In the light of last week's interview, I now have to explain why the Heidelberg School of Australian art produced such important paintings.
By 1886 nationalism was on the rise in Australia and one of the important questions facing the colonies was whether to federate. I suppose it was inevitable that Australia WOULD one day federate, but the details about when, and which states would want to be included, were still very uncertain.
By 1886 nationalism was on the rise in Australia and one of the important questions facing the colonies was whether to federate. I suppose it was inevitable that Australia WOULD one day federate, but the details about when, and which states would want to be included, were still very uncertain.
Landscape painting was deeply linked to cultural nationalism in Australia then, and the work of those artists who engaged with these broader cultural ideas was increasingly seen as the National School of Art. Romantic images of stockmen and gold prospectors symbolised a simpler, agricultural Australia. If this bucolic life had ever existed, by the 1880s it was well and truly subordinate to city life.
McCubbin, Down on his Luck
Frederick McCubbin teamed up with Tom Roberts in Box Hill, an area on the edge of Melbourne that appeared in many early McCubbin paintings, including While the Billy Boils 1886. This very small work seemed to be a trial run for Down On His Luck 1886. The figure appeared lonely, but the man could have been living off the land as best he could. The vegetation in this image was closer, more dense, more bluish, more encompassing. This title clarified that times were tough in the bush i.e on the land. He made the country side look pretty and benign, but perhaps that was the point. In my opinion, McCubbin was true to the real colours of the Australian bush and to its harshness; his paintings did not look like Gainsborough with kangaroos.
Roberts, Wood Splitters
In 1886 Tom Roberts joined Frederick McCubbin and Louis Abrahams, young men he had met much earlier at the National Gallery of Victoria art school. They set up an artists' camp in the bush, initially in Gardiner’s Creek, Box Hill. The Wood Splitters 1886 was one of the first Australian works to show the activities of ordinary rural labourers. Roberts was clearly influenced by the French painters of the Barbizon school, whose work extolled the dignity of the rural labourers and whose method involved sketching directly at the scene. This was also one of the works made by Roberts from sketches drawn at their camp. Roberts used a cool palette to capture the eucalypts and the misty winter light.
Then during the important years of 1888-90, Roberts joined Charles Conder and Arthur Streeton, painting at the old farmhouse on the Eaglemont Estate owned by Charles Davies. During these summers at Box Hill and Eaglemont, it must have been a fairly basic life: food cooked as best they could over a fire, drought and flies by day, lighting by candles at night, beds made from sacking, no wifely companionship. At least on weekends, they were visited by many other art colleagues and students, especially young people still studying at the National Gallery of Victoria school, a hot bed of artistic nationalism. So the artists’ camp was a stimulating, intimate experience, one they remembered fondly for the rest of their lives.
Streeton’s work Selector’s Hut/Whelan on the Log 1890 was painted in summer 1890, on the Eaglemont hillside. The model for the selector, relaxing on the log, was Jack Whelan. He was the caretaker of the estate, and at this time shared the old house on the estate with Streeton. Another work depicting Jack Whelan, and reportedly painted at the same site on the same day, is Under a Southern Sun by Charles Conder.
Streeton, Whelan on Log
Walter Withers, David Davies, Clara Southern, Tudor St George Tucker and a couple of other painters are almost always included in the title Heidelberg artists.In 1886 Tom Roberts joined Frederick McCubbin and Louis Abrahams, young men he had met much earlier at the National Gallery of Victoria art school. They set up an artists' camp in the bush, initially in Gardiner’s Creek, Box Hill. The Wood Splitters 1886 was one of the first Australian works to show the activities of ordinary rural labourers. Roberts was clearly influenced by the French painters of the Barbizon school, whose work extolled the dignity of the rural labourers and whose method involved sketching directly at the scene. This was also one of the works made by Roberts from sketches drawn at their camp. Roberts used a cool palette to capture the eucalypts and the misty winter light.
Then during the important years of 1888-90, Roberts joined Charles Conder and Arthur Streeton, painting at the old farmhouse on the Eaglemont Estate owned by Charles Davies. During these summers at Box Hill and Eaglemont, it must have been a fairly basic life: food cooked as best they could over a fire, drought and flies by day, lighting by candles at night, beds made from sacking, no wifely companionship. At least on weekends, they were visited by many other art colleagues and students, especially young people still studying at the National Gallery of Victoria school, a hot bed of artistic nationalism. So the artists’ camp was a stimulating, intimate experience, one they remembered fondly for the rest of their lives.
Streeton’s work Selector’s Hut/Whelan on the Log 1890 was painted in summer 1890, on the Eaglemont hillside. The model for the selector, relaxing on the log, was Jack Whelan. He was the caretaker of the estate, and at this time shared the old house on the estate with Streeton. Another work depicting Jack Whelan, and reportedly painted at the same site on the same day, is Under a Southern Sun by Charles Conder.
Streeton, Whelan on Log
Condor, Under Southern Sun
Interesting post, Hels! I especially like the McCubbins and the Roberts paintings.
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ReplyDeletethey are super artists and have stood the test of time, even 120 years later.
I want to refer readers to Intelliblog's analysis of McCubbin's art. Nicholas noted that "his 1887 painting The Morning Train is a good example of McCubbin’s Heidelberg Impressionistic style. There is a painterly quality to the painting, with its layers of colour, scumbling of paint, light and dark, impasto and wash. The light and dark contrasts and the harsh morning light point out the difference between nature and machine, the bucolic and the metropolitan". I largely agree.
I'm here from Nicholas' blog. That's a great post and it has prompted me to find out more about Australia's landscape painters. The works you have presented are gorgeous!
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My students always want lectures on the Heidelberg School of Art in the 1880s and 90s. There were many Impressionist artists in the world at that time, but there was something quite special about an emerging nation, not yet Federated, creating and discovering its own brand of art, literature and music.
I'm impressed, I must say. Rarely do I encounter a blog that's both educative and engaging, and without a doubt, you have hit the nail on the head. The problem is something which not enough folks are speaking intelligently about. Now i'm very happy I stumbled across this during my hunt for something regarding this.
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ReplyDeletethanks. If you love the Heidelberg School artists, now would be an excellent time to visit the Geelong Gallery to see the Arthur Streeton exhibition. Well worth the drive.
https://melbourneblogger.blogspot.com.au/2016/05/exhibition-of-arthur-streeton.html
Thanks for providing that information, I appreciate your sharing this information.
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Deletemy pleasure. I wish I knew more about Australian landscape painting when we studied a bit of art history at school.