Brought to Light Australian Art 1850-1965

an earlier account as a journey with 'Earth's most primitive people'. See Charles P. Mountford, 'Exploring Stone Age Arnhem Land', The National Geographic Magazine, vol.XCVI, no.6, December 1949, pp.745-82; Charles P. Mountford, 'Earth's most primitive people', The National Geographic Magazine, vol.LXXXIX, no.1, January 1946, pp.89-105. REALITY OR RELIGIOUS FANTASY? Roy de Maistre and Herbert Badham pp.218-223 1 Christine Dixon, Herbert Badham, 1899-1961 [exhibition catalogue], Wollongong City Gallery, Wollongong (NSW), 1987, p.14. 2 Dixon, p.4; Eileen Chanin, 'Herbert Badham', Art Network, no.11, Spring 1983, pp.20-21, p.21. 3 See, for example, Maurice Tuchman, Judi Freeman & Carel Blotkamp, The Spiritual in Art: Abstract Painting 1890-1985 [exhibition catalogue], Abbeville Press, New York, 1986, and Kathleen Regier, The Spiritual Image in Modern Art, Theosophical Publishing House, Wheaton (III.), 1987. 4 As Kandinsky wrote, 'the relationships in art are not necessarily ones of outward form, but are founded on an inner sympathy of meaning'. See Wassily Kandinsky, Concerning the Spiritual in Art, trans. M. T. H. Sadler, Dover Publications, New York, 1977, p.xv; original English translation published in 1914. 5 Roy de Maistre, extract from lecture 'Colour in Relation to Painting', in Colour in Art [exhibition catalogue], Gayfield Shaw's Art Salon, Sydney, 1919. 6 For a more detailed explanation of de Maistre's colour-music theory see Heather Johnson, Roy de Maistre: The Australian Years, 1894-1930, Craftsman House, Roseville (NSW), 1988. 7 'Review 10', Apollo, vol.XII, July 1930, p.82. 8 'The 1930 look in British decoration', Studio, vol.1000, August 1930, pp.140-45. 9 For further details of de Maistre's life and work in England see Heather Johnson, Roy de Maistre: The English Years 1930-1968, Craftsman House, Roseville (NSW), 1994. 10 The Crucifixion 1932-45 is reproduced in Johnson, Roy de Maistre: The English Years, plate 51, p.130. 11 Iris Portal, interview with the author, 28 July 1988. 12 The progressive stages of Carol Singers 1943 are reproduced in Johnson, Roy de Maistre: The English Years, pp.153-6. 13 Arthur Pollen and Roy de Maistre [exhibition catalogue], Ashley Gallery, London, undated [1950]. 14 Christ falls under the Cross c.1956 is reproduced in Johnson, Roy de Maistre: The English Years, plate 55, p.144. 15 Bible, King James version, Matthew 26:38-40. 16 Bible, Matthew 26:45. 17 George Street, Sydney 1934 and Breakfast Piece 1936 are reproduced in Dixon, pp.5 & 17 respectively. 18 For biographical information on Badham see Dixon, and Chanin; for information on de Maistre see Johnson, Roy de Maistre: The Australian Years. 19 Julian Ashton, letter to Sydney Ure Smith, 8 May 1923, Sydney Ure Smith Papers, MSS 31, vol.2, Mitchell Library, Sydney. 20 See Dixon, and Chanin, for example. See also John Warnock, 'Herbert Badham's "A Study of Australian Art 1949" ' and William Crawford, 'Herbert Badham, "A Study of Australian Art, Currawong, Sydney, 1949" ', in Terry Smith (ed.), Constructing the History of Australian Art: Eight Critiques, Power Institute of Fine Arts, Sydney, 1986, pp.46-60 & 37-45 respectively. 21 The fairground 1944 and Town band 1951 are reproduced in Dixon, pp.7 & 11 respectively. 22 Snack bar 1944 is reproduced in Christine Dixon & Terry Smith, Aspects of Australian Figurative Painting 1942-1962: Dreams, Fears and Desires [exhibition catalogue], Power Institute of Fine Arts, Sydney, 1984, cat. no. 8. 23 Badham's entries were: 1954, no.1 The Annunciation] 1956, no.1 The Expulsion: 1957, no.1 Temptation of St Anthony] 1959, no.3 The Crucifixion (information from respective Blake Prize catalogues). 24 Greg O'Dwyer, letter to Board of Trustees, Queensland Art Gallery, Brisbane, 10 August 1954; Robert Haines, letter to Archbishop Duhig, Brisbane, 17 August 1954; Robert Haines, letter to Archbishop Duhig, 15 September 1954 (Herbert Badham file, Queensland Art Gallery, Brisbane). 25 Rosemary Crumlin, The Blake Prize for Religious Art: The First 25 Years, a Survey, Monash University Gallery, Clayton (Vic.), 1984, p.5. 26 Rod Pattenden, 'Images of religious significance in recent Australian art', in Religion, Literature and the Arts Project, Conference Proceedings, Australian International Conference, 1994, Sydney, pp.310-17, p.311. 27 See, for example, Michael Baxandall, Painting and Experience in Fifteenth Century Italy, Clarendon Press, Oxford, 1972, including reproductions of Domenico Veneziano's The Annunciation c.1445 (Fitzwilliam Museum, Cambridge), p.35; Master of the Barberini Panels, Reflection (National Gallery of Art, Washington), p.52; and Botticelli, The Annunciation C.1490 (Uffizi, Florence), p.56. 28 Crumlin, p.5. 'BUILT ON EACH OTHER' Grace Crowley and Ralph Balsón pp.224-229 1 Hazel de Berg, 'Interview with Grace Crowley', 1966, tape recording, National Library of Australia, Canberra, published in Ralph Balsón 1890-1964 [exhibition catalogue], Niagara Galleries, Melbourne, 1989, pp.2-3. The Hazel de Berg recordings were an oral history project of the National Library of Australia, Canberra. 2 After studying at Julian Ashton's Sydney Art School (1915-18), Crowley met with family opposition to her chosen career. To support herself financially, she became Ashton's assistant for several years, taking over from Elioth Grüner. Her family once again supported her financially while she lived in France. For Balsón see Bruce Adams, Ralph Balsón: A Retrospective [exhibition catalogue], Heide Park and Art Gallery, Bulleen (Vic.), 1989. 3 Both Crowley and Dangar sent regular letters from Europe to the Sydney Art School which were published in the school's magazine, Undergrowth. See Helen Topliss, Modernism and Feminism: Australian Women Artists 1900-1940, Craftsman House, Sydney, 1996, pp.70-72, and Adams, pp.12-13. 4 Grace Crowley, quoted in Topliss, p.74. 5 Grace Crowley, letters to the Art Gallery of New South Wales, 28 August and 1 September 1966, quoted in Renée Free, Balsón, Crowley, Eizelle, Hinder [exhibition catalogue], Art Gallery of New South Wales, Sydney, 1966, p.6. 6 Christopher Green, Cubism and Its Enemies: Modern Movements and Reaction in French Art, 1916-1928, Yale University Press, New Haven, 1987, p.88. 7 Topliss, p.78. 8 De Berg, p.2. 9 De Berg, p.2. 10 De Berg, p.2. 11 In August-September 1939 the David Jones' Exhibition Galleries in Sydney held a quite revolutionary exhibition of Australian modernist art entitled 'Exhibition 1', which contained work by these artists and Frank Medworth, Eleonore Lange and Gerald Lewers, but few works sold. 12 Renée free, Frank and Margel Hinder, 1930-1980 [exhibition catalogue], Art Gallery of New South Wales, Sydney, 1980, p.14. 13 Jay Hambidge, The Elements of Dynamic Symmetry, Dover Publications, New York, 1967; originally published by Yale University Press, New Haven, 1920. 14 Hambidge described the 'five geometrical solids' as the 'cube, the tetrahedron, octahedron, icosahedron and the dodecahedron'. See Hambidge, p.xvi. 15 Albert Gleizes and Jean Metzinger in their essay 'Cubism' (1912), however, preferred the theorem of the German mathematician Bernhard Riemann to Euclid. See Gleizes &Metzinger, 'Cubism', in Robert L. Herbert (ed.), Modern Artists on Art: Ten Unabridged Essays, Prentice-Hall, Englewood Cliffs, NJ, 1964, p.8. 16 Eleonore Lange, Foreword, in Exhibition 1 [exhibition catalogue], David Jones' Exhibition Galleries, Sydney, August 1939, unpag. 17 Adams, p.27. 18 Mary Eagle, Australian Modern Painting between the Wars 1914-1939, Bay Books, Sydney, 1989, p.147. 19 Adams, p.26. 20 Adams, p.27. 21 Free, p.13. 22 Adams, p.30. 23 Lenore Nicklln, 'Grace Crowley looks back on a lifetime of art', Sydney Morning Herald, 10 May 1975, p.11. 24 Nicklin, p.11. ENCOUNTERING DYNAMIC SYMMETRY Frank Hinder and Margel Hinder pp.234-239 1 Frank Hinder, interview with the author, Sydney, 19 August 1990. 2 Dinah Dysart, Frank Hinder and the decade of the 1930s in Australian art, 4th year honours essay, held in the Power Research Library, University of Sydney, p.4. 3 Mary Eagle, Australian Modern Painting between the Wars 1914-1939, Bay Books, Sydney, 1989, p.143. 4 Frank Hinder, quoted in Balsón, Crowley, Fizelle, H/nder [exhibition catalogue], Art Gallery of New South Wales, Sydney, 1966, p.7. 5 Renée Free, Frank and Margel Hinder 1930-1980 [exhibition catalogue], Art Gallery of New South Wales, Sydney, 1980, p.53. 6 Dysart, Frank Hinder and the decade ..., pp.7 & 8. 7 Margel Hinder, interview with the author, Sydney, 1 December 1994. Transcript held at the Lewers Bequest and Penrith Regional Art Gallery, Penrith (NSW). 8 Dinah Dysart, 'A productive partnership: Frank and Margel Hinder Interviewed', Art and Australia, vol.29, no.3, Autumn 1992, p.341. 9 Eagle, p.139. 10 Eleonore Lange, Foreword, in Exhibition 1 [exhibition catalogue], David Jones' Exhibition Galleries, Sydney, August 1939, unpag. 11 For an account of the poor reception of these awards in Australia, see Free, pp.13-14. For an example of overseas reaction to Margel Hinder's work, see Stephen Bone, 'International sculpture', Manchester Guardian, 19 March 1953. 12 Works shown in the exhibition 'Direction 1', held at Macquarie Galleries, Sydney in 1956 and claimed as the first Sydney exhibition of Abstract Expressionism, had structural qualities and many were based on the area around Sydney's Woolloomooloo Bay. 13 Works such as Frank Hodgkinson's Pittwatersuite 1957 and Leonard Hessing's Charred memories 1960 are examples of the more organic expressionism. 14 Dysart, 'A productive partnership', p.343. 15 Frank and Margel Hinder, interview with Dinah Dysart, 25 August 1991, unpublished transcript. IMAGES OF THE MUSIC HALL Fred Williams in London, 1952-56 pp.240-243 1 Walter Sickert, Preface, catalogue for London Impressionists' 1889 exhibition at the Goupil Gallery, London, quoted in Wendy Baron, Sickert, Phaidon Press, London, 1973, p.23. 2 James Mollison, A Singular Vision: The Art of Fred Williams, Australian National Gallery, Canberra, 1989, p.20. 3 For a detailed history of the music hall tradition in Britain see Roy Hudd, Music Hall, Methuen, London, 1976, and Harold Scott, The Early Doors: Origins of the Music Hall, Nicholson &Watson, London, 1946. 4 Mollison, A Singular Vision, p.7. 5 For an outline of Bell's teaching methods and philosophies see Felicity St John Moore, Classical Modernism: The George Bell Circle, National Gallery of Victoria, Melbourne, 1992. E N D N O T E S 313