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Elioth Gruner: the Texture of Light

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Elioth Gruner: the Texture of Light Elioth Gruner: the texture of light Elioth Gruner (1882-1939) is one of Australia’s finest painters of landscape. His best years as an artist were between the two world wars of the last century, from around 1915 to 1939, the year he died. In that time Gruner’s paintings of the farmlands of Sydney’s western fringe near the foot of the Blue Mountains, and his subsequent explorations of both northern New South Wales and its south-eastern pocket from Sydney to the Victorian border, garnered him a substantial critical and popular following. Some of his best works were painted in the Canberra region, from the Southern Highlands to the Murrumbidgee River valley, the Cooma-Monaro plain and the South Coast. He enjoyed the support of both conservative and progressive elements in the Sydney (and Australian) art establishment and his work was extensively published in Art in Australia from its first issue in 1916, with two special numbers devoted to his work in 1929 and 1933, and a monograph in1922. Gruner exhibited regularly with the Sydney Society of Artists, then one of the very few venues for exhibition and sales of contemporary art. Between 1916 and 1937 he was awarded the Wynne Prize for landscape painting, administered by the Art Gallery of New South Wales, seven times. Yet although successful in his lifetime, some of whose paintings remain beloved of gallery audiences and whose reputation has endured with many art historians and artists, Gruner’s name has somewhat faded in the Australian art-historical record in the seventy- five years since his death. His searching, quiet, painterly and sometimes enigmatic interpretations of the Australian landscape fell between the late manifestation of Australian impressionism in the 1920s and the modernism of the 1940s generation; having died shortly after the outbreak of the second world war, by its end Gruner appeared to be yesterday’s man.1 This exhibition seeks to put Gruner’s work up for reassessment, and to highlight his extensive painting in the Canberra region. Elioth Gruner was born Elliott Lauritz Leganyer Gruner in 1882 in Gisborne, a town on the east coast of the North Island of New Zealand. 2 He was the youngest of five children of Elliott Gruner senior, a Norwegian of German heritage, and Mary Ann Brennan from Ireland. They had met and married in South Africa around 1860, where four children were born to them. The family migrated to New Zealand in 1875, then to Sydney in 1883, when Elliott junior was an infant, leaving their eldest child, a daughter, behind in Gisborne. Gruner lived his early life in straitened circumstances. In the late 1880s his father is listed as working as a bailiff, but he died in 1891, leaving Gruner’s eldest brother responsible for the family. After his 1 brother’s marriage Gruner went to work aged fourteen to help support the family, and only two years later he was alone in that responsibility when his brother died prematurely. Gruner was employed as a draper’s assistant for many years and did not become a full-time artist until 1912, when he was thirty, and he continued to support his mother until her death in 1922. As an adolescent he worked punishing twelve-hour days until the social reform legislation of the Early Closing Act of 1899 reduced evening and Saturday hours for shop-workers. Around the age of twelve Gruner began art classes with Julian Ashton, initially at the Art Society of New South Wales and then at Ashton’s own school, Académie Julian, established in 1896 in King Street, Sydney. Gruner’s mother and brother Frederick had encouraged his youthful talents in drawing and music, and he continued his studies with Ashton outside of his long working hours. Gruner’s 1896 pencil drawing of Ashton looking back at his pupil, thoughtful and avuncular, is rendered in a broad confident graphic manner reminiscent of the teacher. With Ashton’s encouragement Gruner submitted work to the Society of Artists and his still-life Violets was hung in their Spring exhibition of 1901. Thereafter he exhibited with the re-formed Society of Artists regularly for the remainder of his life. Gruner’s painting In the fields 1908 exemplifies Ashton’s influence, and his dictum to paint landscape not in the studio but en plein air, working directly from nature to observe the effects of light and shade. The work’s subject and vertical format echo paintings of Charles Conder and Arthur Streeton from around 1890 – breezy summer scenes with big skies and distant strolling figures. In the fields, although unsophisticated, has some of the lightness of Conder, and one can see that Gruner is experimenting with the brush, learning his technique. In this early excursion there is no detail of landscape, rather the accent is on sensation. In the 1910s Gruner’s quintessentially Sydney subjects of ocean beaches and the harbour also showed the influence of Australian impressionism in choice of motif and technique. Arrival of the ferry 1912 celebrates both the natural beauty and the modernity of the city, and employs the elongated format of Streeton’s Sydney Harbour paintings of the 1890s to include a sense of the extent of the city’s shoreline. Simple brushstrokes of broken colour form the elevated shore sprinkled with buildings and the distant city and daubs of white are rippled reflections on the water’s surface; the ferry’s smoke that cuts the horizon is a waft of translucent violet paint. Gruner must have known Streeton’s artist camp paintings of the mid- 1890s when he painted Blue and gold (also known as Sydney Harbour) 2 in 1913. Choosing the same location on the north shore of the harbour from Cremorne to Taylors Bay, in this and other works from this time Gruner employed Streeton’s high vantage point for sweeping views across the wooded foreshore, its promontories jutting into the blue of the water. Blue and gold 1913 looks west to the city from Chowder Head across Taylors Bay to Bradleys Head. Gruner did not employ the same rich tones as Streeton, his preference was for the soft glowing pinks and bronzes of afternoon light (and later the flush of early morning). In this work his treatment of the water is exceptionally atmospheric – striations of green, brown and pale blue suggest the moving light over undertones of seaweed and shallows. A larger version of this composition, Dreamy morning, Middle Harbour 1913 (not in this exhibition), was purchased from the 1913 Society of Artists Spring exhibition, an important early sale. Mosman and Cremorne Bay 1919 extended Gruner’s treatment of water into the major subject of the painting; in this work very little detail is conveyed, the whole surface is vigorously worked in long brushstrokes, joining sky, headlands and harbour into a subdued, tonal essay. In 1912, encouraged by his old teacher Julian Ashton, and the sales of his work, Gruner left the drapery business to be an artist full-time. Ashton employed him to manage a gallery in Bligh Street for the promotion of Australian art, and then as a teacher in his school. The Gruner family moved to Bondi and he began a series of beach paintings that brought him strong sales and positive attention in the press, and were favourably compared with Conder’s. Gruner spent much of the summer of 1912-13 at the beach painting and body-surfing, often in the company of friends including Jack Lecky, whom he had met when they both worked at Farmer’s department store and who became a member of the Gruner household. The works from these excursions around Bondi, Tamarama, Bronte, Coogee and Manly are vibrant and economical studies in colour and tone and demonstrate a new interest and facility in the simple arrangement of figures in patterns. Bondi Beach c1912 is an almost abstract arrangement of paint strokes on a flat brown patch of sand, while The wave c1913 is a jewel-like composition of glassy sea breaking over the littoral in bands of grey-green-blue. The crisp simple sweeps of sand, sea and sky in On the beach 1912 and Beach scene c1912 seem to show the same group of white-clad figures looking out to sea; close inspection suggests that the figures in the latter work may have been added after the scene. Some later paintings in the same genre, notably The beach 1918 (NERAM), with its parasols and striped beach awnings, demonstrated an interest in the decorative impulse of Japonisme and the work of E Phillips Fox, while The beach 1918 (Wesfarmers), is evidence of the artist’s increasing enthusiasm for the representation of weather effects and large skies. 3 In 1915 Gruner visited Melbourne where he had two important encounters: with Camille Corot’s The bent tree c1855-60 at the National Gallery of Victoria, and with Max Meldrum, the influential artist-teacher and advocate of tonalism in painting. The influence of Corot is evident in a number of paintings from 1916-20 where the tree is the central motif, its branches forming a feathery canopy through which a crepuscular sky glows, such as August morning 1916, where Gruner overlaid barely suggested patches of foliage melting into sky with a tracery of branches and daubs of white that pull the shimmer of morning sun into the setting. In subsequent years and through the different streams of Gruner’s work he continued to aspire to the clarity, lyricism and quiet drama in Corot’s landscape art.3 Gruner made a handful of paintings that seem to employ Meldrum’s theory of tonal relations, of which Morning mists c1915 is perhaps the most reductive, a monochromatic harbour scene, with the land and water barely discernible, reminiscent of Clarice Beckett, Meldrum’s star disciple.
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