"The collection consists of paintings and sculptures which have been assembled over a period of thirty-five years. One of its great strengths lies in its range of colonial, Victorian and Impressionist paintings. Glover, Martens, von Guerard and Buvelot as well as works by William Dexter, Chester Earles, Richard Noble, Henry Gritten, Yosl Bergner, Vic O'Connnor, Albert Tucker, Arthur Boyd and other artists. Also outstanding paintings by Impressionist John Russell, the works of Roy de Maistre and sculptures by Bertram Mackennal."--BOOK JACKET.
A Companion to Australian Art is a thorough introduction to the art produced in Australia from the arrival of the First Fleet in 1788 to the early 21st century. Beginning with the colonial art made by Australia’s first European settlers, this volume presents a collection of clear and accessible essays by established art historians and emerging scholars alike. Engaging, clearly-written chapters provide fresh insights into the principal Australian art movements, considered from a variety of chronological, regional and thematic perspectives. The text seeks to provide a balanced account of historical events to help readers discover the art of Australia on their own terms and draw their own conclusions. The book begins by surveying the historiography of Australian art and exploring the history of art museums in Australia. The following chapters discuss art forms such as photography, sculpture, portraiture and landscape painting, examining the practice of art in the separate colonies before Federation, and in the Commonwealth from the early 20th century to the present day. This authoritative volume covers the last 250 years of art in Australia, including the Early Colonial, High Colonial and Federation periods as well as the successive Modernist styles of the 20th century, and considers how traditional Aboriginal art has adapted and changed over the last fifty years. The Companion to Australian Art is a valuable resource for both undergraduate and graduate students of the history of Australian artforms from colonization to postmodernism, and for general readers with an interest in the nation’s colonial art history.
This publication outlines the exciting and often controversial development of Australia's public galleries and the changing conditions that have determined their exhibition program from the 1960's to the present. The extravagantly illustrated chapters are based on the extensive research of four authors associated with four universities from three states. Richly annotated with multiple appendices and a comphrehensive index of more than 1,500 entries, this publication is an incredible resource for Australian art history that concludes with an analysis of the value of exhibitions that enables visitors to see art with fresh eyes and see the world anew.
This comprehensive survey uniquely covers both Aboriginal art and that of European Australians, providing a revealing examination of the interaction between the two. Painting, bark art, photography, rock art, sculpture, and the decorative arts are all fully explored to present the rich texture of Australian art traditions. Well-known artists such as Margaret Preston, Rover Thomas, and Sidney Nolan are all discussed, as are the natural history illustrators, Aboriginal draughtsmen, and pastellists, whose work is only now being brought to light by new research. Taking the European colonization of the continent in 1788 as his starting point, Sayers highlights important issues concerning colonial art and women artists in this fascinating new story of Australian art.
Australian Aboriginal Artist Troy Little has asked me to create 2 coloring books from 45 drawings featuring native Australian wildlife. Book 1 contains 20 drawings that have been used to create 70 designs on one-sided pages for all ages to color.The 70 designs have the original and 3 variations.-The original.-The original placed on dot art.-The animal enlarged for children to color and cut out.-The animal surrounded by dot art for children to color.The book is 8.5 x 11 inches with 148 pages.
An irresistible call lured Australian artists abroad between 1890 and 1914, a transitional period immediately pre- and post-federation. Travelling enabled an extension of artistic frontiers, and Paris – the centre of art – and London – the heart of the Empire – promised wondrous opportunities. These expatriate artists formed communities based on their common bond to Australia, enacting their Australian-ness in private and public settings. Yet, they also interacted with the broader creative community, fashioning a network of social and professional relationships. They joined ateliers in Paris such as the Académie Julian, clubs like the Chelsea Arts Club in London and visited artist colonies including St Ives in England and Étaples in France. Australian artists persistently sought a sense of belonging, negotiating their identity through activities such as plays, balls, tableaux, parties, dressing-up and, of course, the creation of art. While individual biographies are integral to this study, it is through exploring the connections between them that it offers new insights. Through utilising extensive archival material, much of which has limited or no publication history, this book fills a gap in existing scholarship. It offers a vital exploration re-consideration of the fluidity of identity, place and belonging in the lives and work of Australian artists in this juncture in British-Australian history.
Samuel Thomas Gill, or STG as he was universally known, was Australia’s most significant and popular artist of the mid-nineteenth century. For his contemporaries he epitomised ‘Marvellous Melbourne’ basking in the glow of the gold rushes. He worked in South Australia, Victoria and New South Wales and left some of the most memorable images of urban and rural life in colonial Australia. A passionate defender of Indigenous Australians and of the environment, Gill in his art celebrated the emerging quintessential Australian character. This is the first major comprehensive book to be devoted to Gill and presents a radical reassessment of one of the most important figures in Australian colonial art and reproduces, in some instances for the first time, some of the most startling images from nineteenth-century Australian art. There will be an exhibition of S.T. Gill’s work at the State Library of Victoria in July 2015 and at the National Library of Australia in June 2016, plus smaller shows in regional Victorian galleries. In association with the State Library of Victoria.
