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THE HARVEST of a QUIET EYE.Pdf
li1 c ) 1;: \l} i e\ \. \ .\ The University of Sydney Copyright in relation to this thesis* Unde r the Copyright Act 1968 (several provision of which are referred to below), this thesis must be used only under the normal conditions of scholarly fair dealing for the purposes of research, criticism or review. In particular no results or conclusions should be extracted (rom it, nor should it be copied or closely paraphrased in whole or in part without the written consent of the author. Proper written acknowledgement should be made for any assistance obtained from this thesis. Under Section 35(2) of the Copyright Act 1968 'the .uthor of a literary, dramatic. musical or artistic work is the owner of any copyright subsisting in the work', By virtUe of Section 32( I) copyright 'subsists in an original literary, dramatic. musical or artistic work that is unpublished' and of which the author was an Australian citizen, an Australian protected person or a person resident in Australia. The Act. by Section 36( I) provides: 'Subject to this Act. the copyright in a literary, dramatic, musical or artistic work is infringed by a person who. not being the owner of the copyright and without the licence of the owner of the copyright, does in Australia, or authorises the doing in Australia of, any act comprised in the copyright'. Section 31 (I )(.)(i) provides thot copyright includes the exclusive right to'reproduce the work. in a material form'.Thus, copyright is infringed by a person who, not being the owner of the copyright, reproduces or authorises the reproduction of a work., or of more than a reasonable part of the work, in a material form, unless the reproduction is a 'fair dealing' with the work 'for the purpose of research or swdy' as further defined in Sections 40 and . -
Tom Roberts's Masterpiece Emerges for Public Sale
Melbourne | +61 (0)3 9508 9900 | Thomas Austin | [email protected] TOM ROBERTS’S MASTERPIECE EMERGES FOR PUBLIC SALE FOR THE FIRST TIME SINCE THE 9 BY 5 IMPRESSION EXHIBITION IN 1889 She-Oak in Sun-Light Makes Auction Debut After Over a Century in the Sir Walter Baldwin Spencer Collection An Enduring Symbol of Roberts’s Vision to Create a Distinct & ‘National’ Visual Vocabulary for Australian Landscape Painting TOM ROBERTS 1856-1931 She-Oak and Sun-Light (1889) oil on wood, 30.5 x 30 cm Estimate $220,000–280,000 MELBOURNE, 30 October 2019 – On 20 November 2019, Tom Roberts’s celebrated Impressionist masterpiece, She-Oak and Sun-Light (1889), will go under the hammer at Sotheby’s Australia’s auction of Important Australian Art. The work was first seen by the public during the iconic The 9 by 5 Impression Exhibition in Melbourne in 1889 before being acquired by one of Australia’s first great art patrons Sir Walter Baldwin Spencer (1860-1929). The panel has been cherished by Spencer’s descendants since that time and will make its auction debut at Sotheby’s Australia this November. Sotheby’s Australia is a trade mark used under licence from Sotheby's. Second East Auction Holdings Pty Ltd is independent of the Sotheby's Group. The Sotheby's Group is not responsible for the acts or omissions of Second East Auction Holdings Pty Ltd Melbourne | +61 (0)3 9508 9900 | Thomas Austin | [email protected] THE MOST CELEBRATED WORK FROM AUSTRALIA’S FIRST IMPRESSIONIST EXHIBITION Over the past century, beginning with Frank Gibson, R.H. -
PRIMARY Education Resource
A break away! painted at Corowa, New South Wales, and Melbourne, 1891 oil on canvas 137.3 x 167.8 cm Art Gallery of South Australia, Adelaide, Elder Bequest Fund, 1899 PRIMARY Education resource Primary Education Resource 1 For teachers How to use this learning resource for primary students Tom Roberts is a major INTRODUCTION exhibition of works from the National Gallery of Australia’s ‘All Australian paintings are in some way a homage to Tom Roberts.’ Arthur Boyd collection as well as private and Tom Roberts (1856–1931) is arguably one of Australia’s public collections from around best-known and most loved artists, standing high among his talented associates at a vital moment in local painting. Australia. His output was broad-ranging, and includes landscapes, figures in the landscape, industrial landscapes and This extraordinary exhibition brings together Roberts’ cityscapes. He was also Australia’s leading portrait most famous paintings loved by all Australians. Paintings painter of the late nineteenth and early twentieth such as Shearing the rams 1888–90 and A break away! centuries. In addition he made a small number of etchings 1891 are among the nation’s best-known works of art. and sculptures and in his later years he painted a few nudes and still lifes. This primary school resource for the Tom Roberts exhibition explores the themes of the 9 by 5 Impression Roberts was born in Dorchester, Dorset, in the south of exhibition, Australia and the landscape, Portraiture, England and spent his first 12 years there. However he Making a nation, and Working abroad. -
SECONDARY Education Resource
Shearing the rams painted at Brocklesby station, Corowa, New South Wales, and Melbourne, 1888–90 oil on canvas mounted on board 121.9 x 182.6 cm National Gallery of Victoria, Melbourne, Felton Bequest Fund, 1932 SECONDARY Education resource Secondary Education Resource 1 For teachers How to use this secondary student learning resource This extraordinary exhibition CURRICULUM ALIGNMENT brings together Tom Roberts’ most famous paintings loved by All the themes in the Tom Roberts exhibition can be used with visual arts students from Year 7–10 and beyond. all Australians. Paintings such as Some may be more relevant to specific years given connections to other learning areas such as History and Shearing the rams 1888–90 and Civics and Citizenship at the same level as outlined under A break away! 1891 are among each theme that follows. the nation’s best-known works The Arts – Visual Arts: Year 7 and 8 of art. • Experiment with visual arts conventions and techniques (ACAVAM118) Tom Roberts is a major exhibition of works from the • Develop ways to enhance their intentions as artists national collection as well as private and public collections through exploration of how artists use materials, from around Australia. techniques, technologies and processes (ACAVAM119) • Develop planning skills for art-making by exploring The secondary student learning resource for the Tom techniques and processes used by different artists Roberts exhibition highlights the relevance of Roberts’ (ACAVAM120) oeuvre to today’s contemporary world. Themes explored include Australian life, landscape, portraiture, Federation • Practise techniques and processes to enhance and making a nation, Aboriginal and Torres Strait Islander representation of ideas in their art-making (ACAVAM121) histories, immigration and the influences of other artists. -
Immunity from Seizure
Immunity from Seizure THE NATIONAL GALLERY IMMUNITY FROM SEIZURE Australia's Impressionists 07 Dec 2016 - 26 Mar 2017 The National Gallery, London, Trafalgar Square, London, WC2N 5DN Immunity from Seizure IMMUNITY FROM SEIZURE Australia's Impressionists 07 Dec 2016 - 26 Mar 2017 The National Gallery, London, Trafalgar Square, London, WC2N 5DN The National Gallery is able to provide immunity from seizure under part 6 of the Tribunals, Courts and Enforcement Act 2007. This Act provides protection from seizure for cultural objects from abroad on loan to temporary exhibitions in approved museums and galleries in the UK. The conditions are: The object is usually kept outside the UK It is not owned by a person resident in the UK Its import does not contravene any import regulations It is brought to the UK for public display in a temporary exhibition at a museum or gallery The borrowing museum or gallery is approved under the Act The borrowing museum has published information about the object For further enquiries, please contact [email protected] Protection under the Act is sought for the objects listed in this document, which are intended to form part of the forthcoming exhibition, Australia's Impressionists. Copyright Notice: no images from these pages should be reproduced without permission. Immunity from Seizure Australia's Impressionists 07 Dec 2016 - 26 Mar 2017 Protection under the Act is sought for the objects listed below: Charles Conder (1868-1909) Purchased 1888 © AGNSW X9159 Departure of the Orient - Circular Quay 1888 Place of manufacture: Australia Oil on canvas Object dimensions: 45.1 × 50.1 cm Art Gallery of New South Wales, Sydney. -
Arthur Streeton Teaching Resource
Land of the Golden Fleece— Arthur Streeton in the Western District Education resource Education sponsor Geelong Arthur Streeton Gallery Land of the Golden Fleece (detail) 1926 oil on canvas Little Malop Street National Gallery of Australia, Canberra Geelong 3220 The Oscar Paul Collection, Gift of Henriette von Dallwitz T +61 3 5229 3645 and of Richard Paul in honour of his father 1965 geelonggallery.org.au/education Land of the Golden Fleece— Arthur Streeton in the Western District Studio portrait of Lieutenant Arthur Ernest Streeton, Official War Artist c. 1918 Collection of the Australian War Memorial (P03451.001) Photographer unknown Introduction Learning areas Land of the Golden Fleece—Arthur Streeton in the The Arts (Visual arts): Western District brings together works by one of Australia’s Exploring and Responding, Creating and Making foremost and much-loved artists. The exhibition focuses Levels 2 to VCE on Arthur Streeton’s landscape paintings of Victoria’s English: Western District, and associated coastal vistas, executed Language, Literature and Literacy in the period 1920 to 1932. This education resource Levels 7 to 10 examines some of the key works of art in the exhibition and identifies the cultural, historical and geographical Humanities (History): significance of the works. Historical Knowledge and Understanding Levels 9 to 10 Students and educators are encouraged to use this resource to explore important themes and ideas of the exhibition Humanities (Geography): and to ask questions that generate in discussions in the Geographical Knowledge and Understanding classroom and the Gallery. The resource is mainly directed Levels 6 to 10 towards levels 9 to VCE in the curriculum. -
TERENCE EDWIN SMITH, FAHA, CIHA CURRICULUM VITAE Andrew W Mellon
TERENCE EDWIN SMITH, FAHA, CIHA CURRICULUM VITAE www.terryesmith.net/web http://www.douban.com/group/419509/ Andrew W Mellon Professor of Contemporary Art History and Theory Henry Clay Frick Department of the History of Art and Architecture 104 FFA, University of Pittsburgh, Pittsburgh PA 15260 USA Tel 412 648 2404 fax 412 648 2792 Messages (Linda Hicks) 412 648 2421 [email protected] 3955 Bigelow Boulevard, #911, Pittsburgh, PA 15213 Tel. 412 682 0395 cell 919 683 8352 33 Elliott St., Balmain, NSW 2041 Australia, tel. 61 -2- 9810 7464 (June-August each year) 1. ACADEMIC RECORD 2. APPOINTMENTS 3. RESEARCH GRANTS, HONOURS AND AWARDS 4. PUBLICATIONS, INTERVIEWS, EXHIBITIONS 5. TEACHING AND ADMINISTRATION 6. HONORARY PROFESSIONAL POSITIONS 7. COMMUNITY SERVICE 8. GUEST LECTURES AND CONFERENCE PAPERS 9. RELATED ACTIVITIES 10. PROFILES 11. RECENT REVIEWS 1 1. ACADEMIC RECORD 1986 Doctor of Philosophy, University of Sydney (dissertation topic: “The Visual Imagery of Modernity: USA 1908-1939”) 1976 Master of Arts, University of Sydney, first class honours and University Medal (thesis topic: “American Abstract Expressionism: ethical attitudes and moral function”) 1973-74 Doctoral studies, Institute of Fine Arts, New York University (Professors Goldwater, Rosenblum, Rubin); additional courses at Columbia University, New York (Professor Schapiro), Whitney Museum of American Art, New York 1966 Bachelor of Arts, University of Melbourne 2. APPOINTMENTS 2011-2015 Distinguished Visiting Professor, National Institute for Experimental Arts, College of Fine -
Art Trail Booklet
COASTAL TRAILS ART Bayside Coastal Art Trail map overleaf 76 Royal Avenue, Sandringham PO Box 27 Sandringham VIC 3191 T (03) 9599 4444 [email protected] www.bayside.vic.gov.au Get the Bayside Walks & Trails App Bayside Coastal Trail Network Bayside City Council has developed four affiliated trails stretching across the 17 kilometers of the coastline adjacent to Beach Road between Brighton and Beaumaris. The Bayside Coastal Art Trail The Bayside Coastal Art Trail signs celebrate the lives and artworks of notable Australian artists who painted the bayside coast in years past and feature more than 50 artworks on signs along the 17km of coastline. For more information about these art works and the artists, visit www.bayside.vic.gov.au/trails Thomas Clark Red Bluff, c1860s 01 Collection: Port Phillip City Collection In this painting, we see Point Ormond, also known at that time as ‘Little Red Bluff’ as a cliff of ironstone. This oil on canvas was painted c1860s. Today Point Ormond is a much less prominent topographical feature; a grassy hill, reduced in size, that still has a navigation beacon at the summit. Sheep grazing on the flat grassy summit, the depiction of the navigation beacon at the summit and the figures attending to a wooden sailing boat on the Elwood beach, in the foreground, add to the charm of this painting. Oil on canvas 43.0 x 68.0 cm pp1996.18.245 Charles Douglas (C.D.) Richardson 02 Playthings of the Wind, Middle Brighton Beach Private Collection: Courtesy Lauraine Diggins Fine Art This watercolour was painted by local artist and sculptor Charles Douglas (C.D.) Richardson in 1911. -
Australian Portraits 1880–1960 Highlights the Richness and Likeness Is Central to Many Definitions of Portraiture
Secondary school education resource Australian portraits 1880–1960 highlights the richness and Likeness is central to many definitions of portraiture. The variety of Australian portraiture over 80 years, from the late word ‘portrait’ comes from the Latin protrahere: to draw forth, 19th to the mid 20th century. disclose, reveal, to capture the inner essence or to visualise the invisible. A portrait may be a likeness to the visual appearance The 12 paintings selected for this education resource show of a face or body or an evocation of the physical presence how approaches to portraiture altered and developed during a of an individual. It may also be a depiction of character or period of change. The portraits reflect significant moments in personality, the mood of a person, their spirit or soul—or the Australian history and provide representations of our culture, sum of all of these. our character and our interests. Some are images of wealthy or important individuals others are intimate portraits of artists’ Most portrait painters have wanted to depict more than a mere families and friends or revealing self-portraits. In these works physical likeness and more than a character study; they have the artists use the genre of portraiture to explore the formal wanted to create a work of art, an aesthetic object. and technical aspects of painting in a variety of ways. Following a visit to the exhibition Australian portraits 1880– The ability to recognise and respond to faces and facial 1960, the education resource will assist secondary students to expressions is crucial to the dynamics of portraiture. -
Lost for 136 Years: 'Fake' Tom Roberts Painting Bought for £7,500 Could Sell For
AiA Art News-service Lost for 136 years: ‘fake’ Tom Roberts painting bought for £7,500 could sell for $1m Rejection, bought by former mayor of Maroochydore, is deemed to be first self-portrait by father of Australian impressionism Tom Roberts’ first self-portrait, titled Rejection. The painting depicts an artist being consoled by his wife because his painting has been turned down for an exhibition. Photograph: Tom Roberts/Copyright Jon Linkins Sunday 3 September 2017 23.04 BSTLast modified on Monday 4 September 2017 05.54 BST An early painting by one of the greatest artists to have worked in Australia has been discovered and authenticated after being lost for 136 years. The painting by Tom Roberts had been in unknown private hands until 2013 when it was listed by Bamfords Auctioneers in the UK for an estimated £60 to £100. Since then its provenance has been nothing if not dramatic, as was revealed in an episode of the BBC art detective program Fake or Fortune on Sunday night. It was spotted on a website by the former mayor of Maroochydore Joe Natoli, a passionate art collector though of limited means. Natoli agreed with his wife Rosanna, a presenter at 7 News Sunshine Coast, that he could not bid higher than £7,500 in the auction. A painting signed by Roberts was a risk, as the famous painter is also one of the most forged. “We could tell from the photographs that there was something special about it, the subject matter spoke to us and we thought it was worth a chance,” says Rosanna on the program. -
ANN ELIAS Flower Men: the Australian Canon and Flower Painting 1910-1935
Ann Elias, Flower Men: The Australian Canon and Flower Painting 1910-1935 ANN ELIAS Flower Men: The Australian Canon and Flower Painting 1910-1935 Abstract Historical studies of Hans Heysen, George Lambert, Tom Roberts and Arthur Streeton concentrate on paintings of landscape and people. Less well known are their paintings of flowers, which take the form of still-life painting or adjuncts to figure painting, such as portraits. While these artists are famous for the masculine way they approached masculine themes, and flower painting represents a stereotypically feminine subject, I argue that by making flowers their object of study, they intended to define and differentiate femininity from masculinity in an era of the ‘New Woman’. Sex and gender are central to the subject of flower painting and are important for discussions about the work produced by all four men, although sex is often camouflaged behind the innocence of naturalistically painted flowers. Fig.1. Tom Roberts, Roses, 1911, oil on canvas, 51 x 61 cm, Gift of Mr F.J.Wallis 1941, Art Gallery of New South Wales, Sydney. Photograph: Jenni Carter. Introduction: The Rough and the Pretty In 1996, Humphrey McQueen remarked on the striking contrast in Tom Roberts’ output between the feminine subject of flowers and the masculine subject of landscape: Roses could not have been further removed in subject or mood from the sketches Roberts had been making in the Riverina of masculine work. We have approached the manner of man who could switch between the pretty and the rough.1 This switch between ‘the rough and the pretty’ also applies to Hans Heysen, George Lambert, and Arthur Streeton. -
Queensland Art Gallery Board of Trustees Annual Report 2010–11 Report of the Queensland Art Gallery Board of Trustees
2010–11 Queensland Art Gallery Board of Trustees Annual Report 2010–11 Report of the Queensland Art Gallery Board of Trustees 16 September 2011 The Honourable Rachel Nolan, MP Minister for Finance, Natural Resources and The Arts GPO Box 611 BRISBANE QLD 4001 Dear Minister I am pleased to present the Annual Report 2010–11 for the Queensland Art Gallery Board of Trustees. I certify that this annual report complies with: • the prescribed requirements of the Financial Accountability Act 2009 and the Financial and Performance Management Standard 2009, and • the detailed requirements set out in the Annual Report requirements for Queensland Government agencies. A checklist outlining the annual reporting requirements can be accessed online at www.qag.qld.gov.au/about_us/annual_reports Yours sincerely, Professor John Hay, AC Chair, Queensland Art Gallery Board of Trustees Contents Cover: 4 Introduction 80 Engagement with the Asia Pacific region The opening weekend of ‘Surrealism: The Poetry of • Vision • Asian and Pacific Collection Dreams’, showing Victor • Purpose • Australian Centre of Asia Pacific Art Brauner’s Loup-table • About the Queensland Art Gallery 82 Performance measures (Wolf-table) 1939,1947 | Donation of Jacqueline 83 Collection acquisitions Victor-Brauner 1982 | 7 Chair's overview 97 Exhibitions schedule and sponsors Collection: Musée national 101 Publications d'art moderne, Centre 11 Director’s overview Pompidou, Paris | © Victor 105 Statistical summary Brauner/ADAGP. Licensed 14 Background by Viscopy, Sydney, 2011 106 Financial performance 14 Government objectives • Summary of financial performance Inside cover: 15 Strategic plan 2010–15 Inside Céleste Boursier- • Budget versus actual results Mougenot’s from here 15 Operational plan 2010–11 to ear (v.13) 2010 sound • Financial statements installation for ‘21st 16 Outcomes • Certification of the financial statements Century: Art in the First • Independent auditor’s report Decade’ | Purchased 2011.