For Industry, Taste and Hand-eye Coordination: Art Education in Sydney from 1850 to 1915 Rebecca Kummerfeld Thesis submitted in fulfillment of requirements for the degree of Doctor of Philosophy (Ph.D.) Faculty of Education and Social Work together with the Faculty of Arts University of Sydney 2015 ABSTRACT This thesis explores the history of art education in Sydney from 1850 to 1915. This was a foundational period for the establishment of both art and education in Sydney. It was a time during which structures of schooling first emerged, technical instruction became a priority and a government supported art gallery was established. I draw on a wide range of English and Australian sources to consider what comprised art education in Sydney during this foundational period. It is a topic that has received little scholarly attention, but is important for allowing those currently involved in art education an understanding of the foundations on which our current system was built. This thesis focuses on four key research questions. The first, ‘why teach art?’ is examined through analysis of discourse surrounding art education in this period. Three major motivations that informed the provision of art education in Sydney are identified: the importance of art for industry, a desire to teach taste and the broader educational benefit of art instruction for improving hand-eye coordination. ‘Where was art taught?’ is a second major focus. The art instruction offered through schools, technical colleges, exhibitions and galleries is examined in order to map the landscape of art education in Sydney. This thesis offers a novel contribution through the creation of a chronology, tracing the development of art instruction across a range of educational institutions. Thirdly, ‘who taught art?’ is considered through a series of professional biographies, featuring a range of individuals involved in the provision of art education. These case studies show the way one person could influence instruction across a range of institutions. Analysis of periodicals, personal papers, educational magazines, government records and school archives is undertaken to gain a deeper understanding of the contribution of these individuals. Finally, the question of ‘how art was taught’ is considered through close analysis of the tools used in teaching. Plaster casts and copybooks are examined, both for their pedagogic value and as artistic objects in themselves and how they were used to disseminate visual culture in Sydney. 1 ACKNOWLEDGEMENTS This thesis brings together my interest in both art history and education. I am grateful to the Faculty of Education and Social Work, and the Faculty of Arts for supporting and encouraging this interdisciplinary project. Thanks especially to the Faculty of Education for the award of the Thomas T. Roberts Fellowship and the Alexander Mackie Research Fellowship that supported archival research in England and to all the School of Art History and Film studies for offering me opportunities to teach some enthusiastic and inspiring students throughout my candidature. Over the past five years I have received support and encouragement from a great number of individuals. I am grateful to my supervisor, Helen Proctor for her clear and consistent guidance. To my team of assistant and honorary supervisors: Geoff Sherington, Craig Campbell, Anita Calloway and Mary Roberts who has been a thoughtful and generous mentor. Thank you to all the staff at the New South Wales State Records; the Mitchell Library; Prue Heath at SCEGGS and Gordon Cooper at Sydney Grammar School; and Elly Sutandar at The University of Sydney’s interlibrary loans. Thanks also to Glenn Adamson and everyone at the Research Department at the Victoria and Albert Museum, Nicholas Martland at the British Library, Eve Watson at the Royal Society of the Arts and Dirk Booms at the British Museum. I am grateful to my friends and scholars Georgina MacNeil, Kate Robertson, Matt Kennedy, James Lesh and the University of Sydney Nineteenth Century Studies Group for offering kind suggestions, pointed feedback and sympathetic support. Finally, thank you to my family who have been wonderful role models, both as kind and compassionate educators and as innovative and determined scholars. Thanks especially for your speedy and superb editorial advice. To my husband Ian, who has been unwavering in his support and good humour, thank you. I dedicate this thesis – “What’s it Woodbranch” and all – to you. 2 Contents Abstract ................................................................................................................................................ 1 Acknowledgements ......................................................................................................................... 1 Contents ............................................................................................................................................... 2 List of Illustrations .......................................................................................................................... 4 Introduction ..................................................................................................................................... 8 Literature Review ......................................................................................................................... 14 Methodology ........................................................................ Error! Bookmark not defined. Part I: Places and Spaces ............................................................................................... 45 Chapter One: Schools ................................................................................................................... 47 Chapter Two: Technical Education ........................................................................................ 83 Chapter Three: Exhibitions and the art gallery ............................................................... 112 Part II: People ............................................................................................................................. 142 Chapter Four: The Superintendents Woodhouse and Branch .................................. 146 Chapter Five: Ethel A. Stephens ............................................................................................ 174 Chapter Six: Edward Combes ................................................................................................. 196 Part Three: Tools ...................................................................................................................... 219 Conclusion .................................................................................................................................... 256 Timeline………………………………………………………………………………………….…………264 Bibliography ............................................................................................................................... 269 3 LIST OF ILLUSTRATIONS Figure 1: ‘Ambidextrous Drawing’ in The New South Wales Educational Gazette, October 1901 pp.101 Figure 2: F. Woodhouse, ‘Drawing Examination’, The New South Wales Educational Gazette, September 1900, p.80. Figure 3: John Skinner Prout, City of Sydney N.S.W. From the Government Paddock. Parramatta Street, 1844, tinted lithograph, 23.5 x 44.2 cm, State Library of New South Wales Figure 4: A. M. Brandis, ‘Life class student’s work’, 1908, in A Quarter Century of Technical Education in New South Wales: A monograph published on the occasion of the exhibition of student's work held at the Sydney Technical College, Easter Week 1909: p. 143. Figure 5: Photographs of Crowds lining up and viewing Holman Hunt’s Light of the World at the National Art Gallery of New South Wales. Photograph from the Art Gallery of New South Wales Archive, Press clippings. Figure 6: ‘Greek Fret’ in F.W. Woodhouse (ed), The Australian Drawing Book, 1899. Figure 7: Column base at the front façade of the New South Wales State Library Photograph by the author. Figure 8: Detail of an Attic red-figured kylix, ca. 490, Vulci, The British Museum Figure 9: The cast of the Ghiberti’s Gates of Paradise, The Museum of Applied Arts and Sciences. Photograph source: http://from.ph/59050 4 Figure 10: Photograph of J. Branch attached to his letter of application. C.1903, photographer unknown. File of the Superintendent for Drawing, New South Wales State Records. Figure 11: Ethel Stephens, portrait from an article dates August 1902 in Stephens Album, Art Gallery of New South Wales Archive. Figure 12: Ethel Stephens, Stannard’s Warf, 1894 Painting reproduced in the Sydney Mail, ‘Pictures at the Exhibition of the Art Society of New South Wales, 1894 – Second series’ Saturday October 13, 1894. (Stephens Album) Figure 13: Three illustrations from a newspaper article dated September 15 1894. Stephens Album, Art Gallery of New South Wales Archive. Figure 14: Costumes for ‘Trachiniae’, performed in 1912. Photograph reproduced in Sydney Church of England Girls' Grammar School. Sydney Church of England Girls' Grammar School 1895-1955. Darlinghurst: Council of S.C.E.G.G.S, 1958. p.58. Figure 15: Edward Combes, black and white photograph, c.1872-1885; 28 x 23.6 cm, National Library of Australia. Figure 16: Ford Madox Brown, Chaucer at the court of Edward III, 372.0 x 296.0 cm stretcher; 391.0 x 315.0 x 8.0 cm frame, Oil on canvas, 1847-1851, Art Gallery of New South Wales. Figure 17: Edward Combes, The Settlers Hut, 1880, Watercolour, 43 x 65 cm. Figure 18: 10th century German