1
10
10
-
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-
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Artworks of the Louise Hanson-Dyer Visitor's Book
Description
An account of the resource
This collection features the nine original artworks located in the Louise Hanson-Dyer Visitors' Book. Opulently bound in 1926, the book contains autographs of visitors to Louise's Paris apartment, until 1956. Some of the entries are accompanied by larger contributions, such as poetry and musical notation.
Creator
An entity primarily responsible for making the resource
Reetika Khanna
Source
A related resource from which the described resource is derived
Book of autographs of visitors to Louise Hanson-Dyer, manuscript, The University of Melbourne
Date
A point or period of time associated with an event in the lifecycle of the resource
1926-1956
Rights
Information about rights held in and over the resource
Copyright The University of Melbourne
Language
A language of the resource
English
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
France, Australia
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The Early Bird
Subject
The topic of the resource
Landscape
Description
An account of the resource
Jackson’s watercolour, 'The Early Bird,' depicts an artist painting en plein air. The figure is active in his pose, poised with his weight on one foot and arm extended with a brush in hand. Jackson’s style displays impressionistic tendencies. In the foreground, he places flat daubs of paint in varying levels of saturation and tone to depict the earth. The marks forming the shadow of the figure, easel and tree fade out into a puddle of deep purple as the paint becomes more sheer and the brush marks less distinguished. The figure is also painted with limited detail; only a few subtle marks provide the indication of a face. Jackson makes use of the blue grey colour of the paper for the sky, adding white paint to depict clouds. The work is completed with a fragmented black frame painted only in the bottom left corner of the earth, while the sky is left to extend beyond the picture plane. The figure’s skin is quite tanned in complexion, perhaps a nationalistic nod to the effects of the Australian sun. Furthermore, the painting within a painting concept raises possible implications. The painter looks out at the viewer, positioning our space as an extension of his landscape. As his gaze returns ours, the place of the viewer is transformed so that we become a sight to be consumed, just as we consume the artwork.
Jackson spent a year studying in Paris at the Académie Colarossi where he learned the principles of impressionism, fostering a love for light, movement and colour contrasts (Jackson, 1991, p. 15; Pearce, 1996). After returning to his hometown of Sydney, Jackson’s paintings were noted to reflect the ochres and blues of the Australian landscape (Jackson, 1991, p. 20). In fact, Jackson specifically disliked painting with a green-blue palette, an inclination evident in the warm yellows and browns of 'The Early Bird' (Jackson, 1991, p. 20). He painted his works directly outside, and although preferring oil paint, Jackson always used watercolour in his sketchbook, as he has in 'The Early Bird' (Jackson, 1991, p. 47). He was especially enchanted by the effects of sunlight, which he described as “the essence of a landscape painter’s life” (Jackson, 1991, p. 41). Jackson became recognised for his trademark inclusion of figures in his landscapes - also evident in 'The Early Bird' - and he believed the skill of an artist should be judged by their ability to draw figures and nudes (Jackson, 1991, p. 21).
Jackson was a member of the Australian Art Association (AAA) in Melbourne from 1916 to 1933, allowing him to exhibit there regularly and secure a following (Pearce, 1996). It is perhaps from these exhibitions that the Dyers became familiar with Jackson’s work. In fact, a 1926 exhibition of his paintings at the New Gallery on Elizabeth Street was opened by James Dyer, evidencing a sustained relationship between artist and patron. (The Age, 18 May 1926, p. 12).
References
Jackson, 1991: Jacqueline Jackson, James R Jackson: Art was his life, Sydney: Bay Books & National Library of Australia, 1991.
Pearce, 1996: Barry Pearce, ‘Jackson, James Ranalph (1882 - 1975)’ in Australian Dictionary of Biography, Melbourne: Melbourne University Press, 1996. Accessed online 21 December 2017, URL: http://adb.anu.edu.au/biography/jackson-james-ranalph-10598.
The Age, 1926: ‘Exhibition of Paintings by James R. Jackson’, The Age, 18 May 1926, Art Notes, p. 12.
Creator
An entity primarily responsible for making the resource
James Ranalph Jackson (1882 - 1975)
Source
A related resource from which the described resource is derived
Book of autographs of visitors to Louise Hanson-Dyer, manuscript, The University of Melbourne
Date
A point or period of time associated with an event in the lifecycle of the resource
1928
Contributor
An entity responsible for making contributions to the resource
Reetika Khanna
Format
The file format, physical medium, or dimensions of the resource
Watercolour, 268 x 198 mm
Type
The nature or genre of the resource
Image
-
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Artworks of the Louise Hanson-Dyer Visitor's Book
Description
An account of the resource
This collection features the nine original artworks located in the Louise Hanson-Dyer Visitors' Book. Opulently bound in 1926, the book contains autographs of visitors to Louise's Paris apartment, until 1956. Some of the entries are accompanied by larger contributions, such as poetry and musical notation.
Creator
An entity primarily responsible for making the resource
Reetika Khanna
Source
A related resource from which the described resource is derived
Book of autographs of visitors to Louise Hanson-Dyer, manuscript, The University of Melbourne
Date
A point or period of time associated with an event in the lifecycle of the resource
1926-1956
Rights
Information about rights held in and over the resource
Copyright The University of Melbourne
Language
A language of the resource
English
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
France, Australia
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Untitled
Subject
The topic of the resource
Still life
Description
An account of the resource
Meeson’s watercolour still life employs a bright colour palette of blue, red, pink flowers with subtle green foliage and yellow accents. Since Meeson spent much of her adult life settled in England, it is likely this work was painted there with local flowers as reference. Each colour distinguishes the type of flower and builds the floral arrangement in ordered, visually pleasing layers. The work is finished with a yellow painted frame, catching the yellow accents in the centre of the painting and creating a sense of unity across the composition. As the complementary colour to the blue that dominates the work, Meeson’s choice of yellow frame appears to be a calculated one, enhancing the brilliance of both colours. With the added inclusion of red as the complementary colour to green, Meeson has taken deliberate steps to promote a balanced and harmonious composition.
Meeson was not enchanted by developments of abstraction in modern art and her work remained rooted to traditional representational ideas (Haese, 1981; Scott, 1992, p. 133). She married fellow artist George James Coates in 1903 and they settled in England, joining the circle of Australian expatriate artists (Haese, 1981; Scott, 1992, p. 108). This group was one of the first to gain recognition as artists representing Australia abroad, creating a precedent for young, aspiring Australian artists (Scott, 1992, p. 133). Meeson’s movement between Australia, New Zealand and Britain throughout her life affirms the fluid sense of national belonging pervasive at the time (Allen, 2013).
Meeson is best known for her scenes of the River Thames, placing her among only a handful of women artists who broached the male preserve of marine painting (Haese, 1981; Scott, 1992, p. 64). Her landscapes made a bold statement, indicating not only that women could be physically present in such masculinised industrial settings, but women artists could represent such scenes with the same talent as their male counterparts (Scott, 1992, p. 65). Her work was exhibited at the Royal Academy and the Paris Salon, leading to her election as the first Australian woman artist to become member of the Royal Institute of Oil Painters (Allen, 2013; Haese, 1981).
Though perhaps less groundbreaking than Meeson’s other works, the still life in the Visitors’ Book may be perceived as asserting ownership of the intrinsically female subject matter. Louise Hanson-Dyer’s support of Meeson is intuitive, as the pair represent two strong Australian women who carved their own place in the arts - despite the challenges of facing a male dominated landscape - and both found success as expatriates based in Europe.
References
Allen, 2013: Christopher Allen, ‘Heart of the River Thames captured by artist Dora Meeson’, The Australian, 2 November 2013.
Haese, 1981: Richard Haese, ‘Meeson, Dora (1869-1955)’ in Australian Dictionary of Biography, Melbourne: Melbourne University Press, 1981. Accessed online 21 December 2017, URL: http://adb.anu.edu.au/biography/meeson-dora-6318.
Scott, 1992: Myra Scott, The art of George James Coates, 1869-1930 and Dora Meeson Coates, 1869-1955, Melbourne: Melbourne University Press, 1992.
Creator
An entity primarily responsible for making the resource
Dora Meeson (1869 - 1955)
Source
A related resource from which the described resource is derived
Book of autographs of visitors to Louise Hanson-Dyer, manuscript, The University of Melbourne
Date
A point or period of time associated with an event in the lifecycle of the resource
1927
Contributor
An entity responsible for making contributions to the resource
Reetika Khanna
Format
The file format, physical medium, or dimensions of the resource
Watercolour, 270 x 197 mm
Type
The nature or genre of the resource
Image
-
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Artworks of the Louise Hanson-Dyer Visitor's Book
Description
An account of the resource
This collection features the nine original artworks located in the Louise Hanson-Dyer Visitors' Book. Opulently bound in 1926, the book contains autographs of visitors to Louise's Paris apartment, until 1956. Some of the entries are accompanied by larger contributions, such as poetry and musical notation.
Creator
An entity primarily responsible for making the resource
Reetika Khanna
Source
A related resource from which the described resource is derived
Book of autographs of visitors to Louise Hanson-Dyer, manuscript, The University of Melbourne
Date
A point or period of time associated with an event in the lifecycle of the resource
1926-1956
Rights
Information about rights held in and over the resource
Copyright The University of Melbourne
Language
A language of the resource
English
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
France, Australia
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Untitled
Subject
The topic of the resource
Landscape
Description
An account of the resource
McInnes’ watercolour landscape depicts three cows grazing. The largely flat horizon of the composition is broken by a towering gumtree - distinctively Australian vegetation - flanked by smaller trees in the distance. The work is tinged with a pink undertone throughout, further generating a particularly Australian atmosphere of sunset. McInnes’ brush marks are loose; twisting and fading organically.
After travelling and painting in Britain, France, Spain and Morocco, McInnes settled in the Melbourne suburb of Alphington, where farmland and the nearby Yarra Valley served as his primary subject matter (Haese, 1986). He was awarded the Wynne prize for landscape painting in 1918 (Haese, 1986). After returning to Europe in 1925, McInnes also found success as a portrait painter, winning the prestigious Archibald prize seven times between 1921 and 1936 (Haese, 1986; Nunn & Kowalski, 2009, p. 51). Along with Harold Septimus Power, McInnes was commissioned to depict the opening of Federal Parliament in Canberra in 1927, solidifying his place as a leading Australian artist of the time (Haese, 1986; National Portrait Gallery). He was also commissioned to paint the Duke of York’s portrait in 1933 (Haese 1986; National Portrait Gallery).
A 1927 portrait of Louise Dyer by McInnes hangs at her school, the Presbyterian Ladies College in Burwood. An article in The Argus records the presentation of the portrait “as a memento of the interest she has always taken in all Australian art and literature” (The Argus, 1 April 1927, p. 8). In her speech, she said "she would take the portrait wherever she went to show the genius of Australia in the work of one of her artists” (The Argus, 1 April 1927, p. 8). The National Gallery of Victoria also holds an oil painting of James Dyer, Louise’s first husband, gifted by the couple in 1932. These portraits are indicative of a sustained relationship between the Dyers and McInnes, beyond the landscape featured in the Visitors’ Book.
References
Haese, 1986: Richard Haese, ‘McInnes, William Beckwith (Billy) (1889-1939)’ in Australian Dictionary of Biography, Melbourne: Melbourne University Press, 1986. Accessed online 21 December 2017, URL: http://adb.anu.edu.au/biography/mcinnes-william-beckwith-billy-7371.
Nunn & Kowalski, 2009: Catherine Nunn & Vanessa Kowalski, ‘Saving Sir Walter Baldwin Spencer: The conservation of a 20th century painting’, University of Melbourne Collections, no. 4, 2009, pp. 51-52.
National Portrait Gallery: National Portrait Gallery. This website provides information regarding the collections and exhibitions of the National Portrait Gallery. URL: https://www.portrait.gov.au/people/w-b-mcinnes-1889.
The Argus, 1927: ‘Presentation to Mrs Dyer’, The Argus, 1 April 1927, Social Events, p. 8.
Creator
An entity primarily responsible for making the resource
William McInnes (1889 - 1939)
Source
A related resource from which the described resource is derived
Book of autographs of visitors to Louise Hanson-Dyer, manuscript, The University of Melbourne
Date
A point or period of time associated with an event in the lifecycle of the resource
Unknown
Contributor
An entity responsible for making contributions to the resource
Reetika Khanna
Format
The file format, physical medium, or dimensions of the resource
Watercolour, 268 x 197 mm
Type
The nature or genre of the resource
Image
-
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b1662bd30afe25551f4628e6827227e3
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Artworks of the Louise Hanson-Dyer Visitor's Book
Description
An account of the resource
This collection features the nine original artworks located in the Louise Hanson-Dyer Visitors' Book. Opulently bound in 1926, the book contains autographs of visitors to Louise's Paris apartment, until 1956. Some of the entries are accompanied by larger contributions, such as poetry and musical notation.
Creator
An entity primarily responsible for making the resource
Reetika Khanna
Source
A related resource from which the described resource is derived
Book of autographs of visitors to Louise Hanson-Dyer, manuscript, The University of Melbourne
Date
A point or period of time associated with an event in the lifecycle of the resource
1926-1956
Rights
Information about rights held in and over the resource
Copyright The University of Melbourne
Language
A language of the resource
English
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
France, Australia
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Untitled
Subject
The topic of the resource
Study of two horses
Description
An account of the resource
Power’s expressive marks bring his cropped study of two horses to life. The movement of the artist’s hand flows through his free and loose brush strokes. The lack of detail and tonal variation of the background buildings contrast the layers of vibrant colour used on the horses in the foreground, separating the vitality of the animals from the man-made structure.
Over Power's career, he came to be regarded as the leading Australian artist in equine subjects (Holden, 1988). At the age of 24, he was commissioned by the National Gallery of South Australia for an animal painting, the first time the Gallery had ever commissioned an Australian artist (Middleton, 1974, p. 3). He later relocated to London where he secured a steady flow of commissions - including a painting for the Duke of York - as well as regular features in the Royal Academy exhibitions (Middleton, 1974, p. 4). After returning to Australia, Power was invited to become one of Australia’s first official war artists in 1915 (Middleton, 1974, p. 4). Assigned to the Western front, he worked at great personal risk, placing himself in the same battle conditions as the soldiers and animals he depicted (Middleton, 1974, p. 4).
Following the war, Power travelled back and forth between England and Australia, feeling a pull between artistic loyalties (Middleton, 1974, p. 6). Living in London, with its close proximity to Paris, was strategic for any artist of his generation as both cities were considered centres of the art world (Middleton, 1974, p. 6). Although Power’s growing reputation saw his election to the Royal Society of Oil Painters and the Royal Institute of Watercolour Painters, he simultaneously yearned for the people, landscape and lifestyle of Australia (Middleton, 1974, p. 6). By making frequent trips to Australia, Power was able to find success at home as well as in England, forging a unique position for himself (Middleton, 1974, p. 6).
References
Holden, 1988: Robert Holden, ‘Power, Harold Septimus (1877-1951)’ in Australian Dictionary of Biography, Melbourne: Melbourne University Press, 1988. Accessed online 21 December 2017, URL: http://adb.anu.edu.au/biography/power-harold-septimus-8089.
Middleton, 1974: Max Middleton, ‘Introduction’ in The Art of H. Septimus Power, Adelaide: Rigby, 1973, pp. 1-12.
Creator
An entity primarily responsible for making the resource
Harold Septimus Power (1877 - 1951)
Source
A related resource from which the described resource is derived
Book of autographs of visitors to Louise-Hanson Dyer, manuscript, The University of Melbourne
Date
A point or period of time associated with an event in the lifecycle of the resource
Unknown
Contributor
An entity responsible for making contributions to the resource
Reetika Khanna
Format
The file format, physical medium, or dimensions of the resource
Watercolour, 280 x 230 mm
Type
The nature or genre of the resource
Image
-
https://d1y502jg6fpugt.cloudfront.net/28157/archive/files/9df3da022071063a0b166e7d3aa0b497.JPG?Expires=1712793600&Signature=W97dJwNuCwx2NBL1n71nwb9O2TIqT9bj8HE9hNq3tJNRjG641qMgxq7wQc6o%7Eibbp0eoHAARi7nyoJCqVujUpUGRDyXlyWedKy0DxBQPQX2f-NH8J1JUzhLe6fN0tcWcVUnAbzlPc2JqM3bK-29jBEZ-U-RQZQJZyYieh2FLxoTINfbva52p8I3bhQMNHIj6ogd31reJW%7E7W7s8uLcjG4tXgNk23AF1CyNpF9J1106SrPco383lSVrG-o2WlPtmYOcbnFiQBeJgZCRmqPeCe3xp6LCgup2dmCZh8rV7zRJS8vZn89U6CxICXXRQIlwH68Yo8DUbJ8EbFR7yy6F3XLg__&Key-Pair-Id=K6UGZS9ZTDSZM
7f167596343220ebb24cc1da95e00fa2
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Artworks of the Louise Hanson-Dyer Visitor's Book
Description
An account of the resource
This collection features the nine original artworks located in the Louise Hanson-Dyer Visitors' Book. Opulently bound in 1926, the book contains autographs of visitors to Louise's Paris apartment, until 1956. Some of the entries are accompanied by larger contributions, such as poetry and musical notation.
Creator
An entity primarily responsible for making the resource
Reetika Khanna
Source
A related resource from which the described resource is derived
Book of autographs of visitors to Louise Hanson-Dyer, manuscript, The University of Melbourne
Date
A point or period of time associated with an event in the lifecycle of the resource
1926-1956
Rights
Information about rights held in and over the resource
Copyright The University of Melbourne
Language
A language of the resource
English
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
France, Australia
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Spring in the Mountains
Subject
The topic of the resource
Landscape
Description
An account of the resource
Moore’s watercolour, 'Spring in the Mountains,' is an eye catching landscape. With an unconventionally low horizon line, the sky covers a vast expanse of the composition. Moore uses thin washes of subtle colour for majority of the image. In contrast, the relatively opaque, striking electric blue of the mountain ranges forms the focal point of the composition. He makes use of the blue grey colour of the paper, fading the sheer blue sky at the top of the work into the plain paper. In the foreground, Moore scatters light pink flowers as accents among the green shrubbery and brown earth. A tree cuts through the composition, breaking it into horizontal thirds. The work is enclosed in a thick black frame that appears to be done in marker.
Moore was living in Sydney at the time the work was painted (Flower, 1986). It is therefore likely that 'Spring in the Mountains' is a depiction of the Blue Mountains just outside of the New South Wales capital. The image is quite a modern interpretation of a landscape. The vivid blue colour used for the mountains is much brighter than what would have been found in nature and the application elicits a flattened effect with minimal tonal variation and detail. Thus, Moore steers away from traditional paintings which seek to achieve a lifelike representation of colour, tone and form.
Moore became known for his fresh approach to the Australian landscape, employing a distinctive palette of pinks and indigos (Flower, 1986). This inclination towards the use of deep blues is very much present in 'Spring in the Mountains.' For such colour choices - rather than any use of abstraction - Moore became characterised as a modern artist and was a member of the Contemporary Group in Sydney in the 1930s. He later served as Vice President of the Society of Artists and the organisation awarded Moore a medal for his contributions in 1954 (Flower, 1986).
References
Flower, 1986: Cedric Flower, ‘Moore, John Drummond (1888 - 1958)’ in Australian Dictionary of Biography, Melbourne: Melbourne University Press, 1986. Accessed online 21 December 2017, URL: http://adb.anu.edu.au/biography/moore-john-drummond-7638.
Creator
An entity primarily responsible for making the resource
John D Moore (1888 - 1958)
Source
A related resource from which the described resource is derived
Book of autographs of visitors to Louise Hanson-Dyer, manuscript, The University of Melbourne
Date
A point or period of time associated with an event in the lifecycle of the resource
1926
Format
The file format, physical medium, or dimensions of the resource
Watercolour, 218 x 199 mm
Type
The nature or genre of the resource
Image
Contributor
An entity responsible for making contributions to the resource
Reetika Khanna
-
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Artworks of the Louise Hanson-Dyer Visitor's Book
Description
An account of the resource
This collection features the nine original artworks located in the Louise Hanson-Dyer Visitors' Book. Opulently bound in 1926, the book contains autographs of visitors to Louise's Paris apartment, until 1956. Some of the entries are accompanied by larger contributions, such as poetry and musical notation.
Creator
An entity primarily responsible for making the resource
Reetika Khanna
Source
A related resource from which the described resource is derived
Book of autographs of visitors to Louise Hanson-Dyer, manuscript, The University of Melbourne
Date
A point or period of time associated with an event in the lifecycle of the resource
1926-1956
Rights
Information about rights held in and over the resource
Copyright The University of Melbourne
Language
A language of the resource
English
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
France, Australia
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Untitled
Subject
The topic of the resource
Still life
Description
An account of the resource
Proctor’s watercolour floral arrangement exudes her flair for decorative design. Enclosed in a dotted oval frame, the composition consists of several features which allude to Proctor’s interest in interior design and her role as a tastemaker. These include the blue striped wallpaper in the background, the floral design painted on the vase, the lace doily and the blue ribbon on the table. The wallpaper also suggests a nod to the Art Deco trends of the 1920s and 1930s. Besides a thin wash of paint casting the shadow of the vase, little attention has been paid to creating a sense of depth. The strong outlines of the leaves, petals and vase further flatten the image. However, Proctor’s bold and opaque use of colour creates a strong visual impact, such that the flowers appear to jump out of the frame. The repeated use of blue develops compositional harmony and the straight geometry of the background pattern is contrasted with the organic crumples of the ribbon. The red flowers and table serve as a complementary colour to the green leaves, further enhancing the vibrancy of the image. Colour was essential to Proctor’s aesthetic and she painted many carefully curated floral arrangements throughout her career (Engledow, 2005, p. 69).
Proctor moved to London in 1903 where she became involved in a circle of expatriate Australian artists (Engledow, 2005, p. 27; Butler, 1988). She developed interests in Chinese and Japanese art and French design and thrived in the European art world, the antithesis of Australia’s provincialism (Sayers, 2005, p. 6). Following World War I, Proctor resettled in Sydney where she played a central role in forming the Contemporary Group of artists - many of whom were returning expatriates seeking to expose Australia to the modernist ideas they had gleaned from Europe (Maloney, 2008, p. 74; Butler, 1988). Proctor was labelled “dangerously modern,” which amused her given that in London, she was regarded “as belonging to her own age, and quite old-fashioned” (Butler, 1988; Sayers, 2005, p. 6). In 1932, Art in Australia devoted an issue to Proctor’s work, an honour usually awarded to male artists working under the landscape tradition of the Heidelberg School (Jordan, 1993, p. 200; Butler, 1988). She was not only one of the few women artists, but also one of the only modernist artists to be promoted seriously (Jordan, 1993, p. 200).
Modernism in Australia came to be regarded as a distinctly feminine practice; fashionable and commercial but separate from the traditional values fine art (Jordan, 1993, p. 202). Still life, as both a modernist and female genre, was not viewed as serious subject matter because it was considered easier to execute and therefore less impressive (Jordan, 1993, p. 203). Despite these issues of gender politics, Proctor’s watercolours and designs are considered among the best decorative images of the period (Humphries, 2005, p. 2). She was widely considered an elegant arbiter of taste, a status that implies an authoritative and fashionable voice, broader than the typical realm of the artist (Butler, 1988; Jordan, 1993, p. 204; Sayers, 2005, p. 6).
Louise Hanson-Dyer and Proctor are known to have been friends (Davidson, 1994, p. 81). The Visitors’ Book was not the first time Louise commissioned a work by Proctor. She also illustrated a program for a concert Louise organised before her move to Paris (Davidson, 1994, p. 102).
References
Butler, 1988: Roger Butler, ‘Proctor, Althea Mary (Thea) (1879-1966)’ in Australian Dictionary of Biography, Melbourne: Melbourne University Press, 1988. Accessed online 21 December 2017. URL: http://adb.anu.edu.au/biography/proctor-alethea-mary-thea-8122.
Davidson, 1994: Jim Davidson, Lyrebird Rising, Melbourne: Melbourne University Press, 1994.
Engledow, 2005: Sarah Engledow, ‘The world of Thea Proctor’ in The World of Thea Proctor, Canberra: Craftsman House, 205, p. 17-76.
Humphries, 2005: Barry Humphires, ‘Thea Proctor: a memoir’ in The World of Thea Proctor, Canberra: Craftsman House, 2005, p. 2-4.
Jordan, 1993: Caroline Jordan, ‘Designing Women: Modernism in Art in Australia and The Home’, Art and Australia, 31, no. 2, pp. 200-206.
Maloney, 2008: Shane Maloney, ‘Thea Proctor and Margaret Preston, The Monthly, November 2008, p. 74.
Sayers, 2005: Andrew Sayers, ‘Thea Proctor: artist and tastemaker’ in The World of Thea Proctor, Canberra: Craftsman House, 2005, p. 5-15.
Creator
An entity primarily responsible for making the resource
Thea Proctor (1879 - 1966)
Source
A related resource from which the described resource is derived
Book of autographs of visitors to Louise Hanson-Dyer, manuscript, The University of Melbourne
Date
A point or period of time associated with an event in the lifecycle of the resource
1926
Format
The file format, physical medium, or dimensions of the resource
Watercolour, 165 x 130 mm
Type
The nature or genre of the resource
Image
Contributor
An entity responsible for making contributions to the resource
Reetika Khanna
-
https://d1y502jg6fpugt.cloudfront.net/28157/archive/files/9e40b3956ec345b6b57c9666b2f6ce88.JPG?Expires=1712793600&Signature=ZLTumEcsmhxbaykPaD3WiTstT3yXrBOIJaiBewH-QJsqcVXBQNPeOgh1DfEFay%7EZo4iJYgVoqCLW0hr6LzWcjhUV7NzedoCgAYhGFIKS3ahGbEjMaPGYlNKjuaKgkon%7ElrQbsfEc2DoAR189grTR3jF%7EzRlcOLNrMiezTF8SKm-SVjiNHuDI1BXdHxX3WC-Y3zSPwLW04PODkP-2uZPgl4PoNcUZ83eqpN-lUvKdWLlL0FaO8jQhuIufFYqP5rZcYTNnNfu9TRCap4iQVVgajQBTI-2jpvjSxnvMGqTKg2EJfET-0eEVQ4IVwXWiFh0MTVsxGBOF7ovSfyA9M-Ny8w__&Key-Pair-Id=K6UGZS9ZTDSZM
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Artworks of the Louise Hanson-Dyer Visitor's Book
Description
An account of the resource
This collection features the nine original artworks located in the Louise Hanson-Dyer Visitors' Book. Opulently bound in 1926, the book contains autographs of visitors to Louise's Paris apartment, until 1956. Some of the entries are accompanied by larger contributions, such as poetry and musical notation.
Creator
An entity primarily responsible for making the resource
Reetika Khanna
Source
A related resource from which the described resource is derived
Book of autographs of visitors to Louise Hanson-Dyer, manuscript, The University of Melbourne
Date
A point or period of time associated with an event in the lifecycle of the resource
1926-1956
Rights
Information about rights held in and over the resource
Copyright The University of Melbourne
Language
A language of the resource
English
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
France, Australia
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Souvenir of South Yarra
Subject
The topic of the resource
Landscape
Description
An account of the resource
Streeton’s watercolour depicts a view of the Melbourne skyline from South Yarra. He builds up the landscape with monochrome washes of brown paint moving from the darkest, most saturated marks of the trees in the foreground, to the sheer treatment of the buildings in the background. Details of windows, domes and spires are delicately defined with fine lines on top of the light wash. The sky and river are presented in milky white, generating the atmosphere of an overcast day. The building to the left is recognisable as Government House in Kings Domain, adjacent to the Royal Botanic Gardens. With this geographic anchor, it is likely one of the domed buildings depicted is Flinders Street Railway Station and the tallest spire may belong to St Paul’s Cathedral.
The suburb of South Yarra is of particular significance to Streeton. Upon their arrival in Melbourne in 1874, the Streeton family lived in South Yarra and his earliest paintings depict scenes around the area (Wray, 1993, p. 12-15). Following years abroad, Streeton moved to a South Yarra home which boasted views of the bay, the Botanic Gardens, and mountain ranges in the distance (Wray, 1993, p. 155). From this vantage point, he painted many panoramas of the Melbourne skyline (Wray, 1993, p. 162).
Streeton originally rose to fame as part of the Heidelberg School of Artists (Galbally, 1990). Their plein air works were considered groundbreaking for their realistic depiction of the Australian landscape, distinct from traditional European scenes of rolling green hills (Heidelberg Artists Society). Though radical at the time, their infamous 9 x 5 Exhibition was indicative of a growing national sentiment as artists sought to create a contemporary vision of the Australian land and its people (Wray, 1993, p. 41). Capturing Australian qualities of light, heat and vegetation fuelled Streeton, who won the Wynne Prize for landscape painting in 1928 (Wray, 1993, p. 166-7; Galbally, 1979, p. 15).
Later in life, Streeton settled in Toorak with his wife Nora, a violinist, who was introduced to Melbourne musical circles (Wray, 1993, p. 115, 148). From this, it is possible that Nora and Louise Hanson-Dyer crossed paths. A relationship between the Streetons and the Dyers is evidenced by the Arthur Streeton Catalogue, published in 1935, which records two oil panels painted in 1921 in possession of James Dyer: 'St Mary’s and North Head' and 'Zoological Gardens and Bradley’s Head.' The whereabouts of these works today is unfortunately unknown.
For his immense contribution to art and his hand in revolutionising depictions of the Australian environment, Streeton was knighted in 1937 (Galbally, 1979, p. 87).
References
Galbally, 1990: Ann Galbally, ‘Streeton, Sir Arthur Ernest (1867-1943)’ in Australian Dictionary of Biography, Melbourne: Melbourne University Press, 1988. Accessed online 21 December 2017, URL: http://adb.anu.edu.au/biography/streeton-sir-arthur-ernest-8697.
Galbally, 1979: Ann Galbally, Arthur Streeton, East Melbourne: Lansdowne Editions, 1979.
Heidelberg Artists Society: Traditions of the Heidelberg School of Painters. This website provides information regarding the history of the Heidelberg School of Artists. URL: http://www.has.org.au/our-history/
Wray, 1993: Christopher Wray, Arthur Streeton: Painter of Light, Milton: Jacaranda Wiley, 1993.
Creator
An entity primarily responsible for making the resource
Arthur Streeton (1867 - 1943)
Source
A related resource from which the described resource is derived
Book of autographs of visitors to Louise Hanson-Dyer, manuscript, The University of Melbourne
Date
A point or period of time associated with an event in the lifecycle of the resource
1927
Format
The file format, physical medium, or dimensions of the resource
Watercolour, 270 x 200 mm
Type
The nature or genre of the resource
Image
Publisher
An entity responsible for making the resource available
Unpublished
Contributor
An entity responsible for making contributions to the resource
Reetika Khanna
-
https://d1y502jg6fpugt.cloudfront.net/28157/archive/files/8696403fd3ab5473c4773f87f49fe932.JPG?Expires=1712793600&Signature=ggpXFY9A609AHw%7EVZDNQBd4nEuRwyKoU1zSQ%7ElXiEG717xbq9wCio8qDBMZKhbcd5sAvlI1EitmGbgWA6iXvVGsLJXBTY36kAHjA5g%7EW8IRqCE17wt0IkBgVhgdf0OzXp329qWq0CQq-cHkDbiu327MAdLxmIrqvGZkoLAaEY85BxGMzsLSFAmpj049s%7EmlzBDUBOLPQMsltsTgsYFnK2BeA-HQ7S4bu%7EqhNR2qTyoQMAaa9%7EQhxpv19S5CPi7%7ESxeS8QpTern3zVAdKAsTB1BFgBKUJgxgmT8nkJnfpOMZwmslwES8PLEHs044atp5yIfUmzYOn5KTmmif%7EC2umdQ__&Key-Pair-Id=K6UGZS9ZTDSZM
d59ba45d7b1fd0b8ab5af888d4515af7
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Artworks of the Louise Hanson-Dyer Visitor's Book
Description
An account of the resource
This collection features the nine original artworks located in the Louise Hanson-Dyer Visitors' Book. Opulently bound in 1926, the book contains autographs of visitors to Louise's Paris apartment, until 1956. Some of the entries are accompanied by larger contributions, such as poetry and musical notation.
Creator
An entity primarily responsible for making the resource
Reetika Khanna
Source
A related resource from which the described resource is derived
Book of autographs of visitors to Louise Hanson-Dyer, manuscript, The University of Melbourne
Date
A point or period of time associated with an event in the lifecycle of the resource
1926-1956
Rights
Information about rights held in and over the resource
Copyright The University of Melbourne
Language
A language of the resource
English
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
France, Australia
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Untitled
Subject
The topic of the resource
Landscape
Description
An account of the resource
Shirlow’s work depicts a cathedral rising behind a tree lined street, featuring a car and two figures. Though Shirlow is renowned for his etchings, the hasty and imprecise application of the marks in this image suggest the use of a pen and ink. Shirlow’s use of line is urgent, revealing the motion of the artist’s hand. He controls the proximity of the lines to build tone, create form and perspective.
Upon inspection of Shirlow’s oeuvre, the image bears great resemblance with one of his earlier works, an etching entitled 'The Gothic Spire, in Collins Street. An evening effect' (Melbourne, National Gallery of Victoria). The two compositions are almost identical, though the etching is rendered with far more precision and detail. Shirlow's title defines the location of his view as Collins Street, indicating that the spire depicted must be part of Melbourne’s St Paul’s Cathedral. As the work in the Visitors’ Book does not fill the entire frame, the artist perhaps mimicked the dimensions of the original etching.
Shirlow built his own press and etching tools, studying Hamerton’s book ‘Etching and Etchers’ to learn the basic techniques of the artform (Butler, 1988; Cross, 1921, p. 2). A technically challenging and delicate practice, previous Australian artists had attempted etching, but found it too difficult to master (Cross, 1921, p. 14). Shirlow, however, persisted and became known as the first Australian artist to base his career around etching (Butler, 1988). He worked from nature and drew directly onto his plates, eventually publishing four books of his etchings (Butler, 1988). Though he explored other subjects, he favoured the architectural landscape and sketched city scenes of Melbourne avidly (Cross, 1921, p. 4, 6). As many of Shirlow’s images depict old buildings around Melbourne, his work is imbued with historical as well as artistic significance (Butler, 1988).
References
Butler, 1988: Roger Butler, ‘Shirlow, John Alexander Thomas (1869-1936)’ in Australian Dictionary of Biography, Melbourne: Melbourne University Press, 1988. Accessed online 21 December 2017, URL: http://adb.anu.edu.au/biography/shirlow-john-alexander-thomas-8421.
Cross, 1921: Robert H Cross, ‘A Biographical Search’ in The Etched Work of John Shirlow: selected reproductions in half-tone of John Shirlow’s Handicraft, Melbourne: Alexander McCubbin, 1921.
Creator
An entity primarily responsible for making the resource
John Shirlow (1869 - 1936)
Source
A related resource from which the described resource is derived
Book of autographs of visitors to Louise Hanson-Dyer, manuscript, The University of Melbourne
Date
A point or period of time associated with an event in the lifecycle of the resource
1927
Format
The file format, physical medium, or dimensions of the resource
Ink and pen, 215 x 90 mm
Type
The nature or genre of the resource
Image
Contributor
An entity responsible for making contributions to the resource
Reetika Khanna
-
https://d1y502jg6fpugt.cloudfront.net/28157/archive/files/10d434f2bc7bfe94cce0d45a3c093567.JPG?Expires=1712793600&Signature=OPspBp16%7Eq49LA2s80EzLPfopTmWpZ1JVtObAxQzJJLGBVqKjUzbLsny1l8mOOWR2KFbQBZP0aSLwhJwmnsrS%7Ekl9vo5WcrYmHaJ8Yilrt6HdYDW09se0saDQ0gD1mLxFGcM1xmSUKif5bPfnisfHvl9kqfgjeBErkQ-R94g%7EEErq6IKeMbdRFN9OxDZ9ckQzUmwOpyeU05w9ohKfIfC5rmDC049C-46rGMT-I%7EeqTHXQLJvWTBWsHgJGrz68rP7AMYdz4CmoFPthYTx-9vjmKW9YNVHnbhzk6mCdHyp2oavGpzfk119ucox7bLHQ09UO%7EMw9s1kW7TYvdLAsoN7EQ__&Key-Pair-Id=K6UGZS9ZTDSZM
bff0b7f82ce0cb41796c82b185855128
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Artworks of the Louise Hanson-Dyer Visitor's Book
Description
An account of the resource
This collection features the nine original artworks located in the Louise Hanson-Dyer Visitors' Book. Opulently bound in 1926, the book contains autographs of visitors to Louise's Paris apartment, until 1956. Some of the entries are accompanied by larger contributions, such as poetry and musical notation.
Creator
An entity primarily responsible for making the resource
Reetika Khanna
Source
A related resource from which the described resource is derived
Book of autographs of visitors to Louise Hanson-Dyer, manuscript, The University of Melbourne
Date
A point or period of time associated with an event in the lifecycle of the resource
1926-1956
Rights
Information about rights held in and over the resource
Copyright The University of Melbourne
Language
A language of the resource
English
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
France, Australia
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Eglise St Nicholas du Chardonnet, Paris
Subject
The topic of the resource
Landscape
Description
An account of the resource
Ashton’s watercolour is a harlequin scene of the Roman Catholic church, Saint Nicolas du Chardonnet, in Paris. The vibrant colours bleed into one another, while Ashton’s control of line maintains a sense of structure and perspective. Complete with a bright blue sky, Ashton portrays Paris as an idyllic setting, brimming with colour. The imprecise edges, loose detailing and vibrant palette are evocative of French impressionism.
In comparison to current photographs of Saint Nicolas du Chardonnet, Ashton’s composition bears many differences. Although the bell tower remains the same, a new facade was built in 1934 after the demolition of houses along the southern side of the church (Paris Avant, 2007). However, Ashton’s image perfectly resembles photographs from the late 19th and early 20th century.
Throughout his oeuvre, Ashton’s landscapes employ a free and vigorous treatment of paint, while maintaining strong design and draughtsmanship skills (Harper, 1979). Fellow artist and friend, Lionel Lindsay, wrote that Ashton had captured the changing Paris landscape “with such a fine truth and vision, that you will go far in Europe today to find so able a painter” (Harper 1979).
Though Ashton found success abroad, exhibiting at both the Royal Academy in London and the Salon in Paris, he returned to Adelaide in 1905 (Harper, 1979). Following successful exhibitions in Adelaide, Melbourne, Sydney and Perth, Ashton won the Wynne prize for landscape painting in 1908, and again in 1930 and 1939 (Harper, 1979). Like many artists of his time, he was enticed by the chance of better prospects overseas, making frequent trips to Paris and London (Harper, 1979). In his later years, Ashton was a pivotal member of the Australian art world. He became director of the Art Gallery of New South Wales in 1937, and chaired the Commonwealth Art Advisory Board from 1953-62 (Harper, 1979). These leadership roles and artistic success culminated in his knighthood in 1960 (Harper, 1979).
References
Harper, 1979: Katherine Harper, ‘Ashton, Sir John William (Will) (1881-1963)’ in Australian Dictionary of Biography, Melbourne: Melbourne University Press, 1979. Accessed online 21 December 2017, URL: http://adb.anu.edu.au/biography/ashton-sir-john-william-will-5071.
Paris Avant: Paris Avant. This website presents over 2500 pairs of photos to compare the Paris of the past to the present. URL: http://parisavant.com/index.php?showimage=243.
Source
A related resource from which the described resource is derived
Book of autographs of visitors to Louise Hanson-Dyer, manuscript, The University of Melbourne
Date
A point or period of time associated with an event in the lifecycle of the resource
Unknown
Format
The file format, physical medium, or dimensions of the resource
Watercolour, 265 x 200 mm
Type
The nature or genre of the resource
Image
Creator
An entity primarily responsible for making the resource
Will Ashton (1881 - 1963)
Contributor
An entity responsible for making contributions to the resource
Reetika Khanna