LANDSCAPE — IN THE CLASSROOM
Look closely at one of William
Robinson’s landscapes, like Twin
Falls (right), and describe what you
notice about it. Is it realistic?
What’s strange about it?
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Twin Falls 2000
Colour lithograph
QUT Art Collection, Brisbane
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Why do you think William Robinson paints landscapes? Why does he paint them like this?
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William Robinson wants us to see the Australian landscape in a close and personal way. Why might
this be important?
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How might multiple-point perspective and the representation of time in Robinson’s work help us
understand the landscape better? What sort of information do those features give the viewer?
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LANDSCAPE — DURING YOUR VISIT TO THE GALLERY
Pick your favourite William Robinson landscape painting or lithograph and sketch it:
Title/Year: ________________________________________________________________________
Describe the kinds of lines you made in your sketch. Are they long, short, straight, curved, bold or
scratchy? Why do you think this is?
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Find the Chronology of William Robinson’s life in one of the gallery spaces. Where was the artist
living when he created the artwork you’ve just sketched? Write down one other fact about his life
from the year he made the work.
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Stand in front of a landscape painting by William Robinson that’s different from the one you
sketched, and pretend you’re looking at a real view of the Australian landscape. Write down some
thoughts and emotions you have when looking at the painting.
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WILLIAM ROBINSON GALLERY
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FARMYARDS — IN THE CLASSROOM
Do you have any pets or know a friend’s or neighbour’s pet? Do you think they have their own
personality? How might you express their personality in a drawing?
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After William Robinson moved to a farm, he began to paint the farm animals he kept. There he was
inspired by his surroundings. Do the artworks you create reflect your surroundings? How?
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Do you think living in the city or living in the country is better? Why? How would your life change if
you swapped from city to the country or country to the city?
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Think of an animal you like and create a character for it. Sketch it below and try to express some of
its personality in your drawing. Think about what your animal might like doing and how it behaves.
WILLIAM ROBINSON GALLERY
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FARMYARDS — DURING YOUR VISIT TO THE GALLERY
Find Family portrait (Formal), shown
here, and write down what you think
this painting expresses.
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Family portrait (Formal) 1980
Oil on canvas
QUT Art Collection, Brisbane
Family portrait (Formal) shares a
unique feature with one other
artwork in the exhibition. Figure out
which artwork it is and sketch it in the
box to the right.
What is that artwork called?
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What is the unique feature that this
artwork and Family portrait (Formal)
share and why might it be important?
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William Robinson also made sculptures of his farmyard. Find the sculpture called Farmyard I and
write down all of the different animals and objects you can see in it. Is there a story unfolding here?
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WILLIAM ROBINSON GALLERY
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PORTRAITS — IN THE CLASSROOM
Think of a funny situation you’ve been in and
sketch a self-portrait reacting to that
situation. It could be something
embarrassing you’ve done or a funny thing
you saw. Try to keep yourself as the focal
point while filling in detail around you.
Think about your facial expression and don’t
forget to try to communicate the story.
Doing this in one panel might be a challenge!
William Robinson has recreated all of his
self-portraits as lithographs, which is a
printmaking process using a stone or metal
plate instead of linoleum. Why might an
artist be interested in producing prints of his
work?
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Printmaking allows you to create multiple copies of the same image. Why might this be an
advantage over traditional painting? What might be some disadvantages?
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Before cameras were invented, the only way to create an image of somebody was to have them
pose for a painting. Now that cameras are widespread, why might somebody still want a painted
portrait?
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WILLIAM ROBINSON GALLERY
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PORTRAITS — DURING YOUR VISIT TO THE GALLERY
William Robinson often includes
himself and his wife Shirley in
artworks, including farmyard
drawings and landscapes (left). Why
do you think he does this?
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Farmyard with William and Shirley 1984
Pencil
QUT Art Collection, Brisbane
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Have a close look at the two self-portrait paintings in the Atrium—Equestrian self-portrait and Selfportrait with stunned mullet. Although they’re both self-portraits, they’re painted quite differently.
Explain the differences in how they were made and also think about line, colour and composition.
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Find the television displaying the documentary titled ‘Silly & Serious’. In it, Robinson describes his
lithographic process and shows us how he created one of his seaside self-portraits, which includes
his wife Shirley. What does Robinson say about himself and Shirley in these artworks?
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If you had to make a self-portrait with one other person, who would you pick and why?
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WILLIAM ROBINSON GALLERY
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EARLY WORKS AND INTERIORS — IN THE CLASSROOM
Who is an artist that has inspired you? Explain why. Describe a specific artwork they have made and
write down how it has influenced the way you think about art.
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Think about your own home and what it looks like on the inside. Are the walls painted, wooden or
wallpapered? Imagine your bedroom or living room as being empty and quickly sketch the walls and
doors in the box below. Write down how you might represent the textures of your walls if you made
this into a proper artwork.
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Now add in other features like flowers, a
rug, bed, and cupboard. Use your
imagination! It doesn’t have to look like
your own home. Be creative and invent
your own interior.
If you haven’t done so already, sketch a
window in, even if your house doesn’t
really have a window there.
Don’t forget to add a little bit of shading!
Add a figure and try to tell a bit of a story about what’s going on in your sketch. Describe who this
person is, what their life is like, and how his or her family is arranged. Is this a self-portrait?
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WILLIAM ROBINSON GALLERY
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EARLY WORKS AND INTERIORS — DURING YOUR VISIT TO THE GALLERY
Find Interior, Birkdale, 1976 in the William
Robinson Gallery. How has William Robinson used
light and shadow in this interior composition?
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Interior, Birkdale 1976
Coloured pastels and gouache
QUT Art Collection, Brisbane
Find a quiet corner and do a rough sketch of the gallery room you’re in. Think about how you might
depict space, like other rooms visible through doorways, or outside areas seen through windows.
Try to use the edge of a pencil to create shade and control light in your sketch. Identifying the light
sources in the room you’re sketching might help you to follow their shadows.
Look at the figures on display in some of Robinson’s sketchbooks. How might it be helpful for
someone to learn to draw by looking at a model posing in the nude? Why is it helpful?
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WILLIAM ROBINSON GALLERY
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WILLIAM ROBINSON GALLERY — AFTER YOUR VISIT
Think back to the sketchbooks on display in the William Robinson Gallery. Why might it be important
to show sketchbooks and early drawings in an art gallery, as opposed to only paintings on the walls?
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Find a partner and use a sheet in your
sketchbook to draw him or her drawing
you. Think about how you might use line
and shading to show volume and create
perspective. Compare your sketches when
you’re finished.
Interior view of the Gallery, 2009
Photography: Carl Warner
Even though William Robinson’s paintings
are vibrant and full of colour, they’re often
only made by mixing a small number of
pigments on his palette. Why do you think
it might be interesting to display the artist’s
palette in a gallery space? What did you
notice about his palette?
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Why might the William Robinson Gallery be located at Queensland University of Technology? Do you
remember what Robinson’s connection is to the university?
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Why do you think William Robinson is recognised as a great Australian painter?
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WILLIAM ROBINSON GALLERY
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