/aus/ - Australia

John Glover (18 February 1767 – 9 December 1849) was an English-born Australian artist during the early colonial period of Australian art. In Australia he has been dubbed "the father of Australian landscape painting".

"The Opening of the First Parliament of the Commonwealth of Australia by H.R.H. The Duke of Cornwall and York (later H.M. King George V), May 9, 1901", more commonly known in Australia as "The Big Picture", is a 1903 painting by the Australian artist Tom Roberts. The painting, measuring 304.5 by 509.2 centimetres (119.9 in × 200.5 in), depicts the opening of the first Parliament of Australia at the Royal Exhibition Building in Melbourne on 9 May 1901.

The painting is part of the Royal Collection but has been on permanent loan to the Parliament of Australia since 1957. The work, currently on display in Parliament House, Canberra, has been described as "undoubtedly the principal work of art recording Australia's Parliamentary History."[1]

https://en.wikipedia.org/wiki/The_Big_Picture_%28painting%29

Elioth Lauritz Leganyer Gruner, early anglicised from Grüner (16 December 1882 – 17 October 1939), was an Australian painter, winner of the Wynne Prize seven times.

Spring Frost is an 1919 painting by the Australian artist Elioth Gruner. The painting depicts a small herd of dairy cows in the early morning. Gruner's most well-known painting, Spring Frost was awarded the Wynne Prize in 1919.[1] [2]

Spring Frost was largely painted en plein air at Emu Plains—now an outer western suburb of Sydney but then a rural area—on the farm built by Isaac Innes and inherited by his son Jim Innes.[3] It is Jim Innes in this painting with his cattle.[3] Elioth Gruner's painting 'Morning Light' also shows this farm.[3] To compose the painting Gruner built a small structure on site to protect the canvas and, to avoid frostbite, he wrapped his legs with chaff bags.[4]

>There is a sense in this startling and surprisingly complex picture of a mature artist, who is also at once a wilful child, wanting to gaze directly at the sun, to revel and roll in the sun, to be exposed to, and by, the sun. In the passages where he paints its pure light, for example in the sky, shrub edges and the dew-wet grass, Gruner surrenders to this sensual, if potentially destructive, instinct. In so doing, he creates a work which is actually far less realistic than we think, less anecdotal, too.

— Sydney Morning Herald, [5]

Julian Rossi Ashton CBE (27 January 1851 – 27 April 1942) was an Australian artist and teacher, known for his support of the Heidelberg School and for his influential art school in Sydney. He died at the age of 91.

Julian Ashton was particularly adept at conveying the open spaces and clear light of the Australian landscape in his watercolours, a medium well suited to painting 'on the spot'. 'A solitary ramble' is one of the best known watercolours in the collection. Its depiction of leisured, rural life in nineteenth century Australia reflects the growing sense of national pride that was evolving in colonial society, which formed an identity closely associated with the bush.

The female figure with a parasol is the artist's wife, shown in a lane behind Griffith's Orchard in Richmond, near Sydney, NSW.

http://julianashtonartschool.com.au/about/history/

Norman Alfred William Lindsay (22 February 1879 – 21 November 1969) was an Australian artist, etcher, sculptor, writer, editorial cartoonist, scale modeler, and an accomplished amateur boxer.[1] He was born in Creswick, Victoria.

Lindsay was the son of Anglo-Irish surgeon Robert Charles William Alexander Lindsay (1843–1915) and Jane Elizabeth Lindsay (1848–1932), daughter of Rev. Thomas Williams, Wesleyen missionary. from Creswick. The fifth of ten children, he was the brother of Percy Lindsay (1870–1952), Lionel Lindsay (1874–1961), Ruby Lindsay (1885–1919), and Daryl Lindsay (1889–1976).

https://en.wikipedia.org/wiki/Norman_Lindsay#Career

Lindsay also worked as an editorial cartoonist, notable for often illustrating the racist and right-wing political leanings that dominated The Bulletin at that time; the "Red Menace" and "Yellow Peril" were popular themes in his cartoons. These attitudes occasionally spilled over into his other work and modern editions of The Magic Pudding often omit one couplet in which "you unmitigated Jew" is used as an insult.

http://adb.anu.edu.au/biography/lindsay-norman-alfred-7757

>ctrl+f "jew"

Invited to propose the toast to etching at the Royal Academy of Arts' dinner of 1927,he took the opportunity to attack the 'malady' of modern art as a conspiracy led by Jewish art-dealers, and gained great applause. After the dinner Sir Edward Lutyens, the architect, kissing him on both cheeks, exclaimed: 'At last an honest man!'

In May 1901 Lindsay visited Sydney and accepted Archibald's offer of £6 a week to join the Bulletin as a staff artist providing cartoons, decorations and illustrations for jokes and stories. The association was to last, with a few breaks, for over fifty years. More than any other artist, he gave visual definition to the Bulletin's editorial policy, particularly its nationalism and racism—Aborigines invariably figured as comics, Jews as old-clothes dealers with hooked noses.

From this troubled time came a thorough reappraisal of his thoughts on art and life that were published first in Art in Australia in 1920 and more fully in Creative Effort (1924). Based on elements drawn from Plato and Nietzsche, Lindsay sought to construct for himself a systematic philosophy of art and life that denied all social and political progress. History was eternal recurrence. The creative mind, especially the masculine, existed apart from the mass mind which, essentially feminine, constantly attacked it with the aid of such lesser breeds as Jews, Asians and Africans. Modernist art and the war were but the most recent manifestations of these unending attacks upon the creative elite. Once formulated, Lindsay's views changed little.

>>33606

>not posting Lindsay's Nudes and CP art

he was a furfag, too

>>33601

Arthur Streeton was also an amazing droughts-man, he worked along side Julian many times.

Nicholas Chevalier (9 May 1828 – 15 March 1902) was an Australian artist.

>Early life

Chevalier was born in St Petersburg, Russia, the son of Louis Chevalier, who came from Vaud, Switzerland, and was overseer to the estates of the Prince de Wittgenstein in Russia. Nicholas' mother was Russian. Nicholas left Russia with his father in 1845, and studied painting and architecture in Lausanne, Switzerland and at Munich. The materials used in this painting are oil paints on canvas.

>Career

In 1851 Chevalier moved to London and worked as an illustrator in lithography and water-colour. He also designed a fountain which was erected in the royal grounds at Osborne, and two of his paintings were hung at the Academy in 1852. Further study in painting followed at Rome. About the end of 1854 Chevalier sailed from London to Australia to join his father and brother, and in August 1855 obtained work as a cartoonist on the newly established Melbourne Punch. Later he did illustrative work for the Illustrated Australian News and also worked in chromo-lithography. In 1864, when the National Gallery of Victoria was founded, an exhibition of works by Victorian artists was held. The government agreed to buy the best picture exhibited for £200. Chevalier's oil painting The Buffalo Ranges was selected, and was the first picture painted in Australia to be included in the Melbourne collection. In 1865 Chevalier visited New Zealand, travelling widely and doing much work there which was exhibited at Melbourne on his return. In 1869 he joined HMS Galatea as an artist with the Duke of Edinburgh, on the voyage to the East and back to London with stops in Tahiti, Hawaii, Japan, China, Ceylon (Sri Lanka) and India. The pictures painted during the voyage were exhibited at South Kensington.

In January 1874 Chevalier was commissioned by Queen Victoria to travel to St Petersburg and paint a picture of the marriage of the Duke of Edinburgh. Chevalier made London his headquarters and was a constant exhibitor at the Academy from 1871 to 1887. He had one picture in the 1895 Academy but had practically given up painting by then. Chevalier died in London on 15 March 1902.

>Legacy

Chevalier married Caroline Wilkie in 1855, a relative of Sir David Wilkie, who survived him. Chevalier was a man of much personal charm and spoke fluent French, English, Russian, German, Italian and Portuguese. He was a good amateur musician being second violinist in the Royal Amateur Orchestral Society which had been started by officers in the Galatea and in which the duke was first violin.

The Museum of New Zealand Te Papa Tongarewa, the Dunedin Public Art Gallery (New Zealand), the Honolulu Museum of Art, the National Gallery of Victoria, the Ballarat Fine Art Gallery, Art Gallery of New South Wales and the National Library of Australia (Canberra) are among the public collections holding works by Nicholas Chevalier.

In 2011 Nicholas Chevalier was the subject of a major survey exhibition and publication, 'Australian Odyssey', staged at the Gippsland Art Gallery, and the Geelong Gallery, Victoria.

Marian Ellis Rowan (1848 – 4 October 1922), known as Ellis Rowan, was a well-known Australian botanical illustrator. She also did series of illustrations on birds, butterflies and insects.

http://theplanthunter.com.au/culture/ellis-rowan-plant-hunter/

https://en.wikipedia.org/wiki/John_Longstaff

Sir John Campbell Longstaff (10 March 1861 – 1 October 1941) was an Australian painter, war artist and a five-time winner of the Archibald Prize. He was a cousin of Will Longstaff, also a painter.

Longstaff was born at Clunes, Victoria, second son of Ralph Longstaff, storekeeper and Janet (Jessie) Campbell. John was educated at a boarding school in Miners Rest and Clunes State Schooland. He later studied at the Melbourne National Gallery School, after his father initially disapproved of his artistic ambitions.[1] Longstaff's talent was recognised by George Folingsby.[1] He married Rosa Louisa (Topsy) Crocker 20 July 1887 Powlett Street East Melbourne, Victoria.

He won the National Gallery of Victoria's first travelling scholarship for his 1887 narrative painting Breaking the News (which inspired a 1912 film of the same name), and John and his wife sailed from Melbourne for London on P&O's 4,600-ton 'Valetta' in September 1887. In January 1888 they travelled to Paris, where John exhibited in the Paris Salon. He later moved to London, where he painted many portraits. He returned to Australia in 1894 and was given several commissions. He occupied a studio at Grosvenor chambers in Melbourne from 1897 - 1900. The National Gallery of Victoria assumed ownership of The Sirens under terms of the scholarship and bought his large landscape Gippsland, Sunday night, 20 February 1898. He travelled to London again in 1901, where he exhibited with the Royal Academy.

Longstaff was appointed an official war artist with the Australian Infantry Force in the First World War. He made several portraits of officers in the military. On his return to Australia he won several awards and was given distinguished positions, such as his appointment to President of the Victorian Artists Society in 1924 and Trustee of the National Gallery of Victoria in 1927. He was knighted in 1928, the first Australian artist to have had this honour.

His 1929 portrait of the artist Ellis Rowan was the first national portrait of an Australian woman.[2]

His biography "Portrait in Youth", written by Nina Murdoch was published in 1948. His 1920 portrait of Nina Murdoch hangs in Reading Room of the National Library, Canberra.[3]

His Archibald Prize winning pieces:

1925 - Portrait of Maurice Moscovitch

1928 - Portrait of Dr Alexander Leeper

1929 - W A Holman, KC

1931 - Sir John Sulman

1935 - A B ('Banjo') Paterson

Lloyd Frederic Rees AC CMG (17 March 1895 – 2 December 1988) was an Australian landscape painter who twice won the Wynne Prize for his landscape paintings.

Most of Rees's works are preoccupied with depicting the effects of light and emphasis is placed on the harmony between man and nature. Rees's oeuvre is dominated by sketches and paintings, in which the most frequent subject is the built environment in the landscape.

>Lloyd Rees' Painting with Pencil, 1930-36 is at the Museum of Sydney until April 10.

http://www.smh.com.au/entertainment/art-and-design/lloyd-rees-delicate-details-brought-to-life-in-museum-of-sydney-exhibition-20151210-glkckk.html

https://en.wikipedia.org/wiki/Lloyd_Rees

>>33580

Tom Roberts was breddy gud.

Thomas Clark (1813 -1883) english/australian

a colonial artist in Western Victoria

http://www.abc.net.au/local/stories/2013/10/03/3861220.htm