Brought to Light Australian Art 1850-1965

2 Carl van Doren, Foreword, in Xavier Herbert, Capricornia, D. Appleton-Century Co,, London, 1943, 3 Herbert, p.90. 4 Arthur Evan Read, statement, Artist's Biography Sheet signed by the artist, January 1958, Queensland Art Gallery, Brisbane. 5 Dorothy Jones, Hurricane Lamps and Blue Umbrellas: A History of the Shire of Johnstone to 1973, G. K. Bolton Printer, Cairns (Qld), 1973. p.378. 6 Read, Artist's Biography Sheet. 7 Preface, in Jones. 8 Jones, p.360. 9 Jones, p.364. 10 Jones, p.357. 11 Christopher Saines, Introduction, in Diverse Visions: Twelve Australian Mid to Late Career Artists, Queensland Art Gallery, South Brisbane, 1991, p.7. 12 Statement by Ray Crooke; see Rosemary Dobson, Focus on Ray Crooke, University of Queensland Press, St Lucia (Qld), 1971, pp.39-40. 13 Crooke, quoted in Dobson, p.42. 14 Crooke, quoted in Dobson, p.40. 15 Ross Searle, Artist in the Tropics: 200 Years of Art in North Queensland, Perc Tucker Regional Gallery, Townsville (Qld), 1991, p.57. 16 Searle, p,58. THE LYRICAL EXPRESSIONISM OF YVONNE AUDETTE Yvonne Audette Allegro Serata pp.258-261 1 Unless otherwise indicated, remarks by the artist were made to the author during May-June 1996. 2 Yvonne Audette, letter to the author, June 1996. 3 Contrary to expectations, the reviews were lukewarm rather than damning. See Barry Pearce, 'Direction 1', Art and Australia, vol.24, no.4, 1987, pp.497-504, and Deborah Hart, John Olsen, Craftsman House, Sydney, 1991, pp.30-3l. 4 Yvonne Audette, quoted in Sydney Morning Herald, 8 February 1968. 5 Yvonne Audette, 'Notes on Allegro Serata', April 1995, artist files, Queensland Art Gallery, Brisbane. 6 Audette, 'Notes on Allegro Serata'. 7 Garibaldo Marussi, in Audette [exhibition catalogue], Galleria Schneider, Rome, 1965, unpag. CAREERS IN COUNTERPOINT Carl McConnell & David and Hermia Boyd pp.266-269 Thanks are due to Janet Hogan for her editorial assistance with this essay. 1 Carl McConnell also introduced the technique of stoneware firing to Queensland. 2 David Boyd actually had an exhibition of paintings at the Johnstone Gallery, 8-24 August 1961, before the couple's final exhibition of ceramics. Later, David had solo exhibitions in 1964, 1966 and 1971 ; Hermia had solo exhibitions in 1966 and 1972. 3 Brian Johnstone established the Johnstone Gallery (under his own name) in the Brisbane Arcade, 1952-57; he transferred his premises to Cintra Road, Bowen Hills, 1958-72. 4 Handled vase c.1960—61, purchased by the Queensland Art Gallery in 1961, was one of the few Queensland ceramics to come into the Collection at this time. 5 Glenn R. Cooke, A Time Remembered: Art in Brisbane, 1950 to 1975, Queensland Art Gallery, South Brisbane, 1995, p.95. 6 Review by Dr Gertrude Langer, quoted in John Vader, The Pottery and Ceramics of David & Hermia Boyd, Mathews/Hutchinson, Milson's Point (NSW), 1977, p.130. 'A GRAND DISPLAY OF LINEAR ECSTASIES' Ian Fairweather Kite flying pp.270-275 1 See Pierre Ryckmans, 'An amateur artist' and Drusilla Modjeska, 'Painting Mother', in Fairweather [exhibition catalogue], Art &Australia Books, Sydney &Queensland Art Gallery, South Brisbane, 1994, pp.14-23 and pp.44-53. 2 An observation made by Mary Eagle to the author, 1994. 3 Ian Fairweather, quoted in Murray Bail, Ian Fairweather, Bay Books, Sydney, 1981, p.50. 4 Ian Fairweather, quoted in Nourma Abbott-Smith, Ian Fairweather: Profile of a Painter, University of Queensland Press, St Lucia (Qld), 1978, p.23. 5 Letter from Mrs Fairweather to the artist, c.1938, quoted by the artist in a letter to his friend, H. S. Ede, 1 September 1938; quoted in Abbott-Smith, p.81. At the time, Fairweather was living in an abandoned cinema in Sandgate; his mother was confused and believed he was somehow involved in filmmaking as a career. 6 The Fairweather family moved to Jersey in about 1902. Amarit's parents, the Maharajah and Maharani of Kapurthala, had become acquainted with Surgeon-General Fairweather and his family when they were stationed in India, the Maharani becoming a patient of Fairweather's father When she came to Jersey to continue her treatment, Amarit accompanied her and was accommodated by Mrs Fairweather's sister while she attended school on the island. See Abbott-Smith, pp.2-3. 7 Abbott-Smith, p.92. Fairweather remembered while he was in India during the Second World War that Amarit had married the Maharajah of Mandi. When he tried to contact them, he discovered they were in England helping with the war effort. 8 Abbott-Smith, p.3. 9 For a full and evocative account of the raft voyage see Mary Eagle, 'The painter and the raft', in Fairweather [exhibition catalogue], pp.24-43. 10 For further information on calligraphy see Alfreda Murck &Wen C. Fong (eds), Words and Images: Chinese Poetry, Calligraphy, and Painting, Metropolitan Museum of Art, New York & Princeton University Press, Princeton, 1991; Leon Long-Yien Chang & Peter Miller, Four Thousand Years of Chinese Calligraphy, University of Chicago Press, Chicago, 1990; Yujiro Nakata (ed.), Chinese Calligraphy, trans. and adapted by Jeffrey Hunter, Weatherhill/Tankosha, New York, Kyoto, Tokyo, 1983; Ch'en Chih-mai, Chinese Calligraphers and Their Art, Melbourne University Press, Melbourne, 1966. 11 Abbott-Smith, pp.63-4. 12 See Robert Smith (p.338), 'Ian Fairweather: Artist of cosmological figuration', Art and Australia, Autumn 1984, pp.337-43. 13 Dr Gertrude Langer, 'Ian Fairweather— Monastery', Arts Queensland, vol.1, issue 4, July 1984, p.20. In this article Langer discusses the subject with Clayton Bredt, a China and Far East expert who assisted Fairweather with his translation of The Drunken Buddha, published by the University of Queensland Press, Brisbane, in 1965. 14 Bredt, quoted in Langer, p.20 15 Fairweather, quoted in Abbott-Smith, p.64. 16 Ch'en Chih-mai, p.112. Calligraphic brushes were made from all kinds of animal and vegetable products. Brushes were handled with great respect and occasionally, at the end of their usefulness, were buried like mortally wounded heroes, with their own epitaphs. 17 Ch'en Chih-mai, p.112. 18 The Queensland Government has now granted him the land on which his rough work- and living-huts are clustered, and while he was away the authorities also delivered an outdoor lavatory — a distinctive piece of Queensland architecture and an object he shows with some amusement to rare visitors' {Bulletin, 6 April 1965). 19 Fairweather, quoted in Abbott-Smith, p.151. 20 See Mary Eagle, 'The law and licence of Ian Fairweather', Scripsi, vol.7, no.3, March 1992, p.75: The hermit's continuing subject was, he said, "people" '. AUTUMN IN THE GARDEN OF EDEN Leonard French and the 'Genesis' series pp.276-279 1 For a discussion of Leonard French's early development as an artist see Vincent Buckley, Leonard French: The Campion Paintings, Grayflower Publications, Melbourne, 1962, and Sasha Grishin, Leonard French, Craftsman House, Roseville East (NSW), 1995, pp.7-43. 2 Leonard French's solo exhibitions held before 1960 were: 1949, exhibition of paintings and mural designs, Tye's Gallery, 100 Bourke Street, Melbourne; 1951, exhibition of paintings, Stanley Coe Gallery, 435 Bourke Street, Melbourne; 1952, 'Iliad', Peter Bray Gallery, 435 Bourke Street, Melbourne; 1955, 'Odyssey', Victorian Artists' Society Gallery, 430 Albert Street, East Melbourne; and 1958, 'Paintings by Leonard French', Museum of Modern Art, 376 Flinders Street, Melbourne. Important international touring exhibitions included: 1956, 'Contemporary Australian Paintings: Pacific Loan Exhibition', on board Orient Line SS Orcades, Sydney, Auckland, Honolulu, Vancouver and San Francisco; 1957, 'Contemporary Australian Painting', Auckland City Art Gallery, Auckland; and 1957-58, 'Contemporary Australian Painters', Canadian Tour. 3 Alan McCulloch, 'Museum title as sign of progress', Herald, Melbourne, 14 May 1958. 4 In the press it was widely argued that Leonard French had the strongest body of work in this Rubinstein exhibition and controversially the scholarship was awarded to Charles Blackman. The Burial was awarded the 1960 Sulman Prize. All the paintings were subsequently bought by Leonard French's art dealer Rudy Komon and later sold to state art galleries. The Queensland Art Gallery acquired its painting from the H. C. Richards Prize in December 1961. 5 All of the artist's notebook texts are reproduced in Buckley, pp.26-63. 6 See Denis Grivot & George Zarnecki, Gislebertus: Sculptor of Autun, Thames & Hudson, London, 1961. 7 The chalice and the fish are two frequent symbols of the Eucharist that appear in Leonard French's work; for example, in The Crossing 1960 (private collection) from the 'Campion' series, the chalice and the fish are shown prominently on the garment of the martyr saint; see Buckley, p.45. 8 For a discussion of Leonard French's training as a signwriter see Grishin, Leonard French, pp.14 & 15. 9 Autumn in the Garden was included in the group exhibition 'A Group of Melbourne Artists', at the Rudy Komon Art Gallery in Woollahra in Sydney in September 1961 and in his 'Life of Edmund Campion' solo exhibition at the Argus Gallery in Melbourne in October 1961. It was executed just after Leonard French's paintings had been selected for the 'Recent Australian Painting' exhibition at the Whitechapel Art Gallery in London, which opened in 1961. 10 See Buckley, plate 6, p.37. 11 See Bill Hannan, 'Leonard French', Art and Australia, vol.1, no.2, 1963, pp.74-83. 12 John Brack, quoted in Sasha Grishin, The Art of John Brack, Vol.1, Oxford University Press, Melbourne, 1990, p.22. 13 In the early 1960s, prizes included the Perth Prize for Contemporary Art (1960), Sulman Prize (1960), Blake Prize for Religious Art (1963), Georges Invitation Prize (1964) and the W. D. and H. O. Wills Art Prize (1964). In the 1960s his art dealer Rudy Komon promoted Leonard French both as his friend and as his favourite artist. Public commissions included the eight-metre-long mural for the Legend Espresso Bar in Melbourne (1956), the glass mosaic and mural for the Beaurepaire Sports Centre at the University of Melbourne (1956), the ceiling of the Great Hall of the National Gallery of Victoria (1962-67), E N D N O T E S 315