9 March – 21 April 1991
This was an exhibition of 83 Australian works in the collection ranging from the then recently acquired Aus Australiens, to paintings and prints dating back to the 19th century.
Aus Australiens is an edition of 40 prints by eight contemporary Australian artists: Richard Dunn, John Nixon, John Lethbridge, Mike Parr, Vivienne Shark LeWitt, Peter Tyndall, Ken Unsworth and Jenny Watson. The work was published in Australia's bicentennial year by a European dealer, Rene Block, who was the curator of the 1990 Biennale of Sydney.
For a full list of exhibited works, refer to the related Collection items.
Robert McDougall Art Gallery - main gallery
From an Historical Point of View exhibition
9 November 2008
Experience outstanding examples of printmaking by eight leading contemporary Australian artists, working with a variety of techniques. Highlights include energised woodcuts by John Nixon and confrontational etchings by Mike Parr, two of Australia's foremost contemporary artists, and Jenny Watson's evocative Bottled Memories series.
Located on the coast just south of Melbourne, Cape Schanck has been a popular painting site for artists since the 1850s. The natural features of the new world were of great fascination to the European art market and Australian settlers were also very interested in landscapes of this type, so there was a ready domestic market for Nicholas Chevalier’s work. Working in a precise, academic manner with a concern for detail, he would have painted in his studio from sketches. Born in St Petersburg, in 1845 Chevalier left Russia with his parents for Switzerland where he studied painting. He later studied architecture in both Munich and London. Chevalier began exhibiting with the Royal Academy in 1852. Late in 1854 he left for Melbourne. He travelled to New Zealand where he was commissioned by the Otago and Canterbury Provincial Councils to paint the ‘scenic beauties’ of the regions in 1865/1866. Chevalier returned to England in 1870. Due to health problems he did little painting after 1886. He died in London.
Blackfriars Bridge with St Paul's cathedral behind. The large white building to the left is Unilever House, opened in 1933.
The White Horse was painted on the outskirts of Sydney in May of 1918. At this time Maud Sherwood made many watercolours of scenes around Sydney, often selecting subjects that showed some activity. Watercolour was Sherwood’s favourite medium. This work, with its freedom and confidence in watercolour techniques, highlights the influence of Post Impressionism on her painting. When she was in Europe, Sherwood had contact with fellow New Zealand expatriates painting in a similar style, including Frances Hodgkins (1869-1947) and Sydney Lough Thompson (1877-1973) and she shared with them a love of painting outdoors. Sherwood (née Kimball) was born in Dunedin and moved to Wellington as a child. She studied, and later taught, at Wellington Technical College. She left for Europe in 1911 and two years later moved to Sydney. Sherwood was actively involved in the Sydney art scene and exhibited regularly with the Society of Artists and the Society of Women Painters. She died at Katoomba in the Blue Mountains.
Made at Jabberwock papermill in 1982. Cast paper face set in a cast paper sheet with the head-dress of turkey feathers and a sheet of handmade paper.
Item 401 in 'The etched works of Mortimer Menpes' by Gary Morgan (Stuart Galleries, 2012)
In the 1840s Sydney was a vital centre for Pacific shipping and trade, including New Zealand-based whaling ventures, many Sydney-owned and with Māori in their international crews. Ships delivering oil and whalebone to Sydney were restocked there with fresh crew and supplies.
Conrad Martens left England in 1832 to travel the world. The following year he became artist on board the HMS Beagle with Captain Robert FitzRoy and Charles Darwin, joining the ship from Montevideo, Uruguay. He left the Beagle at Valparaíso, Chile in November 1834, and travelled to Sydney via Tahiti and the Bay of Islands, arriving in 1835.
Sydney became Martens’ permanent home. He started there profitably as a landscape painter and responded to an economic depression in the early 1840s by producing an edition of fine lithographs of Sydney from the North Shore. These were printed in London and hand-coloured by the artist in Sydney. (Kā Honoka, 18 December 2015 – 28 August 2016)
The focal point in this Arcadian garden scene is the couple riding the swing. Norman Lindsay has them soar above the groups of nymphs and satyrs, reinforcing the sense of freedom and lack of inhibition. One of Australia’s most popular and significant 20th century artists, Lindsay’s subjects were often uninhibited and erotic. While many of his works upset religious organisations, because their content was seen as immoral, his work was readily accepted by the Australian art establishment because of his technical excellence. Here the washes of colour have been expertly handled. Born in Creswick, Victoria, Lindsay came from a family of artists. In 1899 he moved to Sydney to work for the Bulletin as an illustrator. During World War I he designed posters and after the War concentrated on watercolour painting and etchings. Throughout his career Lindsay illustrated numerous books, including many Greek and Roman classics. He established the Fanfrolico Press in 1927 and he also wrote fiction. He travelled widely throughout Europe and America.
Ed Goodson A Dedication To The Follies Of Shouting In Melbourne Pubs While Surrounded By A Harem Of Beaut Matchbox Ladies
Edition of 40 copies numbered 1 - 40 of which is number 11.