Emu Island: Modernism in Place Visual Arts Syllabus Stages 5 - 6 CONTENTS 3 Introduction to Emu Island: Modernism in Place 4 Introduction to education resource Syllabus Links Conceptual framework: Modernism 6 Modernism in Sydney 7 Gerald and Margo Lewers: The Biography 10 Timeline 11 Mud Map Case study – Sydney Modernism Art and Architecture Focus Artists 13 Tony Tuckson 14 Carl Plate 16 Frank Hinder 18 Desiderius Orban 20 Modernist Architecture 21 Ancher House 23 Young Moderns 24 References 25 Bibliography Front Page Margel Hinder Frank Hinder Currawongs Untitled c1946 1945 shale and aluminium collage and gouache on paper 25.2 x 27 x 11 24 x 29 Gift of Tanya Crothers and Darani Penrith Regional Gallery & The Lewers, 1980 Lewers Bequest Collection Penrith Regional Gallery & The Lewers Bequest Collection Copyright courtesy of the Estate of Frank Hinder Copyright courtesy of the Estate of Margel Hinder Emu Island: Modernism in Place Emu Island: Modernism in Place celebrates 75 years of Modernist art and living. Once the home and studio of artist Margo and Gerald Lewers, the gallery site, was, as it is today - a place of lively debate, artistic creation and exhibitions at the foot of the Blue Mountains. The gallery is located on River Road beside the banks of the Nepean River. Once called Emu Island, Emu Plains was considered to be the land’s end, but as the home of artist Margo and Gerald Lewers it became the place for new beginnings. Creating a home founded on the principles of modernism, the Lewers lived, worked and entertained like-minded contemporaries set on fostering modernism as a holistic way of living. Emu Island: Modernism in Place showcases the work of the Lewers and their immediate contemporaries over the four-decade period of their residence (1942-1978). And it was at their residence that artists and friends gathered and were inspired by the energy and experimentation of the Lewers home, and beyond, by a rapidly changing world. Quote by Margo Lewers outside Ancher House SYLLABUS LINKS Emu Island: Modernism in Place Using the Visual Arts Syllabus, this resource provides a focused guide on Sydney modernism through a study of Emu Island: Modernism in Place, 1942-78 Emu Island: Modernism in Place, through the conceptual framework: 1. Artists and their contemporaries (can be considered as artist and/or audience). 2. World: 1942 – 1978, the home and studio of Margo and Gerald Lewers now the site of Penrith Regional Gallery & The Lewers Bequest. 3. Audiences, including critics. 4. Artworks, either displayed in this resource, the online exhibition catalogue or from your own research. HOW TO USE THIS RESOURCE Teachers can use this resource as a complete case study on Sydney modernism or choose to select focus artists as a catalyst for classroom lessons, discussions and independent study. This resource provides documentation including images, quotes and critical writing excerpts about modernism in Sydney. This kit also introduces Young Moderns, ten early career artists whose practice focuses on abstraction, exhibited concurrently with Emu Island: Modernism in Place. Frank Hinder Margel and Gerry Reading 1942 pencil and watercolour on paper 17 x 25.7 Gift of Tanya Crothers and Darani Lewers, 1980 Penrith Regional Gallery & The Lewers Bequest Collection Copyright courtesy of the Estate of Frank Hinder USING THE CONCEPTUAL FRAMEWORK TO UNDERSTAND MODERNISM changes to the industrial The role of the artist is to explore and create representations of ideas, places and/or events. Artists can include artisans, architects and designers. They can work as an individual, or as a group or movement. For example, many of the artists in Emu Island: Modernism in Place were members of the Contemporary Art Society in Sydney (founded 1939). These artists looked at modernist themes and approaches, and challenged traditional art making methods. KEYWORDS Abstract Relating to or denoting art Modernist artists explored aesthetic Gerald and Margo Lewers were actively that does not attempt to principles, and the inherent properties of involved in the Sydney modern art movement represent external reality, materials, to create a visual language that during the early to mid-twentieth century and but rather seeks to achieve could communicate universal ideas. As a advocated for the development of its effect using shapes, result, they typically created abstract or experimental ideas and practices within the semi-abstract artwork, rather than visual arts. Both Margo and Gerald were colours, and textures. representational art. In 1953 the exhibition involved in the Sydney branch of the French Painting Today was shown in Contemporary Art Society, actively promoting Sydney and included the modernist work contemporary art as integral part of modern of now known artists Braque, Léger, life and championing the inclusion of public Aesthetic A set of principles Matisse, Miró and Picasso among others. art in all new urban development. underlying the work of a This touring exhibition proved to be highly particular artist or artistic influential to many Sydney based artists The combination of Australian culture and whom had previously relied on art books European influences saw modernist artists, like movement; concerned with and magazines as the primary source of those represented in Emu Island: Modernism in beauty or the appreciation information about modern art. Place become instrumental in the rise of of beauty. modernism and the pivotal shift towards abstraction. Contemporary Following modern ideas in style or design in the 15 to EXAMPLES OF WELL-KNOWN 20 years of the present day. INTERNATIONAL MODERNIST For example a ARTIST I am intensely interested contemporary artist now in colour. It excites me (2017) would be an artist and I want to show the practicing from the year 1 Pablo Picasso effect of one colour upon 2000 onwards. 2 Paul Cezane another and the 3 Henri Matisse Representational Relating to or denoting art influence of light upon 4 Wassily Kandisnky 5 Tapies Antonio which aims to depict the colour... Margo Lewers physical appearance of things. MARGO LEWERS 1908-1978 Born in Mosman, Sydney in 1908, Henrietta Margaret (Margo) Ernestine Lewers (née Plate) was a significant female Australian interdisciplinary abstract artist. She had a diverse body of work ranging from her abstract paintings, to sculptures, tapestries, mosaics, ceramics and drawings. Margo started her working life as a secretary before becoming a cadet commercial artist with the Daily Telegraph. She moved on to making wooden objects at a small firm before establishing her own studio producing pottery and hand printed textiles, she later began designing pots for R. Fowler Ltd. Before becoming a full time, artist Margo opened a design shop on Rowe Street, Sydney titled Notanda - derived from the word Notandum meaning a thing to be noted or observed. Believing that the internal, unconscious world was common to all human beings. Margo saw this as a resource to be drawn upon to create an external reality... Instead of words, Margo translated her interior monologue into visual markings on canvas, paper, masonite and other materials. The beginnings were often random; after several brushstrokes, an image began to emerge, remaining in a constant state of flux, as brushstrokes were added or subtracted until she thought the painting was resolved. If she was not satisfied, the work was painted over and the process repeated. Darani quoted in Margo Lewers – Retrospective by Pamela Bell Photograph of Margo c.1952 GERALD LEWERS 1905-1962 A sculpture and construction engineer, Gerald (Gerry) Francis Lewers was born in Hobart, 1905. As a student Gerry would spend his time in the art and woodworking rooms, which were open on weekends. He was also a natural athlete and whilst at High School at Barker College in Sydney Gerry made the First XI cricket and First XV Rugby teams in 1922 and 1923. In the 1940’s Gerry was the manager of Farley and Lewers Quarry which gave him access to quality stone and wood. His practice became known through his representation of form and use of materials. Starting with stone and wood Gerry engaged with new technologies and ideas to construct large and increasingly abstract, public fountains and commissions in the 1950s. Later in his career Gerry began reducing his sculptures to their most essential, simple forms, inspired by animals and the flowing, rhythmic movements of dance. James Gleeson felt that each piece ‘had an intimacy about it that made you want to hold it in your hands, to trace its contours with your fingertips, to feel the forms and textures as an actual tactical experience’. Gerald and Margo Lewers, Their Lives and Their Work by Denise Hickey. Photograph Gerald working on Reclining Figure Margo Gerald In the house at Emu Plains ideas hurtled, And Emu Plains arguments flared, voices shouted, sparks flew. It was a place in which people gathered Gerald and Margo met at Datilo Rubbo’s Art School in Sydney in spontaneously to eat, drink and discuss… Along the early 1920’s. They were married in 1932 before both studying with the paintings and the sculpture, the mosaics together in 1934 at the Central School of Arts and Crafts in London. and the water garden, an ephemeral dish of food Whilst in London, Gerald studied under John Skeaping and he exhibited in Six Colonial Artists at the Cooling Galleries, New Bond wore the expression of a work of art. As I see it, Street. Margo worked on textile design, painting and drawing with the house on the Nepean... provided one of the John Farleigh. focus points of our still tentative civilization. After returning home, the Lewers dedicated their work to the Patrick White, Gerry Lewers has left us, SMH 18Aug 1962 p12 growing modern art movement in Sydney during the 1930’s – 50s. Gerry was one of the founders of the Society of Sculptures and Associates and both Margo and Gerry played major roles in establishing the Sydney Branch of the Contemporary Art Society.