DOCSLIB.ORG

Mortimer Menpes and Dorrit Black

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Mortimer Menpes and Dorrit Black MEDIA RELEASE Wednesday 30 April 2014 Bringing to light two influential South Australian artists- Mortimer Menpes and Dorrit Black Staged side by side, The World of Mortimer Menpes: painter, etcher, raconteur and Dorrit Black: unseen forces reveal the pioneering role that each artist played, albeit in different circles and at different times. These two retrospectives, running from Saturday 14 June to Sunday 7 September 2014, will celebrate the life work of two influential, Adelaide-born artists. Mortimer Menpes and Dorrit Black were both painters and printmakers who shared a common desire to travel the world to develop their careers in art. Although a generation apart they both shared a love of recording the ordinary and natural world. Menpes (1855–1938) was South Australia’s first artist to have a successful international career. He was born in Port Adelaide and moved to London with his parents in 1875. For a time he was closely associated with James McNeill Whistler and his Aesthetic style. In 1887 he travelled to Japan and his subsequent exhibition was an overwhelming success. During the 1890s he held eight major solo exhibitions in London resulting from diverse overseas trips. His famous Japanese-style house in London’s Cadogan Gardens provided the perfect setting for his foray into portraiture and became a hub for artistic soirées – where writers, artists, politicians, high society and the leading lights in the theatre world, mingled. Menpes never returned to Australia, although many of his works have. The World of Mortimer Menpes: painter, etcher, raconteur, curated by Julie Robinson, will include paintings, prints, drawings and ceramics, assembled from public and private collections in Australia and overseas. Black (1891–1951) returned to Australia from her European travels in 1929 and brought with her the revolutionary movement of cubism. She established the ground-breaking Modern Art Centre in Sydney in 1931, and her teaching and practice inspired a wave of young artists, including Jeffrey Smart who described her permanent return to Adelaide in 1934 ‘like a shot of adrenaline’. While living in Adelaide she produced some of Australia’s greatest landscapes of the mid-twentieth century. Curated by Tracey Lock-Weir, Dorrit Black: unseen forces will include all aspects of Black’s work – oil paintings, watercolours, drawings, textiles and her dynamic linocut prints. It will highlight her as one of Australia’s foremost modernist artists and teachers, who significantly contributed to the acceptance of modernism in Australia. ENDS __________________________________________________________________________________ Image Left: Dorrit Black, Australia, 1891–1951, The Bridge, 1930, Sydney, oil on canvas on board, 60.0 x 81.0 cm; Bequest of the artist 1951. Image Right: Mortimer Menpes, Britain/Australia, 1855–1938, A Japanese procession, c.1897, gouache, watercolour on paperboard, 36.3 x 32.4 cm; Collection of David and Pam McKee. MEDIA CONTACT Marika Lucas-Edwards, Communications Manager, Art Gallery of South Australia E [email protected] | T 08 8207 7156 | M 0407 077 102 High resolution images with captions available for downloaded from: The World of Mortimer Menpes - http://bit.ly/1p8Wkrh | Dorrit Black: unseen forces - http://bit.ly/1gU1xBe Publications Dorrit Black: unseen forces will be accompanied by a full colour illustrated monograph outlining the artist’s extraordinary life and artistic output. Based on several years of research and written by the exhibition curator, Tracey Lock-Weir, the monograph reveals Dorrit Black as an artist of unsuspected importance. In the publication The World of Mortimer Menpes: painter, etcher, raconteur the various strands of the artist’s practice – his paintings, etchings, drawings, ceramics, books and interior design – have been brought together for the first time, providing the opportunity for a new audience to discover his art and life. Authors survey his achievements as a travel artist, portraitist and printmaker, and provide insights into his persona, his milieu, his artistic philosophy and methods. Both publications are available at the Gallery Shop. RRP $49.95 each __________________________________________________________________________________ MEDIA ANGLES – Mortimer Menpes . The first retrospective of the artist’s work ever held The World of Mortimer Menpes features over 250 works of art including paintings, prints and a never before seen sketchbook drawn from public and private collections in Australia, England, Scotland, France and the United States. The exhibition demonstrates Menpes’ success and versatility as an artist. He was constantly challenging himself, developing new ideas and techniques. Apprenticeship – in his early career (1880 – 1887) Menpes’ greatest influence was artist James McNeill Whistler. He observed Whistler’s techniques, approach to composition and subject matter, display and promotion. It was through Whistler, Menpes became attuned to the growing popularity in London of Japanese art and objects, and it was his eventual pursuit of this (by way of travel to Japan) that contributed to his falling out with Whistler . Intrepid traveller – throughout the 1890s Menpes established a pattern of travelling to foreign lands, then holding exhibitions of related works on his return. His travel stories, social observations and paintings captured public imagination. Menpes ventured to India, Burma and Kashmir, Venice, France, Spain, Morocco, Cairo, Mexico and a number of times to Japan. His connection with Japan, through travel, exhibitions and building a Japanese-inspired house, earned him the nickname ‘Japanese Menpes’. Portraiture – in the late 1890s Menpes established himself as a society portraitist. His newly built home at Cadogan Gardens, Chelsea, with its Japanese-inspired and crafted interiors, became a hub for artistic soirees, and celebrity sitters eagerly flocked there to sit for portraits including writers, artists, politicians, high society and the leading lights in the theatre world including Sir Henry Irving, the most famous British actor of the day and leading French actress, Sarah Bernhardt. Australian Prime Minister Sir Edmund Barton visited in 1902. Mona Lisa in Adelaide – A collection of old masters paintings will go on display in the exhibition but they are all fakes! The 10 works – including copies of Leonardo da Vinci’s Mona Lisa, Rembrandt’s Self-portrait leaning on a stone sill and Frans Hals’s The laughing cavalier – were painted by Menpes at the beginning of the twentieth century. He visited the great galleries of Europe, meticulously copying some of the world’s most famous works of art in an effort to bring the rest of the world closer to them. In 1911, Menpes donated 38 of the copies to the Australian Government, reasoning that most Australians would never get to see the originals. These works are currently part of the Pictures Collection at the National Library of Australia. __________________________________________________________________________________ MEDIA ANGLES – Dorrit Black . Dorrit Black: unseen forces is the largest retrospective ever staged of the artist’s work and is the first exhibition in nearly forty years to reassess Black’s contribution to the story of Australian art. Black is the last of the major Australian modern women to be the subject of a recent monograph and retrospective. She was one of the most important Australian modernists, advancing and promoting the cause of modern art in Australia through her practice, advocacy and teaching. Printmaking - in September1927 Black arrived in London and attended the Grosvenor School of Modern Art. She studied under linocut printmaker, Claude Flight, whose pioneering ideas, advice and encouragement had an enduring effect on her career. Black was involved in the first ever exhibition of linocuts in London in 1929. This was a key exhibition in printmaking and to this day prints from Grosvenor School artist from the same period are in high demand - Black’s The Eruption fetched a record $84,608 in a recent Bonhams auction (April 2014). Breakthrough period - in Black’s ‘Account of travel and work 1927–29’ she indicates that by going to France she ‘crossed over [to acquire] a definite understanding of the aims and methods of the modern movement and, in particular – of the Cubists’. The medieval hilltop village of Mirmande, in the south of France, was the location of French cubist teacher André Lhote’s summer school. It was here, along with her contemporaries Grace Crowley and Anne Dangar, that Black made significant artistic advances with cubist techniques as demonstrated in her landscape painting, Mirmande. Sydney’s Modern Art Centre – on her return to Australia in 1931 Black established Sydney’s Modern Art Centre in answer to Australia’s delayed response to modern art. In doing so she broke new ground becoming the first woman in Australia to run an art gallery and establishing the first art institution in the country to use the word ‘modern’ in the title..
Load more

Recommended publications
  • Emu Island: Modernism in Place 26 August — 19 November 2017
    PenrithIan Milliss: Regional Gallery & Modernism in Sydney and InternationalThe Lewers Trends Bequest Emu Island: Modernism in Place 26 August — 19 November 2017 Emu Island: Modernism in Place Penrith Regional Gallery & The Lewers Bequest 1 Spring Exhibition Suite 26 August — 19 November 2017 Introduction 75 Years. A celebration of life, art and exhibition This year Penrith Regional Gallery & The Lewers Bequest celebrates 75 years of art practice and exhibition on this site. In 1942, Gerald Lewers purchased this property to use as an occasional residence while working nearby as manager of quarrying company Farley and Lewers. A decade later, the property became the family home of Gerald and Margo Lewers and their two daughters, Darani and Tanya. It was here the family pursued their individual practices as artists and welcomed many Sydney artists, architects, writers and intellectuals. At this site in Western Sydney, modernist thinking and art practice was nurtured and flourished. Upon the passing of Margo Lewers in 1978, the daughters of Margo and Gerald Lewers sought to honour their mother’s wish that the house and garden at Emu Plains be gifted to the people of Penrith along with artworks which today form the basis of the Gallery’s collection. Received by Penrith City Council in 1980, the Neville Wran led state government supported the gift with additional funds to create a purpose built gallery on site. Opened in 1981, the gallery supports a seasonal exhibition, education and public program. Please see our website for details penrithregionalgallery.org Cover: Frank Hinder Untitled c1945 pencil on paper 24.5 x 17.2 Gift of Frank Hinder, 1983 Penrith Regional Gallery & The Lewers Bequest Collection Copyright courtesy of the Estate of Frank Hinder Penrith Regional Gallery & The Lewers Bequest 2 Spring Exhibition Suite 26 August — 19 November 2017 Introduction Welcome to Penrith Regional Gallery & The of ten early career artists displays the on-going Lewers Bequest Spring Exhibition Program.
    [Show full text]
  • Making 18 01–20 05
    artonview art o n v i ew ISSUE No.49 I ssue A U n T U o.49 autumn 2007 M N 2007 N AT ION A L G A LLERY OF LLERY A US T R A LI A The 6th Australian print The story of Australian symposium printmaking 18 01–20 05 National Gallery of Australia, Canberra John Lewin Spotted grossbeak 1803–05 from Birds of New South Wales 1813 (detail) hand-coloured etching National Gallery of Australia, Canberra nga.gov.au InternatIonal GallerIes • australIan prIntmakInG • modern poster 29 June – 16 September 2007 23 December 2006 – 6 May 2007 National Gallery of Australia, Canberra National Gallery of Australia, Canberra George Lambert The white glove 1921 (detail) Art Gallery of New South Wales, Sydney purchased 1922 photograph: Jenni Carter for AGNSW Grace Crowley Painting 1951 oil on composition board National Gallery of Australia, Canberra Purchased 1969 nga.gov.au nga.gov.au artonview contents 2 Director’s foreword Publisher National Gallery of Australia nga.gov.au 5 Development office Editor Jeanie Watson 6 Masterpieces for the Nation appeal 2007 Designer MA@D Communication 8 International Galleries Photography 14 The story of Australian printmaking 1801–2005 Eleni Kypridis Barry Le Lievre Brenton McGeachie 24 Conservation: print soup Steve Nebauer John Tassie 28 Birth of the modern poster Designed and produced in Australia by the National Gallery of Australia 34 George Lambert retrospective: heroes and icons Printed in Australia by Pirion Printers, Canberra 37 Travelling exhibitions artonview ISSN 1323-4552 38 New acquisitions Published quarterly: Issue no. 49, Autumn 2007 © National Gallery of Australia 50 Children’s gallery: Tools and techniques of printmaking Print Post Approved 53 Sculpture Garden Sunday pp255003/00078 All rights reserved.
    [Show full text]
  • Art Gallery of New South Wales 2017: Our Year in Review
    Art Wales South Gallery New of ART GALLERY OF NEW SOUTH WALES 201 7 2017 ART GALLERY OF NEW SOUTH WALES 2017 2 Art Gallery of New South Wales 2017 Art Gallery of New South Wales 2017 3 Our year in review 4 Art Gallery of New South Wales 2017 6 OUR VISION 7 FROM THE PRESIDENT David Gonski 8 FROM THE DIRECTOR Michael Brand 10 2017 AT A GLANCE 12 SYDNEY MODERN PROJECT 16 ART 42 IDEAS 50 AUDIENCE 62 PARTNERS 78 PEOPLE 86 BOARD OF TRUSTEES 88 EXECUTIVE 89 CONTACTS 90 2018 PREVIEW The Gadigal people of the Eora nation are the traditional custodians of the land on which the Art Gallery of New South Wales stands. We respectfully acknowledge their Elders past, present and future. Our vision From its base in Sydney, the Art Gallery of New South Wales is dedicated to serving the widest possible audience as a centre of excellence for the collection, preservation, documentation, interpretation and display of Australian and international art, and a forum for scholarship, art education and the exchange of ideas. page 4: A view from the Grand Courts to the entrance court showing Bertram Mackennal’s Diana wounded 1907–08 and Emily Floyd’s Kesh alphabet 2017. 6 Art Gallery of New South Wales 2017 DAVID GONSKI AC PRESIDENT ART GALLERY OF NEW SOUTH WALES TRUST and the Hon Adam Marshall MP, Glenfiddich, Herbert Smith Freehills, Minister for Tourism and Major Events. JCDecaux, J.P. Morgan, Macquarie Group, Macquarie University, The funding collaboration between McWilliam’s Wines & Champagne government and philanthropists for Taittinger, Paspaley Pearls, Sofitel our expansion will be the largest in FROM Sydney Wentworth, the Sydney the history of Australian arts.
    [Show full text]
  • Dorrit Black the Bridge
    Dorrit Black The Bridge Interpretive Resource Australian modernist Dorrit Black The Bridge, 1930 was Australia’s first Image (below) and image detail (cover) (1891–1951) was a painter and printmaker cubist landscape, and demonstrated a Dorrit Black, Australia, who completed her formal studies at the new approach to the painting of Sydney 1891–1951, The Bridge, 1930, Sydney, oil on South Australian School of Arts and Crafts Harbour. As the eye moves across the canvas on board, 60.0 x around 1914 and like many of her peers, picture plane, Black cleverly combines 81.0 cm; Bequest of the artist 1951, Art Gallery of travelled to Europe in 1927 to study the the passage of time in a single painting. South Australia, Adelaide. contemporary art scene. During her two The delicately fragmented composition years away her painting style matured as and sensitive colour reveals her French she absorbed ideas of the French cubist cubist teachings including Lhote’s dynamic painters André Lhote and Albert Gleizes. compositional methods and Gleizes’s vivid Black returned to Australia as a passionate colour palette. Having previously learnt to supporter of Cubism and made significant simplify form through her linocut studies contribution to the art community by in London with pioneer printmaker, Claude teaching, promoting and practising Flight, all of Black’s European influences modernism, initially in Sydney, and then in were combined in this modern response to Adelaide in the 1940s. the Australian landscape. Dorrit Black – The Bridge, 1930 Interpretive Resource agsa.sa.gov.au/education 2 Early Years Primary Responding Responding What shapes can you see in this painting? What new buildings have you seen built Which ones are repeated? in recent times? How was the process documented? Did any artists capture The Sydney Harbour Bridge is considered a this process? Consider buildings you see national icon – something we recognise as regularly, which buildings do you think Australian.
    [Show full text]
  • Diploma Lecture Series 2011 Art and Australia Ll: European Preludes and Parallels Cubism and Australian Art from 1940 Lesley
    Diploma Lecture Series 2011 Art and Australia ll: European Preludes and Parallels Cubism and Australian art from 1940 Lesley Harding 8 / 9 June 2011 Lecture summary: This lecture will consider the impact of the revolutionary and transformative movement of Cubism on Australian art from the 1940s to the present day. Described in 1912 by French poet and commentator Guillaume Apollinaire as ‘not an art of imitation, but one of conception’, Cubism irreversibly altered art’s relationship to visual reality. ‘I paint things as I think them, not as see them’, Picasso said. By its very nature, Cubism is characterised by variation and change. Although there was no cubist movement in Australia per se, its appearance in Australian art parallels its uptake and re-interpretation by artists internationally. By viewing Cubism as a set of stylistic and conceptual discoveries, rather than as a style defined by a particular period, we can trace the adaptation and evolution of cubist ideas and influences over successive decades and uncover its ongoing relevance to Australian art. In the early years, an interest in Cubism signaled a desire to be modern, a vanguard position taken against the parochial predominance of landscape painting in Australia at that time. While early Cubism broke down the pictorial subject, resulting in fragmentary images with multiple viewpoints and overlapping planes, the later inclusion of collage elements such as newsprint and wallpaper into paintings (often referred to as Synthetic Cubism) was the beginning of the idea that real objects could be incorporated into artworks, which opened up new possibilities for the treatment of reality in art.
    [Show full text]
  • Anne Dangar, Vase À Anses - Terre Cuite Vernissée
    Anne Dangar, Vase à anses - Terre cuite vernissée. H. 28 ; D. 33 cm - Collection privée Emmanuel Lopez - Photographie Cyril Crespeau. Design graphique : www.longisland.fr Dossier pédagogique SOMMAIRE 03 Introduction 06 Anne Dangar en 10 mots 10 Chronologie 14 Pistes pédagogiques 19 Glossaire 23 Bibliographie 25 Informations pratiques 2 INTRODUCTION De récentes expositions (Cubism & Australian Art, Heide Museum of Modern Art, 2009, à Melbourne, et Sydney Moderns, Art Gal- lery of New South Wales, 2013, à Sydney) ont révélé l’importance d’Anne Dangar dans le développement du cubisme en Australie durant les années 1930-1940. Sa participation à l’Académie André Lhote, suivie d’une collabo- ration de 21 ans avec l’artiste et théoricien du cubisme Albert Gleizes, ont fait d’Anne Dangar une figure essentielle de la rela- tion entre l’avant-garde française et le modernisme australien. La correspondance qu’elle entretient toute sa vie durant avec son amie Grace Crowley installée en Australie montre qu’elle lui envoyait régulièrement des leçons et exercices pratiques sur les théories de Gleizes : Grace les intégra à ses cours entre 1932 et 1937 dans l’école qu’elle avait fondée avec Rah Fizelle. « [J]’ai vu de très très beaux dessins à la plume et gouaches de Monsieur Gleizes. Des gammes de couleurs sombres et profondes ; quelle puissance, souplesse et délicatesse ! Son travail est de plus en plus beau. » L’exposition du Musée de Valence présente les poteries d’Anne Dangar à la lumière des conceptions d’Albert Gleizes sur le retour à la terre et la promotion de l’artisanat.
    [Show full text]
  • Talking Art Library Audio Transcripts
    Talking Art Library Audio Transcripts Frederick McCubbin (1855-197), A Frosty Morning, 1910, oil on canvas, 49.5 x 75.0cm. The University of Melbourne Art Collection. Gift of Dr Samuel Arthur Ewing 1938 [1938.0014.000.000] Harold Weaver Hawkins (1893-1977), Another Day, 1954, oil on composition board, 71.0 x 91.0cm, The University of Melbourne Art Collection. Purchased 1954, [1954.0008.000.000] J.J Hilder (1881-1916), Children Playing, c.1909-14, watercolour on paper, 20.4 x 20.4cm, The University of Melbourne Art Collection. Gift of Dr Samuel Arthur Ewing 1938 [1938.0044.000.000]. Inge King AM (1915-2016), Sun Ribbon, 1980-82, black painted steel, The University of Melbourne Art Collection. Gift of Mrs Eileen Fox in memory of her parents Ernest and Fannie Kaye 1983. [1982.0023.000.000] Emanuel Philip Fox (1865 -1915), Lamplight, 1911, oil on canvas, 188.5 x 229.5cm, The University of Melbourne Art Collection. Gift of Mrs E. Phillips Fox 1939. [1939.0002.000.000] Thea Proctor (1879 -1966), The Bathers (Fan Design), c.1920s-1930s), watercolour on silk on card, The University of Melbourne Art Collection. Gift of Mrs Margaret Cutten, donated through the Australian Government’s Taxation Incentives for the Arts Scheme, 1983. [1983.0112.000.000] Jeffrey Smart (1921 – 2013), Hindmarsh Tannery, 1943, oil on canvas, 50.8 x 61.0cm, The University of Melbourne Art Collection. Gift of Sir John Medley 1950. [1950.0001.000.000] Lekythos Marathon Group, Class of Athens 581, ceramic, The University of Melbourne Art Collection.
    [Show full text]
  • Calendar Catalogue - 2018
    BLUE ISLAND PRESS - Calendar Catalogue - 2018 Blue Island Press 2018 Calendar Range in 3 sizes. www.blueislandpress.com Blue Island Press Calendars are printed and assembled in Australia. We use high quality Italian felted or chalk stocks which are archival grade. Each page has a framable image to keep after use. The main calendar range is the Wall Calendars which measure 320 x 230 mm. Each month has boxes for each day to record your diary dates. Calendars are twin loop wire bound and hang from the top. Large Wall Calendars measure 320 x 460 mm. These calendars have large diary boxes. They are twin loop wire bound and hang from the top. Desk calendars measure 155 x 170 mm. These calendars do not have diary boxes. They have a fold-out triangular centre to make them free standing. For wholesale customers please order in a minimum of 2 calendars per design. Display stands are available free on loan for the 320 x 230 mm Wall Calendars. Minimum purchase for a display stand is 72 calendars. The display stand takes 12 Wall Calendars, up to 6 of each design. We do not have display stands for the Large Wall Calendars or Desk Calendars. Each calendar design is individually barcoded. Calendars can be re-ordered all year round. All orders attract minimal freight charges. Enjoy! Wall Calendars 320 x 230 mm Clarice Beckett MASTERLY PAINTER – BRILLIANT ARTIST Clarice Beckett MASTERLY PAINTER – BRILLIANT ARTIST 2018 CALENDAR Clarice Beckett’s evocative paintings offer a view of Each page has a framable image printed Australia that celebrates modernity and the quiet on Italian archive paper, plus large boxes beauty of the city and the suburbs.
    [Show full text]
  • Art Gallery of New South Wales Annual Report 2005 Art Gallery of New South Wales General Information
    ART GALLERY ART GALLERY OF NEW SOUTH WALES NSW Art Gallery Road The Domain Sydney NSW 2000 Telephone: (02) 9225 1700 Information Line: (02) 9925 1790 Email (general): [email protected] For information on current exhibitions and events, visit the Gallery’s website www.artgallery.nsw.gov.au ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2005 ART GALLERY OF NEW SOUTH WALES GENERAL INFORMATION ACCESS RESEARCH LIBRARY AND GALLERY SHOP PUBLIC TRANSPORT The Gallery opens every day except ARCHIVE Open daily from 10am to 5pm and until Buses: the 441 bus route stops at the ‘I have been in many museums around the world. You have a Easter Friday and Christmas Day The Gallery’s Research Library and 8.45pm each Wednesday night, the Gallery en route to the Queen Victoria between the hours of 10am and 5pm. Archive is open Monday to Friday Gallery Shop offers the finest range of art Building. The service runs every 20 national treasure here. Very impressive.’ Gallery visitor, 27 Feb 05 The Gallery opens late each Wednesday between 10am and 4pm (excluding books in Australia and also specialises in minutes on weekdays and every 30 night until 9pm. General admission is public holidays) and until 8.45pm each school and library supply. The shop minutes on weekends. Call the STA on free. Entry fees may apply to a limited Wednesday night. The Library is located stocks an extensive range of art posters, 131 500 or visit www.131500.info for number of major temporary exhibitions. on ground floor level and has the most cards, replicas and giftware.
    [Show full text]
  • Art Gallery of New South Wales Australian
    ART GALLERY OF NEW SOUTH WaLES Australian Collection Focus Room 13 March – 11 July 2010 INTRODUCTION Margaret Preston was inspired to create some of her most admired woodcuts such as Sydney Heads whilst living in Sydney’s north shore suburb of Mosman and encouraged The 1920s and 30s witnessed a resurgence of activity in Thea Proctor to make a small number of prints using the wood and lino cutting among Australian printmakers. This technique, of which The rose is perhaps the most display highlights the vitality of work by a group of artists celebrated. A number of artists also experimented with who were excited at the capacity of these techniques to linocutting, which was taught in schools and art schools create images that were modern. during this period as an exercise in design. Adelaide Perry Such a blossoming of work was influenced by the greatly influenced its popularity through the example of her example of contemporary European and American own work – seen here in her impressive print The bridge - printmakers through the English journal Studio and by and through teaching. Dorrit Black, Ethel Spowers and Australian artists Lionel Lindsay, Margaret Preston and Eveline Syme studied under English artist Claude Flight at Napier Waller who championed the art of relief printmaking; the Grosvenor School of Modern Art in London, producing reinforced by exhibitions, articles published in the journal works that exemplified his credo that lino cutting was ‘the Art in Australia and a contemporary enthusiasm for ultimate modern medium’. Due to the association of wood Japanese prints. Artists’ interest in wood and lino cuts and lino cuts with craft, décor and the feminine sphere should also be seen in the context of early twentieth century (particularly through The Home magazine), work in this area art, which witnessed a continuing breakdown of barriers of printmaking, though praised and published, was judged between art and craft; and of modernism, in which artists of lesser importance by the mainstream art establishment.
    [Show full text]
  • Jacqueline Hick Jacqueline Hick Born Wise Wise Born Hick Jacqueline
    Jacqueline Hick Jacqueline Hick Born Wise ‘Jackie was born wise, and born unperturbed,’ said Jeffrey Smart of his friend Jacqueline Hick. Jacqueline Hick (1919–2004) was one of Australia’s most successful figurative painters. In a long and fruitful career she also explored printmaking and enamelling. Her subjects included the Australian landscape, musical and theatrical performances, and city life. Above all, Hick was drawn to the human figure. Whether observing the foibles of modern Jacqueline Hick living or the displacement of Aboriginal people’s traditional lifestyles, her figurative works sought to expose human insensitivity. Hick’s later works, depicting the figure in an Born wise Gloria Strzelecki aquatic environment, explored movement and expressions of light. Gloria Strzelecki Jacqueline Hick: Born wise showcases many of Hick’s finest works, and traces a life that, like her art, was imbued with wit, wisdom and empathy. Cover: Pas de Trois (detail), c. 1964, oil and synthetic polymer paint on composition board, ISBN 978-1-74305-200-6 134.1 x 181.6 cm; Maude Vizard‑Wholohan Art Prize Purchase Award 1964; Art Gallery of South Australia Cover design by Liz Nicholson, designBITE, and 9 781743 052006 Clinton Ellicott, Wakefield Press Jacqueline Hick Born wise Jacqueline Hick Born wise Gloria Strzelecki Wakefield Press Gloria Strzelecki is a freelance curator and writer, and has 1 The Parade West been Gallery Manager at the Adelaide Central School of Art Kent Town since 2009. She has worked at the Art Gallery of South South Australia 5067 Australia as a curatorial research assistant, and from 2007 www.wakefieldpress.com.au until 2009 was co-director of a contemporary art space, ‘A Room of Her Own’, which she established in Adelaide.
    [Show full text]
  • Art Deco from the National Collection
    Secondary school education resource National Collecting Institutions Touring & Outreach Program 1 Curriculum connections This resource may be used to: • complement an experience of Art Deco through activities and ideas to assist with preparation for This Art Deco education resource invites students to the gallery visit explore the vitality and innovation of Art Deco art and design in early twentieth-century Australia through • as a reference when students are viewing the work responding and making. It explores the influence of technological advancements and urbanisation across • deepen understanding and engagement post-visit a diverse range of artforms in the aftermath of World War I. • support in-depth research into Art Deco art and design, its wider historical context and the work of Art Deco is perfectly suited to foster students’ critical individual artists associated with Art Deco. and creative thinking skills. By applying a sequence of exercises, students will develop an increasingly The resource includes the following learning activities, sophisticated understanding of problem-solving paired with major themes of the exhibition: processes and interpretation. Through the creation of their own works of art, students are required to • Speak your mind: Talking points or provocations identify, explore and organise information and ideas. to facilitate contemplation and discussion as well as offer opportunities for students to engage with This resource is directly linked to the Australian art history and theory through exploratory research Curriculum and is designed to develop successful tasks learners, confident and creative individuals and active, informed citizens. Students are encouraged to reflect • Get to work: Creative art making suggestions that on Art Deco from a contemporary perspective and to explore key concepts consider and question values, attitudes, perspectives and assumptions.
    [Show full text]