated image with new Carefully examine the text and images in this Endnotes 1 ones”. Explain how you feel the meaning of painting. Identify examples of interaction or 1 Robert Atkins, ARTSPEAK: A Guide to Contemporary the original artworks change when Bennett relationships between Indigenous and non– Ideas, Movements, and Buzzwords 1945 to the Present, 2nd ed., Abbeville Press, 1997. places them into a new context. Discuss the Indigenous people. What evidence is there of 2 Kelly Gellatly, Gordon Bennett, National Gallery of ethics of appropriation. tension or conflict between cultures? , 2007.

Theme 3: Identity and Emotion 15 Brett Whiteley (1939–92) Me (September 1965) 1965 Focus work oil, screen print, hair, mirror and felt pen on hardboard

Theme 3: Identity and Emotion 16 Focus work

4 Me (September 1965) 1965 Whiteley has experimented with realism, Key words: self-portrait, mixed media, distortion and abstraction. Research these abstract, representational, duality art terms and produce a definition for each. “If you want to be an artist go to an art supply Investigate the use of distortion by figurative house and get some ink, some paper and painters such as Francis Bacon and Pablo pens, a calligraphy brush and charcoal… Picasso. Which aspects of the human Then try and cheat and deceive and lie and character do you feel are best explored • Think about a mood, emotion or headspace exaggerate and most particularly distort as through distortion? Does Me support this that you have personally experienced. absolutely, as extremely as you can.”3 research? Explain. Create an abstract sculpture from a ball of – Brett Whiteley Brett Whiteley produced many self-portraits clay that embodies this feeling. Explore the during his life. Research some examples, relationship between the kinds of actions Discuss & Consider compare and contrast these self-portraits you perform on the clay (e.g. stroking, with Me. What changes and continuities do ripping, dropping, rolling etc.) and the Brett Whiteley was interested in the concept you notice? Why do you think self-portraiture visual effects it produces. of ‘dualism’; the idea that something has was so important to Whiteley? two distinct or opposite sides. We often use • Find a portrait from a previous time in dualistic ideas when we describe art works. history that you relate to. Appropriate it, For example: bright/dull, hard/soft, warm/ Create making alterations to produce a new image cold, light/dark. What dualisms can you find that reflects your own experience of this • Do you know someone with a rich and in Me? What range of emotions might be time and place. Write an artist statement complex personality? Consider the associated with these qualities? acknowledging the original image and experiences and factors that have made explaining your process and intention. Me contains four self-portrait images that person who they are. Plan a mixed- where Whitely has varied his materials and media portrait that uses the techniques method to give each an individual character. of repetition and variation to depict their Endnotes What does the artist achieve by showing us complex identity. See how alive and 3 Brett Whiteley, cited in Difficult Pleasure: A Portrait of more than one self image? dynamic you can make your image. Brett Whiteley, Featherstone Productions, 1989.

Theme 3: Identity and Emotion 17 Figure and space Explore

During the twentieth century both artists and art viewers became increasingly As John and Betty 1969 reveals, conscious of the important role context plays in our understanding of a subject. 1 John Brack was fascinated with the ritual This theme explores context, or the different approaches artists take to placing and culture of competitive ballroom dancing. or referencing the human figure, and examines the meanings created through Observe John and Betty’s appearance and those choices. the way they interact. What do you think attracts some people to ballroom dancing? Look at Betty’s neck, arms and fingers. C20 gallery map Describe their form. Do you find the stylisation of her body beautiful or disturbing?

We seem to be looking down on John and Betty from the position of a spotlight. Observe the shadows 3 and the arc of darkness across the gallery 3 gallery top of the painting. What effect do these shadows have on the sense of 4 space? What effect to they have on 2 the mood and atmosphere?

In your opinion is Brack a neutral gallery 2 gallery 1 observer of John and Betty, a critic or an admirer? Explain.

gallery 1 gallery John Brack (1920–99) John and Betty 1969 enter oil on canvas here Theme 4: Figure and Space 18 Explore

2 Examine Ian Fairweather’s Flight into Egypt 1961. The background is a rich texture of earthy colours and the surface is covered in a network of black brushstrokes. Ragnar Hansen (b. 1945) Flask 1978 What shapes and forms do you see in this silver abstracted image?

This painting is inspired by the biblical story of Joseph and Mary crossing the desert with 3 A flask is a small container usually used their infant son Jesus. Look again now that to carry liquid. Study the shape and surface you know this story: can you see the face of Ian Fairweather (1891–1974) of Ragnar Hansen’s Flask 1978. Pretend to the donkey Mary rides on? Flight into Egypt 1961 hold an imaginary flask. Observe the negative synthetic polymer on paper laid on hardboard Imagine how it would feel to flee from danger space created in and around your palm and into a desert. Notice how the landscape and fingers. Do you think Hansen’s flask would be figures merge and how densely Fairweather pleasurable to use? Why or why not? In what fills the picture plane. What does this convey ways does Hansen’s design reference the about their journey? human form?

Theme 4: Figure and Space 19 Richard Larter (b.1929) Permeated systematic vulgar discontinuities 1972 Focus work acrylic on canvas

Theme 4: Figure and Space 20 To make this ‘painted collage’ Larter has collected Focus work a range of source material including comics, magazines, books and personal photos. The figures have then been removed from their original context and carefully positioned together against an abstract background. Observe how Permeated systematic vulgar 4 some images have been cropped and others Create discontinuities 1972 overlap. What is conveyed by de-contextualising Key words: high/low art, the nude, collage, the figures then placing them all together? • Create a series of figurative drawings popular culture of the same model or subject over time. Look more closely at Larter’s figures. Experiment with different poses, angles and Where are they looking? Analyse the group eye contact. Set these figures in a range of Discuss & Consider of figures on the left, as compared to those different contexts or environments by adding on the right. What impact does eye-contact Notice your initial response to this painting. backgrounds. Give each work in the series a have on you as the viewer? How comfortable are you standing in front title that shifts how the figure is interpreted. of it? Identify your feelings and consider A number of famous people are depicted • Research Edouard Manet’s Le déjeuner the reasons behind them. What responses here. Choose one you recognise. What do sur l’herbe (The Luncheon on the Grass) might other people have to this work? they symbolise? Speculate on why Larter has (1862). Analyze the representation of male Consider different ages, cultural backgrounds included them and discuss their significance and female figures considering clothing, and gender. in relation to the other figures. pose and eye contact. How relevant is this This image addresses an ongoing debate The female figures with short hair are image to popular depictions of the male and about the positive and negative effects actually Pat Larter, the artist’s wife, creative female body today? Create a collage using of images depicting nudity. Explore the collaborator and an artist in her own right. found imagery that communicates your arguments on both sides of this debate. Richard has been painting Pat for more than opinion. Use background, image placement, forty years and the couple share a fascination overlapping and cropping to create a Richard Larter believes that art should with both high and low culture. composition that grabs our attention. “provoke, excite, disturb and enchant” in order to attract and hold the viewer’s attention1. What might be meant by ‘high’ and ‘low’ culture? Other than nudity, what devices has Larter Think of examples from your own experience. Endnotes used to engage us? Consider content, colour, Debate whether Permeated systematic vulgar 1 Deborah Hart, Richard Larter, National Gallery of composition and pattern. discontinuities is high or low art. Australia, 2008.

Theme 4: Figure and Space 21 complete List of works Gallery 2 Albert Tucker (1914–99) Gamblers 1965 Hugh Ramsay (1877–1906) oil on composition board Still life (1901–02) Brett Whiteley (1939–92) oil on canvas on plywood Gallery 1 Roland Wakelin (1887–1971) Me (September 1965) 1965 Rupert Bunny (1864–1947) Self portrait c. 1916 oil, screenprint, hair, mirror and Sarah Squire Todd Arthur Streeton (1867–1943) The bathers c. 1913 oil on card felt pen on hardboard (1861–1959) Melba’s Farm 1913 oil on canvas Fireplace surround 1910–15 Charles Blackman (b. 1928) oil on canvas Roy de Maistre (1894–1968) Walter Withers (1854–1914) The path (Botanic Gardens, Tasmanian blackwood Theatre Party 1960 Bernard Hall (1859–1935) Evening, Eltham 1900 Sydney) 1926 oil on hardboard Grace Crowley (1890–1979) Portrait of Alison 1923 oil on canvas oil on canvas Study of Olga c. 1928 Clifton Pugh (1924–90) oil on canvas William Charles Piguenit (1836– Lucien Dechaineux (1869–57) oil on canvas The debris of a summer rain 1956 Charles Conder (1868– 1909) 1914) (Still life with hat and chair) 1943 oil on plywood Mildred Lovett (1880–1955) Bathers on the beach c. 1903 Beach scene early 1900s oil on composition board Portrait of Julian Ashton 1918 Donald Friend (1915–89) oil on canvas oil on canvas Dorothy Stoner (1904–92) oil on canvas Hill End landscape c. 1950 Donald Friend (1915–89) Dorothy Stoner (1904–92) Fruits 1962 oil on canvas laid on composition Myer-Rocke (1931–?) Two natives 1947 (The artist’s studio, ) 1949–50 oil on canvas board Side table 1938 oil on canvas laid on plywood oil on canvas Tom Roberts (1856–1931) Victorian ash, steel fasteners Ian Fairweather (1891–1974) Emanuel Philips Fox (1865–1915) Grace Cossington Smith (1892– A morning on the Hastings River Flight into Egypt 1961 AC Green (n.d.) The onlooker 1905 1984) 1896 synthetic polymer on paper laid Dressing table 1930s oil on canvas laid on composition Christmas lilies growing 1927–28 oil on canvas on hardboard plywood, Tasmanian oak, glass, board oil on cardboard Sydney Long (1871–1955) steel fittings and fasteners John Brack (1920–99) Frederick McCubbin (1855–1917) Grace Cossington Smith (1892– The river 1896 John and Betty 1969 Clement Meadmore (1929–2005) Stone crusher, Richmond Quarry 1984) oil on cedar panel oil on canvas Dining chairs c. 1954 1908 Ballet from the gods c. 1940 laminated Queensland maple John Olsen (b. 1928) oil on canvas laid on plywood oil on cardboard Artist unknown, Anindilyakwa people, Groote Eylandt plywood, steel rod, rubber Summer in the you beaut country Jack Carington Smith (1908–72) Max Meldrum (1875–1955) daduna-kanupa (frogs) fittings, paint 1963 Lucien Dechaineux 1956 The approaching storm, Sunbury, banguruk (bandicoots) oil on composition board Clement Meadmore (1929–2005) oil on canvas Victoria c. 1929 nunguana (shark) Coffee table c. 1954 John Perceval (1923–2000) oil on canvas laid on hardboard Barnimbida, Duwarawara and George Lambert (1873–1930) glass, steel rod, rubber fittings Jack–in–the–box 1943 Dugina‑nutjana (Venus, Jupiter The artist of the Roland Wakelin (1887–1971) oil and tempura on cardboard and their children) Clement Meadmore (1929–2005) Geelong memorial figure c. 1924 Still life with jug and fruit 1935 laid on composition board c. 1948 Calyx lamp 1954 oil on plywood oil on canvas laid on card earth pigments on bark steel, paints, electrical fittings Leonard French (b. 1928) George Lambert (1873–1930) Edith Holmes (1893–1973) The serpent c. 1967 Dora Isobel Wade (1878–1922), Clement Meadmore (1929–2005): Still life 1928 Mount Direction (1949) oil on composition board Charles Henry Johnson designer, Techno (Melbourne): oil on canvas oil on canvas laid on cardboard (d. 1926) cabinetmaker manufacturer Richard Larter (b. 1929) Hugh Ramsay (1877–1906) Edith Holmes (1893–1973) Carved hall seat 1902 Sling chair 1963 (design); Permeated systematic vulgar Self portrait (1902) Zinc works c. 1945–50 Tasmanian blackwood, steel c. 1980 (manufacture) discontinuities 1972 oil on canvas laid on plywood oil on canvas laid on cardboard fittings metal (chromed steel), leather acrylic on canvas

Complete list of works 22 Robert Dickerson (b. 1924) Man on beach 1956 oil on composition board Gallery 3 Alan Cameron Walker (1865–1931) Emily Kame Kngwarreye (1910–96) Russell Drysdale (1912–81) Christening mug 1923 Bronwyn Oliver (1959–2006) Untitled (Awelye) (1994) Snake Bay at night 1959 silver Web 1992 acrylic on synthetic canvas oil on canvas bronze and copper Mylie Peppin (1907–2001) Gordon Bennett (b. 1955) Bea Maddock (b. 1934) Vase 1938 Dora Isobel Wade (1878–1922), Home décor (relative/absolute) – Figure seated 1968 stoneware, glazes Charles Henry Johnson (d. 1926) flowers for Mathinna 1998 oil, pencil and acrylic on cabinetmaker Mylie Peppin (1907–2001) acrylic on linen composition board Hall chair 1906 Lidded jar 1953 Irene Briant (b. 1934) Tasmanian blackwood Sidney Nolan (1917–92) earthenware, glazes Reliquary (one element of Baobab tree, Central Australia 1950 Tim Jones (b. 1962) Maude Poynter (1869–1945) Requiem) 1998 oil on hardboard Because 1991 Vase 1928 wire gauze, emu eggs and wood, paint, iron, enamel, acrylic Rick Amor (b. 1948) earthenware, glazes feathers, mixed media Tina ironing 1973 Patrick Hall (b. 1962) John Smith (b. 1948) Ernest Finlay (1876–1942) Irene Briant (b. 1934) oil on canvas Tall stories from the art world 1993 Grain Wave tray 1995 Vase 1918 Ossuary (one element of carved MDF, enamel paint and Huon pine, perforated steel, Gunther Christmann (b. 1936) stoneware, slip, glazes Requiem) 1998 glass shelving anodised aluminium Moss stone 1970 wire gauze Merric Boyd (1888–1959) acrylic on canvas Ragnar Hansen (b. 1945) Phill Mason (b. 1950) Vase 1928 Judy Watson (b. 1959) Walking stick 1978 Towers for admiration (five rings) David Aspden (b. 1935) earthenware, glazes fertility stone 1992 ebony, silver 1986 Orange 1971 powder pigment, pastel and Merric Boyd (1888–1959) sterling/925 silver, gold, titanium acrylic on canvas charcoal on hessian Ragnar Hansen (b. 1945) Vase 1949 Flask 1978 Phill Mason (b. 1950) Robert Klippel (1920–2001) earthenware, glazes Mande Bijelic (b. 1969) silver Reliquary for a Once-Essential Sculpture No. 764 1989 England about 1790 1994 Merric Boyd (1888–1959) Icehouse 1994 painted wood acrylic on canvas Ragnar Hansen (b. 1945) Table jug 1945 stainless steel, 18 carat rose gold, Neck-ring 1978 Dick Watkins (b. 1937) earthenware, glazes Noel McKenna (b. 1959) 18 carat yellow gold, rutilated silver, iron Negative 1991 Tree in box 1994 quartz, peridot John Perceval (1923–2000) acrylic on canvas oil and enamel on wood Robyn Gordon (b. 1943) Coffee pot 1949–54 Phill Mason (b. 1950) Eucalyptus leaves necklace 1982 Ian Fairweather (1891–1974) earthenware, glazes Philip Wolfhagen (b. 1963) Stacking eggcups 1996 polymer clay, thread Reclining figure or Woman Vanishing point IV 1995 sterling silver Arthur Merric Boyd Pottery: John dressing her hair 1961–62 oil and wax on linen Robyn Gordon (b. 1943) Perceval (1923–2000) and Arthur Peter Adams (n.d.) acrylic on hardboard Gum nut necklace 1983 Boyd (1924–1999) Richard Wastell (b. 1974) Cathedral bench 1996 polymer clay, metal thread, cast Oliffe Richmond (1919–77) Soup bowls c. 1950 Shed 1999 Huon pine, dolerite fieldstone, silver, cast copper Original plaster cast for Figure earthenware, glazes oil on canvas steel fasteners group 64 1964 Robyn Gordon (b. 1943) Arthur Merric Boyd Pottery: John Kristin Headlam (b. 1953) Greg Gilmour (n.d.) painted plaster Barrier Reef necklace 1982 Perceval (1923–2000) and Arthur A gardener at midnight: black Tame buffalo chair 1989 polymer clay, thread Oliffe Richmond (1919–77) Boyd (1924–1999) garden 1994 steel and steel fittings, sassafras, Original plaster cast for Sea God 1962 Coffee set 1950s oil on canvas Mark Bishop (n.d.) processed wood products, painted plaster earthenware, glazes Bowl 1994 leather, paints, plastic fittings Ian Howard (b. 1947) Huon pine, aluminium Oliffe Richmond (1919–77) David Boyd (b. 1924) and Hermia Dusty Porsche, Hemmant scrap David Ralph (b. 1946) Original plaster cast for ‘Striding Boyd (1931–2000) metal, rue du Bourg–Tibourg Tony Stuart (b. 1962) Chair 1977 Man III’ 1960 Plates 1955 window 1996 Celeste pepper mill 1995 horizontal scrub (Anodopetalum painted plaster stoneware, glazes superscan on vinyl Huon pine, anodised aluminium biglandulosum)

Complete list of works 23 acknowledgments

This education kit has been developed to accompany the exhibition C20: 100 Years of Australian Art from the TMAG, at the Tasmanian Museum and Art Gallery, September 2010–June 2011.

Licencing permission has been obtained for all images reproduced in this education resource.

Production: AccessArt, Tasmanian Museum and Art Gallery

Text: Nicholas Hobbs, Bec Tudor, Rosie McKeand

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