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The Painted Vision 2009 Catalogue.Indd

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The Painted Vision 2009 Catalogue.Indd LAURAINE• DIGGINS• FINE• ART ARTHUR STREETON 1867 - 1943, Sirius Cove, New South Wales 1895, oil on cedar panel, 11.1 x 29.6 cm TOM ROBERTS 1856 - 1931, A Quiet Stream (Heidelberg) c.1888 - 90, oil on canvas, 25.7 x 46.2 cm Far left: FREDERICK McCUBBIN 1855 - 1912 Study in Blue and Gold 1907 oil on canvas, 29 x 59 cm Left: HORACE HURTLE TRENERRY 1899 - 1958 Woodside Pastoral c.1930 oil on canvas, 35.6 x 41.2 cm JAMES HOWE CARSE 1818 - 1900 View of Melbourne from the Botanical Gardens 1868 oil on canvas 61 x 92 cm ELIOTH GRUNER 1882 - 1939 Summer Landscape c.1932 oil on canvas on board 31.5 x 41.5 cm Far left: GEORGE AUGUSTUS ROBINSON 1791 - 1866 Hobart Town 1840 watercolour on paper 46.5 x 71 cm Left: ISAAC WHITEHEAD c.1819 - 1881 (Gold Prospectors Crossing A Stream) c.1878 oil on canvas 60.5 x 91.2 cm ABRAM LOUIS BUVELOT 1814 - 1888, Between Western Port Bay and Dromana 1875, oil on canvas, 48 x 71 cm PERCY LINDSAY 1870 - 1952 HOWARD ASHTON 1877 - 1964 WALTER WITHERS 1854 - 1914 (Gardner, Creswick) 1895 (The Outing, Sydney Harbour) Approaching Summer Storm oil on board oil on canvas oil on canvas 28 x 22 cm 41 x 25.5 cm 55 x 34.5 cm NICHOLAS CHEVALIER 1828 - 1902, Looking Toward Mount Koscuisko From Doolins Plain At Tom Groggin 1866, oil on canvas, 83 x 109.5 cm KNUD GEELMUYDEN BULL 1811 - 1889, View of Hobart Town 1853, oil on canvas, 35.7 x 49.4 cm HENRY C. GRITTEN 1818 - 1873 Melbourne from the Botanical Gardens 1865 oil on canvas, 49.5 x 77.5 cm CHARLES CONDER 1868 - 1909 Landscape with River and Boat 1890 oil on canvas 40.5 x 20.1 cm (cover detail) HENRY JAMES JOHNSTONE 1835 - 1907, Twilight, River Goulburn Victoria, oil on canvas, 26 x 51.2 cm WE UN CON DI TION AL LY GUAR AN TEE THE AUTHENTICITY OF ALL WORKS OFFERED FOR SALE hroughout Australia’s history, each generation of artists has interpreted T the landscape in their own way and through the eyes of their own experience. Early artists saw the Australian environment through European eyes and were enthralled with the rugged beauty of the natural surrounds and captivated by the unique flora and fauna. Such exponents included John Glover, von Guerard, Chevalier, and Buvelot. The evolving interpretations of landscape im- agery supported a unique national self-image - a vision of Australia. The Heidelberg School and others who followed the impressionist ethos, captured the distinctive quality of the Australian light . The importance of landscape CLARICE BECKETT 1887 - 1935, (Keefer’s Jetty) c.1925, oil on pulp board, 29 x 42 cm painting was recognized with a national prize, the Wynne, in 1897. A modern interpretation caused artists to turn away from romanticism and focus on the harshness of Australia, with Drysdale, Nolan and Boyd journeying to the “outback” in their paintings, celebrating particular myths and stories of the Australian land. Williams and Olsen brought an interpreted aerial perspec- tive; while for the Indigenous artist, country is seen through the cultural filter of time. The artist is not limited in portraying the SYDNEY LONG 1871 - 1955 HORACE HURTLE TRENERRY 1899 - 1958 Australian landscape and an artist’s intentions The Hillside A Sunny Day, Sydney Harbour 1923 and narrative within the landscape can be just oil on canvas board, 55 x 67.5 cm oil on canvas, 18 x 22 cm as varied as the scenery itself – a pastoral vision (Trenerry); a story of treacherous seas (For- rest); a study of expanding settlement (Bull, Robinson); a depiction of the desert (Nolan, Drysdale); a classic bush idyll with gumtrees; the grandeur of a rainforest (von Guerard) or attractive sunny bays (Trenerry) are all within the scope of the landscape. While encapsulating the effects of light (Beckett, McInnes, Johnstone); describing weather or the seasons (Laver Evans, Gruner, Withers); capturing the leisure activities of a particular time and society (Carse, Ashton); depicting the pioneering spirit (Whitehead) or relaying the world through feeling rather than form (Olsen), are all ways in which to understand and define these scenes. The artist’s intention ultimately stems from the desire to express to the viewer the distinc- tive way in which the artist perceives their surrounds, their Painted Vision. WILLIAM BECKWITH McINNES 1889 - 1939, Moonrise 1915, oil on canvas, 69.5 x 101.5 cm LAURAINE• DIGGINS• FINE• ART 5 Malakoff St, Nth Caulfield, Vic. 3161 Australia Phone (61 3) 9509 9855 Fax (61 3) 9509 4549 Gallery hours: Monday – Friday 10am to 6pm Saturday: 1pm to 5pm (or by ap point ment) email: [email protected] www.diggins.com.au.
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