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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.
The newest addition to the Artist’s Materials series offers the first technical study of one of Australia’s greatest modern painters. Sidney Nolan (1917–1992) is renowned for an oeuvre ranging from views of Melbourne’s seaside suburb St. Kilda to an iconic series on outlaw hero Ned Kelly. Working in factories from age fourteen, Nolan began his training spray painting signs on glass, which was followed by a job cutting and painting displays for Fayrefield Hats. Such employment offered him firsthand experience with commercial synthetic paints developed during the 1920s and 1930s. In 1939, having given up his job at Fayrefield in pursuit of an artistic career, Nolan became obsessed with European abstract paintings he saw reproduced in books and magazines. With little regard for the longevity of his work, he began to exploit materials such as boot polish, dyes, secondhand canvas, tissue paper, and old photographs, in addition to commercial and household paints. He continued to embrace new materials after moving to London in 1953. Oil-based Ripolin enamel is known to have been Nolan’s preferred paint, but this fascinating study—certain to appeal to conservators, conservation scientists, art historians, and general readers with an interest in modern art—reveals his equally innovative use of nitrocellulose, alkyds, and other diverse materials.
The frescoes of the newly restored crypt at the Byzantine monastery of Hosios Loukas in Greece represent one of the best preserved ensembles of monumental decoration to survive from the Middle Ages. In this first full photo-documentation of the crypt of Saint Luke of Steiris, Carolyn Connor shows how the frescoes reflect the funerary and commemorative functions of the architecture they embellish, and how they suggest a new way of looking at this part of the medieval Byzantine empire. Offering clues to the sources of wealth and the motives of patrons who made possible such a lavish foundation, these frescoes also offer insight into Byzantine beliefs about miracles and healing cults. Connor begins by examining the complex relationships among the frescoes: together the forty portraits of saints, eight Christological scenes, and other depictions proclaim a message of salvation and confirm that this crypt was a place of miracles. Through a study of the religious, cultural, social, and political background of the monastery, Connor integrates the program of the frescoes with its historical context and proposes a new dating for the architecture--changed from the eleventh century to the late tenth century.