So…what is this, then?
Using the Conceptual Framework, what could we say about the practice of the
French Impressionists?
We could say that the public and critics did not like their work at first. They were shocked
by the newly invented colours they used, and the rough, dabbing brush-marks which didn’t
seem finished or proper. This changed over 20 years or so.
We could say that something people DID like was the contemporary subject matter.
We could say that artists painted en plein air – out in the open much more during this time.
So this means they had a different relation with their world.
LANDSCAPE V – Australian Impressionists (the Heidelberg School.)
At the end of the 19th century, artists in Australia were experimenting with new
technologies and approaches, just like the French Impressionists. They were
aware of some of the art trends in Europe. A group of Melbourne-based artists
became known as ‘the Heidelberg school’ as they spent time painting there.
(Heidelberg is about 15 km away from the centre of Melbourne and now a
Melbourne suburb.)
Jane Sutherland (Aust.1853 –
1928) Field Naturalists, oil on
canvas, 1896.
What can we say about
this painting, using the
Structural Frame?
(The Structural Frame
considers compositional
elements; symbols/signs;
Art movements.)
Towards the end of 19th century, there was a growing sense of Australia as a nation
rather than a group of colonies. There was the celebration of the Centenary of white
settlement (1888) and moves towards Federation (1901.) The Australian
Impressionists were interested in this idea of what it means to be Australian. The way
landscape, both rural and urban, is represented, influences how people see themselves,
and think of themselves.
This is another example of
our Conceptual Framework
at work. The paintings of the
Australia Impressionists
were very popular and have
remained so. Part of the
reason for this is that people
enjoyed the way
Australia was being
described. They liked the
ideas behind the artworks.
Using the Cultural Frame,
what could we say about this
painting?
Arthur Streeton (Aust. 1867-1943) Golden Summer
Eaglemont, 1889, oil on canvas, 81cm x 152cm
Plein air painting, mentioned last session with the French Impressionists, was adopted
by the Australian artists of this period.
This work by Tom Roberts is of a contemporary activity becoming popular for Melbourne
people - going for a sail. What could be the implication of describing a leisure activity?
What is this saying about the artist’s world?
Tom Roberts (Aust.1856-1931) The Slumbering Sea,
Mentone, 1887, oil on canvas, 51 x 76 cm
Using the Cultural Frame, we
could note something about
the figures in this image.
Initial sketch for the painting, 1888,
gouache on brown paper, 22 x 30cm.
http://www.ngv.vic.gov.au/explore/multi
media/view/?mediaid=571212&playlistid
=570970
Tom Roberts (Aust.
1856-1931) Shearing
the Rams,1890, oil on
canvas, 122 x 183cm
Here, we again see the artist describing a
contemporary scene, but this time it’s hard
work. This work was created to celebrate
Australia’s Centenary of settlement. There
was enthusiasm for all things Australian. The
idea of a world of healthy, tough men
working together – being mates – was a
popular theme in Australia. Although this
work was in fact very carefully composed, it
has a sense of realism and naturalism.
Roberts was truly trying to capture the scene,
and include the bright Australian light.
Arthur Streeton (Aust. 1867-1943)
Spirit of the Drought, c.1895, oil on
wood panel
35 x 37 cm
What on earth is this naked woman
doing in the landscape? What are we
to make of this?
.
This is a contemporary subject (drought in Australia) but the artist has used allegory,
that is, used a human figure to describe a concept. However his rough treatment of
the landscape itself, with emphasis on the colour and lack of careful detail, as well as
the way he has described the figure, with minimal modelling, is Impressionist in style.
Notice the complementary colours of the violet sky and yellow grasses. This image is
both beautiful and sinister.
The artist took this large canvas and
painted this en plein air. He was perched on
a rock ledge to capture this odd,
photographic-style perspective. (Note how
high the horizon line is.)
The scene is of a railway tunnel that was
being created by blasting rock away with
explosives. The phrase ‘fire’s on’ was yelled
as a warning before a detonation occurred,
so everyone could take shelter.
While Streeton was painting, there was a
unexpected explosion and a worker was
killed. Streeton ended up painting his body
being brought out from the tunnel and
family waiting for his body to come out.
Arthur Streeton (Aust. 1867-1943),
Fire’s on, 1891, oil on canvas 184 x
122 cm
Using the Structural Frame, what can we say
about this artwork?
This work describes a gold prospector who has not found any gold, therefore is
‘down on his luck’ or unlucky. It has been painted mostly plein air, and McCubbin
used a friend as the model. Gold mining was a significant part of Melbourne’s
history and wealth.
This image caught the imagination of Australians who were then, as now, mainly
urban dwellers rather than ‘bushies’. There was an idea of the prospector being
‘his own man’, having freedom to make his own decisions, even though today he
didn’t find any gold. This was a kind of myth which people liked to believe in.
Again we see the use of a
contemporary subject.
The figure is actually very
detailed and carefully modelled
however so this part of the
painting was probably done
back in the studio.
Fred McCubbin (Aust.1855-1917)
Down on his luck, 1889, oil on
canvas,145 x 183x 14cm (framed)
,