Australian Capital Territory Public Place Names Act 1989
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Whitehorse Artists' Trail
The Artists’ Trail En Plein Air – In The Open The Artists’ Camp Moving On Artist Biographies Further Reading Contacting Council The City of Whitehorse Artists’ Trail celebrates a significant During the late nineteenth century, a small number of European Almost every Saturday, for some four years (1885–1888), a group of A country house at Eaglemont was an attractive alternative Auty, G. and P. Corbally Stourton, Galbally, A. and A. Gray (eds), Phone: 9262 6333 Tom Roberts John Llewelyn Jones: Australia’s Letters from Smike: The Letters Fax: 9262 6490 phase in the municipality’s artistic heritage. This brochure and master painters were teaching new painting techniques to young Melbourne artists raced to the Lilydale line to catch a steam train, to a tent at Box Hill, and by early 1889 the artists’ camp had Forgotten Painter (exh. cat.), Corbally of Arthur Streeton 1890–1943, 1856 Born Dorchester, England Email: [email protected] the interpretative panels located at various points along the trail artists in Melbourne. leaving behind the bustling metropolis for an idyllic weekend of been disbanded. Stourton Contemporary Art, Edgecliff, Oxford University Press, South 1869 Arrived in Melbourne New South Wales [1999]. Melbourne, 1989. NRS: 133 677 acknowledge the artists who painted regularly at the Box Hill camping and painting. (service for hearing impaired people) Tom Roberts (1856–1931) and became a member of the group, where the majority of the 9 by 5 1874 Enrolled at National Gallery City of Whitehorse, Heritage McCulloch, A., The Encyclopedia artists’ camp. Frederick McCubbin (1855–1917) following a chance encounter Alighting at Box Hill, now part of paintings were created. -
John Cruthers, 'Important Australian Art from the Collection of Reg Grundy AC OBE and Joy Chambers
Introduction It stands to reason that in the world of Australian art, there should be as From the outset our purchasing was an eclectic mix of historical and many different private collections as there are private collectors. But this is contemporary, major figures and historically significant minor ones. not exactly the case. Relatively few local collectors have a fully considered As soon as new works were purchased, they were shipped to Grundy collecting strategy, and even fewer attempt something different with residences in London, Bermuda and Los Angeles. Living with the artworks their collection. Many are quite similar, focused on the same small group has always been a central part of the collecting process for Reg and of popular artists. James Mollison, foundation director of the National Joy. Within the first two years we’d bought works by Cossington Smith, Gallery of Australia, was reported to have said of his experiences visiting Fairweather, Brack, Perceval, Dobell, Balson, Fullbrook, Gascoigne and Australian private collections that he felt like he was seeing the same Norrie. But we had also purchased some pretty ordinary works by artists collection repeated time and time again. whose claim to fame was joining up the dots in a connect-the-dots version of Australian art history. From its beginnings in the late 1980s the Grundy Collection has been an exception to this rule. It has been shaped firstly by a conscious set of About 1990 came the collection’s first defining moment, for me as the aspirations and secondly by the locations in which the works would be curator anyway. -
The La Trobe Journal No. 93-94 September 2014 End Pages
Endnotes Not Lost, Just Hiding: Eugene von Guérard’s first Australian sketchbooks (Pullin) I am grateful to John Arnold, editor of the La Trobe Journal, Gerard Hayes, Librarian, Pictures Collection, State Library of Victoria, Alice Cannon, Senior Paper Conservator, State Library of Victoria, and Börries Brakebusch, Conservator, Brakebusch Conservation Studio, Düsseldorf, for their generous assistance with the research for this paper. In particular I would like to thank Anna Brooks, Senior Paper Conservator, State Library of New South Wales, for her professional advice and commitment to the project. I am grateful to Anna for making the trip to Melbourne, with the von Guérard ‘Journal’, and to the State Library of New South Wales for making this possible. I thank Doug Bradby, Buninyong, for sharing his knowledge of Ballarat and its goldfields’ history with me and as always I thank my partner, Richard de Gille for his assiduous proofreading of the document. I wish to acknowledge and thank the State Library of Victoria for its support of my research with a State Library of Victoria Creative Fellowship (2012-2013). 1 Von Guérard reached ‘journey’s end’, Melbourne, on 28 December 1852. The site, known as Fitzroy Square from 1848, became the Fitzroy Gardens in 1862. George McCrae (b.1833) recalled that in his boyhood the area was clothed in one dense gum forest’, Gary Presland, The Place for a Village: how nature has shaped the city of Melbourne, Melbourne: Museum Victoria, 2008, pp. 122-4. 2 The tally of the number of drawings in the collection is higher when drawings on each side of a sheet are counted as individual drawings. -
AUSTRALIAN WOMEN ARTISTS BETWEEN the WARS 3 March – 25 April 2015
AUSTRALIAN WOMEN ARTISTS BETWEEN THE WARS 3 March – 25 April 2015 LAURAINE • DIGGINS • FINE • ART COVER BESSIE ELLEN DAVIDSON 1879 – 1965 Still Life with Flowers and Pears oil on cardboard 61 x 46 cm signed lower right: Bessie Davidson n the period between the wars, Australian women artists were leading the way by challenging traditions and exploring new Iideas in art with a focus on colour, form and design, and subjects such as urban culture. Role models like Jane Price, Jane Sutherland and Clara Southern had provided women with a basis to seriously pursue art as a profession. Circumstances and opportunity1 saw a flourishing of female artists establish a career through dedicated studies at a growing number of art schools, combined with travel overseas and, quite often, financial independence. BESSIE ELLEN DAVIDSON 1879 – 1965 Painting en plein air was continued but rather (Family Group) oil on canvas than romanticised landscapes concerned with 46 x 38 cm effects of light, the rise of the modern woman signed lower right: B.D. artist painted the landscape familiar to them with an adventurous attitude towards colour: from the buses and telegraph poles of Beckett’s Sydney Harbour Bridge. Women artists tackled Melbourne bayside suburbs; to the South a wide variety of subjects, including those Australian landscapes of Sauerbier; urban scenes more accepted in the male domain, and which such as Tempe Manning’s Princes Street and the modern women now inhabited. Rix Nicholas intimate depictions of home or studio as seen in ventured out to capture Australians in remote Gurdon’s Under the Window and as favoured by rural areas as seen in the well-known Fair Cossington Smith. -
University of Florida Thesis Or Dissertation Formatting
THE ART OF BECOMING: MIMICRY, AMBIVALENCE, AND ORIENTALISM IN THE WORK OF HENRY OSSAWA TANNER AND HILDA RIX By LAURA M. WINN A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2018 © 2018 Laura M. Winn To my first teachers, my Mom and Dad, for giving me the lifelong gift and love for learning ACKNOWLEDGMENTS There are many people that helped in facilitating and supporting the long and challenging journey of researching and writing this dissertation. I am grateful to all of them. None of this would have been possible without the guidance of my committee members Ashley Jones, Brigitte Weltman-Aron, Elisabeth Fraser, and Nika Elder. Thank you for being so generous with your time, expertise, and thoughtful suggestions. I am especially indebted to my advisor and the chair of the committee, Melissa Hyde, for her willingness to adopt a Classicist interested in gender studies and introduce me to the importance–and fun–of dix-huitième scholarship. Melissa worked through multiple iterations and drafts of this project to clarify and refine my arguments, helping to bring a greater coherence and new voice to the exceptional lives and artistic contributions of Henry Ossawa Tanner and Hilda Rix Nicholas. Through every phase of my graduate education at Florida she has been a vital resource and mentor. I feel incredibility fortunate to have been her student. Crystalizing ideas into a finished dissertation often felt like an insurmountable challenge. I greatly benefited from the support, feedback, and experience of my “girl gang” at Florida. -
The Heidelberg School
Art Appreciation Lecture Series 2017 Site Specific: The power of place The Heidelberg School Georgina Cole 9/10 August 2017 Lecture summary: The landscapes of the Heidelberg School brought progressive European painting techniques to the colonies and are important contributions to the aesthetic exploration of the Australian bush. In their open-ended treatment of form they also fostered a new kind of relationship between the viewer and the Australian landscape that invited him or her to complete the picture in the imagination. In this sense, the paintings of Roberts, Streeton, Conder, Sutherland and McCubbin might be understood as attempts to create a personal and emotional relationship between migrant Europeans and the bush. Slide list: 1. Tom Roberts, A quiet day on Darebin Creek, 1885, oil on wood panel, National Gallery of Australia 2. James Abbott McNeill Whistler, Nocturne: Blue and Silver: Chelsea, 1871, oil on wood, Tate Britain 3. Jules Bastien-LePage, At harvest time, 1880, oil on canvas, private collection 4. Tom Robert, Moorish Doorway, 1883, National Gallery of Victoria 5. Tom Roberts, A quiet day on Darebin Creek, 1885, oil on wood panel, National Gallery of Australia 6. Tom Roberts, The artist’s camp, 1886, oil on canvas, National Gallery of Victoria 7. Frederick McCubbin, Lost, 1886, oil on canvas, National Gallery of Victoria 8. Jane Sutherland, Obstruction, Box Hill, 1887, oil on canvas, Art Gallery of Ballarat 9. Tom Roberts, Holiday Sketch at Coogee, 1888 10. Charles Conder, Coogee Bay, 1888 11. Charles Conder, A holiday at Mentone, 1888, oil on canvas, Art Gallery of South Australia 12. -
Two Tenants of Number 9 Collins Street: Tom Roberts and Kate Keziah Eeles
Two tenants of Number 9 Collins Street: Tom Roberts and Kate Keziah Eeles Juliette Peers Abstract: Number 9 Collins Street Grosvenor Chambers was claimed to be the first building in Australia that was intentionally built for creative professionals. Until being ‘façaded’ in the 1980s, the tenants’ list of the building was glamorous and romantic, with several generations of famous names in art and fashion and other creative industries making the building their base. This paper focuses on the contrast in reputation and output between two late nineteenth-century tenants of Number 9 Collins Street: Tom Roberts the painter and Kate Eeles the couturier. Whilst Shearing the rams was being painted an ambitious Salon de Couture operated from a floor below. This is a strange and exciting modification of our understanding of the iconic nationalist artworks of the 1880s and 1890s. That we cannot place the artworks of Roberts and Eeles alongside one another and acknowledge their respective singularity as equally worthy of professional attention indicates the limiting effects arising from our peculiar cultural nationalism. Robert’s works have been meticulously documented in a catalogue raisonné and his life in a detailed biography, but currently only a few very high quality items have turned up in public collections with Eeles’s label. Surviving examples of their work testify to their outstanding levels of talent in their respective fields, and like Roberts, Eeles was an innovator, who brought new ideas to Melbourne. She went on scoping/forecasting tours to London and Paris to ensure that her customers were indeed being presented with up-to-date styles from the fashion meccas. -
Impressionism in Melbourne French and Australian Masterpieces at the NGV
Impressionism in Melbourne French and Australian masterpieces at the NGV Overview Essential information This winter, Melbourne hosts two outstanding exhibitions of Covid-19 guarantee: Yes Impressionist painting. At the NGV International more than Tour dates: August 3-6, 2021 100 masterpieces by Monet, Mary Cassatt, Pissarro and Price per person: $2,580 Degas from the Boston Museum of Fine Arts are on show, 79 Supplement for sole use of double of which have never been seen before in Australia. If that room: $870 weren’t enough, NGV Australia has created the largest Maximum number in group: 20 exhibition of Australian Impressionism to date: more than Start: 5.30pm, August 3, hotel 250 works by exceptional Australian artists. Finish: 3pm August 6, Melb Airport This four-day tour takes you into the heart of Impressionism Deposit: $500 per person in France and Australia, with background lectures and visits Fitness level to the exhibitions. To understand more of the context behind Australian Impressionism, we visit the properties of Good overall fitness, ability to Melbourne’s cultural luminaries who helped shape the art spend time on one’s feet in galleries and culture of Victoria. The tour is rounded out with a Hotel performance by the MTC, a day trip to the Mornington Peninsula and fine dining. Deluxe rooms at the 5-star The Langham Hotel (3 nights) Tour leaders Weather Dr Michael Adcock, the tour lecturer, is a historian who specialises in 18th to 20th century Europe and our resident Melbourne winter: daily maximum expert in all things Impressionist. Dr Nick Gordon is a of around 15˚C and some rain historian and artist who has led art-focussed tours in Europe Further information and and Australia for 15 years. -
Gender and Nation Formation in Late Nineteenth Century
University of Wollongong Thesis Collections University of Wollongong Thesis Collection University of Wollongong Year Gender and nation formation in late nineteenth century Susan Elizabeth Rowley University of Wollongong Rowley, Susan Elizabeth, Gender and nation formation in late nineteenth century, Doctor of Philosophy thesis, School of Creative Arts, University of Wollongong, 1993. http://ro.uow.edu.au/theses/1928 This paper is posted at Research Online. LIST OF PLATES 1. Tom Roberts Evening When the Quiet East Flushes Faint at the Sun's Last Look 1887-8 oil on canvas 51,0 x 76,6 cm W. H, Short Bequest 1944 National GaUery of Victoria 2. Tom Roberts Summer Morning Tiff 1886 oil on canvas 76,5 x 51,2 cm Martha K, Pinkerton Bequest Fund 1943 City of BaUaarat Fine Art GaUery 3. Tom Roberts Reconciliation c. 1886/7 oil on canvas 127,0 x 75,0 cm Castlemaine Art GaUery and Historical Museum 4. FrederickUcCabbinOnThe Wallaby Track 1896 oil on canvas 132 x 223.5 cm National GaUery of Victoria Felton Bequest 1940 5. Frederick McCubbin r/ie Pioneer 1904 oil on canvas (triptych) 223.5 x 86 cm National GaUery of Victoria Felton Bequest 1906 6. George Bell,r;ie Pioneer's Wife c. 1890-8 photograph Museum of Applied Arts and Sciences, Sydney 7. Arthur Stteeton Early Summer—Gorse in Bloom 1888 oil on canvas 56.2 x 100.6 cm Art Gallery of South AsttaUa 8. Jane Sutiierland, Untitled (Girl in a Paddock) c. 1890 oil on canvas 66.0 x 105.5 cm private coUection 9. -
Behind the Scenes Hans Heysen's Art World Networks
Behind the Scenes Hans Heysen’s Art World Networks Ralph Body Department of Art History School of Humanities Faculty of Arts University of Adelaide February 2019 Behind the Scenes Hans Heysen’s Art World Networks Volume One Ralph Body Department of Art History School of Humanities Faculty of Arts University of Adelaide February 2019 i Table of Contents – Volume One Abstract .................................................................................................................. iii Thesis Declaration ................................................................................................... v Acknowledgements ................................................................................................ vii Abbreviations .......................................................................................................... ix Introduction .............................................................................................................. 1 Literature Review ................................................................................................ 8 Conceptual Framework and Methodology ........................................................ 22 Chapter One: Establishing a Career, c.1903-1914 ................................................. 33 1.1. 1904: Getting Established in the Cultural Field ...................................... 34 1.2. Gallery Validation: Recognition of Heysen’s Art by Municipal Collections ........................................................................................................ -
An Australian Woman's Impression and Its Influences
NOTE: Green underlined artist names indicate that a detail biography is provided in Dictionary of Australian Artists. Page 1 Copyright © 2019 David James Angeloro “ An Australian Woman’s Impression and Its Influences ” David James Angeloro “( A More Complete Picture )” by David James Angeloro was born and raised in Syracuse, New York and graduated from Columbia University ( New York City ) and (Excerpt of Draft January 2019) Hobart University ( Geneva ). In 1971, he immigrated to Australia where he has worked as a management- technology consultant for commonwealth-state-local government organisations and large corporations throughout Australasia. David’s interest (obsession) with fine arts started while attending university in New York City. In Australia, he earned a Masters of Art from Sydney University for his thesis Sydney’s Women Sculptors: Women’s Work in Three Dimensions [ 1788-1940 ]. His passion for art extends to art history with particular interests in women artists (his two daughters are well-known artists of mashed-up video works), sculptors and painter-etchers. The Angeloro family collections have been nearly fifty years in the making. David’s collecting philosophy focused on affordable second tier artists, who were generally well- known in their day, but have been ‘forgotten’ by art historians and curators. David has followed the world-wide trend of reassessing the position and value of pre-1940 painters, illustrators, printmakers and sculptors, especially marginalized women artists. Why I’m Selling The Collection ? I’m selling my collection because after nearly fifty years, I’m returning to New York and I don’t want these Australian treasures to be lost and unappreciated. -
“ Dictionary of Australian Artists ”
NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 1 Copyright © 2019 David James Angeloro “ Dictionary of Australian Artists ” David James Angeloro by David James Angeloro was born and raised in Syracuse, New York and (Excerpt of Draft January 2019) graduated from Columbia University ( New York City ) and Hobart University ( Geneva ). In 1971, he immigrated to Australia where he has worked as a management- technology consultant for commonwealth-state-local government organisations and large corporations throughout Australasia. David’s interest (obsession) with fine arts started while attending university in New York City. In Australia, he earned a Masters of Art from Sydney University for his thesis Sydney’s Women Sculptors: Women’s Work in Three Dimensions [ 1788-1940 ]. His passion for art extends to art history with particular interests in women artists (his two daughters are well-known artists of mashed-up video works), sculptors and painter-etchers. The Angeloro family collections have been nearly fifty years in the making. David’s collecting philosophy focused on affordable second tier artists, who were generally well- known in their day, but have been ‘forgotten’ by art historians and curators. David has followed the world-wide trend of reassessing the position and value of pre-1940 painters, illustrators, printmakers and sculptors, especially marginalized women artists. Why I’m Selling The Collection ? I’m selling my collection because after nearly fifty years, I’m returning to New York and I don’t want these Australian treasures to be lost and unappreciated. It’s time for other art lovers and collectors to appreciate and cherish these artworks.