1869 in Australian literature

Transcription

this unit examines the growth about in the early colonial period included the works by convict's and artists traveling on voyages of discovery. the new the influence of the dominant concept of European painting often resulted in which the group produced in Australia but look more like English or European art and landscape the migrate importance was placed on portable and easel paintings medallions drawings are the latter were often the basis of popular engravings made for sale to a curious European public are gradually artist came to understand and to appreciate the singular qualities that the new land are as professional artist came to Australia to settle a greater pride and identification with the landscaping with its indigenous people and with its animal and plant life came into being full the works chin at the end of this unit can be properly described as Australian not merely transplanted European all the lottery by the porch and painter 1790 this is a sensitive and thoughtful portrayal over Sydney Cove aborigine the artist is combined an interest in decorative line with a genuine attempt to depict the features on this subject sympathetically and accurately the engraved book illustration on the left by William Blake is taken from the drawing on the right by Philip Gidley King both are entitled to family New South Wales and we're both executed by the end of the 18th century the engraving on the left is idealized and elegant with the cherub like child and the figures Athletic & Noble compare this with the clumsy a more realistic drawing on the right hope labor under the influence of peace on the shores of Sydney Cove by Henry whether a sculpture produced in 1789 play for this medallion came from Sydney Cove hope stands at the left to the medallion with an image in the ship near rocky shore behind her symbolizing Sydney the POS have peace not and labor is reminiscent to the classical pose love the Three Graces a true area refers to the atria potteries cape with time in Temple Tivoli by Claude Lorraine the European oil painted about 1636 this work is an example that the dominant tradition and start love European landscape painting the influenced early as trade or not addis coming to Australia were heavily influenced by the startup landscape painting and influence that extended actually to the 19th century in this painting the artist has created classical symbols of a golden age with an erection lush landscape pastoral figures sit on the bank of the river beneath an imposing temple landscape with go to stubble a European oil painted in 1823 this work demonstrates the influence of Claude on other European artists constable copy to work by Claude in order to understand the Masters technique this type of study may also been undertaken by some the professional artists who came to Australia here constable uses the figures as a means a scale and to add to the idyllic pastoral nature the landscape the trees provide great masses have color and form direct No view up Sydney Cove as it appeared in 1794 by Thomas what Ling an oil painting the artist has been at pains to introduce touches have local color to his painting notably the uniformed men in the center the work the need to order the settlements gardens and the maritime activity is also introduced more lyrical note into the work through the curving lines and the feathery frame of trees the love King sound by William westall a watercolor painted in 1802 William westall's interest in the natural flora Australia's coastline as a parent the figures provide a sense of scale and West older pics with some detail the scrubby rather bleak nature the first good harbour in Western Australia for European sailing ships you have Sydney from the west side to the cove by John here watercolor painted in 1806 there appears to be little sensor atmosphere in this painting which was probably intended for reproduction as an engraving the Aborigines in the left-center the work provides scale and perhaps a contrast to the European settlement below them the shipping activities portrayed with great detail interview with Newcastle by Joseph lysette an oil painted in 1824 details at the civilization that came with the settlements can be found in this work lysette places the lighthouse still important landmark in Newcastle in the center the work the church on the left and a group of figures with their dogs also indicative the activities at the colony a single feathery trees seems more a compositional aid than an accurate depiction up local flora the job Louis New South Wales by John lewin watercolor painted in 1810 lewin was a naturalist who combined precision with the lyrical appreciation to the lines and form this exotic bloom Evans peak also John lewin watercolor painted in 1815 lewin uses a sway the yellow green grass in the foreground to offset the bluish tinge of the bush a single tree frames the work on the ride and the hilltop is Chris to buy a fringe have delicate trees a big way pillars in Australia in the Cabbage Tree Forest daybreak biogas to spill an oil painted about 1837 the ad used the campfire to create dramatic silhouettes and to provide a contrast with the rosy light already appearing in the sky the details and the campsite and a documentary within a dramatic context and her children also by August to spill and oil painted about 1826 in his multiple portrait films included many details of colonial life such as the children's toys the bone the drum the start address and a glimpse have been extremely imposing interior which may be an exaggeration well maybe an indication of the way in which the colonialists compensated for their isolation Mills play ames by John Glover an oil painting about 1836 this work shows the clarity and intensity of a strained and night that was to typify works by succeeding Australian landscape artist the aborigines in the forefront depicted returning from the hunt and also serve to provide a sense of scale and some curiosity value Glover uses the fallen trees in the foreground to emphasize the horizontal aspect to his composition in contrast to the sinuous curbing have the living trees the viewer the artists house on Mills planes again by John Glover an undated oil painting few early Australian artists presented their domestic habitat with such a sense of pride and identification as does John Glover in this painting while a garden is very English in its layout clever seems just as interested in the native trees and plants beyond the cultivated area Tasmania built in 1835 236 the actors were decorated by Daniel Herbert and James Cole bacon a primitive yet powerful style employing plant animal and human forms lie and dominates the center the first touch which also contains a caricature iced human hand complete with pork pie hat value John skin a proud a watercolor painted in 1850 this work shows concern with the dramatic qualities a blight and unusual plants patten's are created by both the shapes and the ferns and by the light breaking through the spreading foliage the dick and family by Marshall claxton an oil painted in 1851 the artist combines a degree of naive a team with the sophisticated you so black and white forms and an air of authority note the stiff formality the POS the way in which the child is presented as a miniature adult worker by 10 a.m. colonial painters often present some ambiguities in style admiral Parker in a plaster billion by Thomas Wilmer 1854 this work combines a degree of flattery and authority in the Roman Emperor like profile with a realistic appraisal of Parker's double chin and carefully position here the silly Asian by herro and oil painted in 1836 the artist contrast in observation between the shop and some clarity of George Robinson stripe shirt and peculiar had and the furry skins won by the Aborigines wannabes and dogs also feature and the aboriginal Spears I used as a compositional device mania by Robert Dowling and oil painted in 1859 Aboriginal dress is presented with care Aboriginal features both frontal and profile on shown in detail Spears once again provide vertical element in the work boy plane good a watercolor by an unknown artist the European dress and hissed at this people have the missionary institution that poem in D probably represent the means by which it was hoped to assimilate the aboriginal population into the European notice the desert landscape behind the figure truck tonight Anna and native to the southern part to Van Diemen's Land by Thomas Bach about 1830 this decade drawing not any documents the subjects physical appearance dress and decorations but also combines the beauty a blind with her on alert and expressive look Sydney for or clues by Conrad Martens watercolor painted in 1864 sydney is almost lost in a haze have a romantic light the use a blue and silver returns gives the impression of space and a rather the serial atmosphere falls also by Conrad Martens a watercolor painted in 1975 once again we see the interest Martins had in light and cloud formations the grandeur the scenery that always appeal to Martin's is also evidenced here in the ruggedness have the clips and the dramatic quality of a waterfall act Thursday by William Strutt an oil painted between 1862 and 1864 here we see a detailed obstructs epic work and note the combination of natural observation and symbolism one man assumes a position of leadership on a white horse the aboriginal stockman rise through the heat and smoke a broken actually ok lies in the center the work and killed in the animal bones at the lower left we see a snake ru an undated pencil unwashed rowing also by William strap the quality of stretch painting probably came through the making of studies such as these drawings they're made with great spontaneity the joey is observed in the pouch and strut contrast the powerful hind legs with the more delicate front paws so ball than a red by st. Gill watercolor painted in 1854 gilded many watercolors at the time the gold rush in Victoria this one shows kills careful and humorous observation notice that the balcony on the right has on it the patriotic slogan Advance Australia the elaborate por councilwoman also depicted early in the Dandenong Ranges by Eugene von Guerard an oil painted in 1857 clear detail was one of the identifying features a fan gear at work through the shaded the overhanging trees the sky over most carotene light can be seen bumpy road depict a number of native trees and plants the place is a magnificent live bird in the rough stony path through the cool shadowy color the forest for woman by Thomas Clark and oil painted in 1870 clockers used the cabin near the waterfall to provide a frame for the entire painting rather than trees the only trees in the work a very slender and linear the work as a slight theatricality in its composition police and the my to rock by Nicolas should value and the world painted in 1863 they are Bynes granger natural form with some chose color the rich color the sky is reflected in the pool on the ride the appena p.m. WCP Guinea and oil painted in 1889 although this is a dark and moody work this great delicacy and fragility in it also notice in the upper right corner the treasury of foliage against the clouds and the crowds themselves the darkness is emphasized by the strange light up the sky 1890 another oil painting by WCPN E light as the dominant feature the work is divided into areas have water and sky with the strong reflection a blight on the horizon leading to the road silhouetted trees on the ride happens if marcia reads lead into the distance summer evening dough oil painted by Louis boo below in 1866 in this painting boo values is a simple but effective compositional device the path in the center the painting a single tree also feature strongly pads and fences all the dow eyes into the distance and into the landscape itself water pool at Colerain again by boo below an oil painted in 1869 pensive domesticity and the homestead can be found in this painting family at docs wander down to the pool and the fam worker has left his axe against the fallen tree cattle move home went through the evening light the great trees may have been intended a simple so the Australian wilderness which gradually diminished with European settlement sentry bot reach Hawkesbury River by Julian Ashton a watercolor painted in 1884 the artist uses the edge of the river with the two reads and river pebbles has the foreground to the river landscape and the hills beyond a so Bowl another watercolor by Julian Ashton dated 1888 is a deceptively simple essay in light on Form the patenting at the lace parasol and the fence contrast the broadness and freshness to the painting the combination attractive prickly a tired young women and the warm Sun Nov midday was a preoccupation in the period