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With reproductions in colour and black-and-white, this detailed exhibition catalogue contains an introductory essay, biographies of artists, a bibliography, and an illustrated list of works.
Albrecht Durer epitomizes the Northern Renaissance and is one of the most celebrated artists of all time. But despite our substantial knowledge about him, he remains elusive. Beginning in 1891, the National Gallery of Victoria started making acquisitions sufficiently significant to make its collections of Durer one of the most important in the world. Over 150 b-w plates, a four-page fold out color plate and essays on the artist's life, 15th century life in Nuremberg during one of the great transforming periods of European history and on the book arts make this an invaluable addition to Durer literature. (National Gallery of Victoria)
Samuel Thomas Gill, or STG as he was universally known, was Australia’s most significant and popular artist of the mid-nineteenth century. For his contemporaries he epitomised ‘Marvellous Melbourne’ basking in the glow of the gold rushes. He worked in South Australia, Victoria and New South Wales and left some of the most memorable images of urban and rural life in colonial Australia. A passionate defender of Indigenous Australians and of the environment, Gill in his art celebrated the emerging quintessential Australian character. This is the first major comprehensive book to be devoted to Gill and presents a radical reassessment of one of the most important figures in Australian colonial art and reproduces, in some instances for the first time, some of the most startling images from nineteenth-century Australian art. There will be an exhibition of S.T. Gill’s work at the State Library of Victoria in July 2015 and at the National Library of Australia in June 2016, plus smaller shows in regional Victorian galleries. In association with the State Library of Victoria.
This is the fourth in our series of publications concerned with the gallery's extensive and exceptional Australian works on paper collection. The selection for this publication and exhibition is by Hendrik Kolenberg, Senior Prints, Drawings and Watercolours and Patricia James, one of our longest serving and most trusted Gallery Volunteers
Ellis Rowan was one of Australia's most accomplished artists and an incredible--if somewhat unexpected--adventurer. During World War I Ellis ventured alone into the tropical jungles of New Guinea in search of all 72 known species of the Bird of Paradise. Not only was she the first white woman to do such a thing, she was also 70 years old. The Flower Hunter is the incredible story of a woman who went to extraordinary lengths to paint her beloved subject matter, journeying to some of the most wild and inhospitable areas of Australia and beyond. On her death in 1922 there was hardly a household in Australia that didn't know her name. Sadly today she is all but forgotten, yet her work lives on in the 970 paintings carefully preserved in the National Library of Australia and in this, the definitive story of Ellis Rowan's remarkable life.
For the first time, some of the major 19th century Australian works of art from the National Gallery of Victoria have been published in one book. Includes paintings, watercolours, drawings, furniture, silver, textiles and sculpture.
This text will provoke a discussion about the future of horseracing and is written in an accessible and scholarly style.
Australia's distinctive landscape and sunny climate gave Australian Impressionism an intensity and radiance remarkable even in the international setting as the genre swept through the world's art communities during the second half of the 19th century. This book focuses on the first 15 years of the movement and follows five artists step-by-step. The story told in the Spring 2007 exhibition and in this catalog focuses on Charles Conder, Fred McCubbin, Tom Roberts, Arthur Streeton, and Jane Sutherland. The material includes several thematic subjects, such as portraiture by Roberts and Streeton, and European symbolism. The art sometimes is anecdotal and contains a narrative. Australian plein air painters were interested in the way light evoked a particular emotion or mood and how to capture a fleeting moment within a short amount of time. These young artists saw themselves as leaders against the forces of conservatism and parochialism and stayed current with what was happening on the world stage. In response to a scathing review of their first exhibition, they wrote to the critic that they were 'working towards the development... of a great school of painting in Australia.' Among many lasting contributions of these painters, Jane Sutherland advanced the professional standing of women artists of her time.