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“Written in prose so clear that we absorb its images as if by mind meld, “The Last Painting” is gorgeous storytelling: wry, playful, and utterly alive, with an almost tactile awareness of the emotional contours of the human heart. Vividly detailed, acutely sensitive to stratifications of gender and class, it’s fiction that keeps you up at night — first because you’re barreling through the book, then because you’ve slowed your pace to a crawl, savoring the suspense.” —Boston Globe A New York Times Bestseller A New York Times Book Review Editor's Choice A RARE SEVENTEENTH-CENTURY PAINTING LINKS THREE LIVES, ON THREE CONTINENTS, OVER THREE CENTURIES IN THE LAST PAINTING OF SARA DE VOS, AN EXHILARATING NEW NOVEL FROM DOMINIC SMITH. Amsterdam, 1631: Sara de Vos becomes the first woman to be admitted as a master painter to the city’s Guild of St. Luke. Though women do not paint landscapes (they are generally restricted to indoor subjects), a wintry outdoor scene haunts Sara: She cannot shake the image of a young girl from a nearby village, standing alone beside a silver birch at dusk, staring out at a group of skaters on the frozen river below. Defying the expectations of her time, she decides to paint it. New York City, 1957: The only known surviving work of Sara de Vos, At the Edge of a Wood, hangs in the bedroom of a wealthy Manhattan lawyer, Marty de Groot, a descendant of the original owner. It is a beautiful but comfortless landscape. The lawyer’s marriage is prominent but comfortless, too. When a struggling art history grad student, Ellie Shipley, agrees to forge the painting for a dubious art dealer, she finds herself entangled with its owner in ways no one could predict. Sydney, 2000: Now a celebrated art historian and curator, Ellie Shipley is mounting an exhibition in her field of specialization: female painters of the Dutch Golden Age. When it becomes apparent that both the original At the Edge of a Wood and her forgery are en route to her museum, the life she has carefully constructed threatens to unravel entirely and irrevocably.
'Painting matters to Australia and Australians as it does in few other countries. It has formed our consciousness, our sense of where we come from, and who we are. It cries out for wider recognition and acknowledgement.' - Patrick McCaughey Why has Australia, an island continent with a small population, produced such original and powerful art? And why is it so little known beyond our shores? Strange Country: Why Australian Painting Matters is Patrick McCaughey's answer.
A Companion to Australian Art is a thorough introduction to the art produced in Australia from the arrival of the First Fleet in 1788 to the early 21st century. Beginning with the colonial art made by Australia’s first European settlers, this volume presents a collection of clear and accessible essays by established art historians and emerging scholars alike. Engaging, clearly-written chapters provide fresh insights into the principal Australian art movements, considered from a variety of chronological, regional and thematic perspectives. The text seeks to provide a balanced account of historical events to help readers discover the art of Australia on their own terms and draw their own conclusions. The book begins by surveying the historiography of Australian art and exploring the history of art museums in Australia. The following chapters discuss art forms such as photography, sculpture, portraiture and landscape painting, examining the practice of art in the separate colonies before Federation, and in the Commonwealth from the early 20th century to the present day. This authoritative volume covers the last 250 years of art in Australia, including the Early Colonial, High Colonial and Federation periods as well as the successive Modernist styles of the 20th century, and considers how traditional Aboriginal art has adapted and changed over the last fifty years. The Companion to Australian Art is a valuable resource for both undergraduate and graduate students of the history of Australian artforms from colonization to postmodernism, and for general readers with an interest in the nation’s colonial art history.
"With the three additional chapters on Australian painting since 1970 by Terry Smith".
Volume 19 of the Australian Dictionary of Biography (ADB) contains concise biographies of individuals who died between 1991 and 1995. The first of two volumes for the 1990s, it presents a colourful montage of late twentieth-century Australian life, containing the biographies of significant and representative Australians. The volume is still in the shadow of World War II with servicemen and women who enlisted young appearing, but these influences are dimming and there are now increasing numbers of non-white, non-male, non-privileged and non-straight subjects. The 680 individuals recorded in volume 19 of the ADB include Wiradjuri midwife and Ngunnawal Elder Violet Bulger; Aboriginal rights activist, poet, playwright and artist Kevin Gilbert; and Torres Strait Islander community leader and land rights campaigner Eddie Mabo. HIV/AIDS child activists Tony Lovegrove and Eve Van Grafhorst have entries, as does conductor Stuart Challender, ‘the first Australian celebrity to go public’ about his HIV/AIDS condition in 1991. The arts are, as always, well-represented, including writers Frank Hardy, Mary Durack and Nene Gare, actors Frank Thring and Leonard Teale and arts patron Ian Potter. We are beginning to see the effects of the steep rise in postwar immigration flow through to the ADB. Artist Joseph Stanislaw Ostoja-Kotkowski was born in Poland. Pilar Moreno de Otaegui, co-founded the Spanish Club of Sydney. Chinese restaurateur and community leader Ming Poon (Dick) Low migrated to Victoria in 1953. Often we have a dearth of information about the domestic lives of our subjects; politician Olive Zakharov, however, bravely disclosed at the Victorian launch of the federal government’s campaign to Stop Violence Against Women in 1993 that she was a survivor of domestic violence in her second marriage. Take a dip into the many fascinating lives of the Australian Dictionary of Biography.
This is the fourth edition of the classic text first published in 1962. It discusses the achievements of all Australia's leading artists and a great many lesser-known ones. It is written for those seeking a comprehensive introduction to the subject and will be valuable to students, teachers, and the general reader. All facets of Australian painting are generously illustrated.