School of Culture and Communication - Theses
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ItemThe etched work of Jessie C.A. Traill, 1881-1967( 1982)Jessie C. A. Traill, 1881-1967, a Melbourne-born artist, was, during her heyday, well respected both in her home state and beyond, as a painter and etcher. Today her name is most readily associated with etchings, and it is generally recognised that her contribution to the etching revival in Australia is a major one and that her work in this medium warrants a thorough study in order that her relative place in this context be fully appreciated. Her prints are, moreover, of a high quality technically speaking, and show significant innovations for Australia in both this respect and in their subject matter. They are, as well, delightful and much sought after items for the collector and connoisseur of prints. This paper is the first written study of Traill's etchings, the present generation print lover having been introduced to her work in a retrospective exhibition at the "Important Women Artists" gallery in Melbourne in 1977, and in subsequent exhibitions of Australian etchings where her works have been included. As such, the study will add to a slowly growing body of information on the major Australian etchers, material which is invaluable for an adequate formulation of the history of printmaking in Australia.
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ItemPenleigh Boyd 1890-1923( 1986)This thesis traces the life and work of Penleigh Boyd. In so doing it seeks to elucidate the influences which shaped his art and his life. In this process a number of themes emerge: Penleigh Boyd’s relationship to and position in the Boyd family; his own attitude to his art and the world around him; the influence on his art of other Australian artists, and the cultural milieu in which he was brought up. Penleigh Boyd was born in England in 1890 while his parents were staying at the country seat of his mother’s family. The family returned to Australia in 1894 and lived in Sandringham until 1907 when they move to Yarra Glen. Boyd attended the National Gallery School in Melbourne from 1905-1909, and, after two exhibitions in Melbourne, set off for Europe early in 1911. He stayed in Europe, mostly in England, for almost two years before returning to Australia newly married. Back in Australia he painted for two-and-a-half years and built a house at Warrandyte before he enlisted in the A.I.F. He served in France until September 1917 when he was gassed at Ypres. Repatriated to Australia in 1918, he settled in Warrandyte and painted the wattle pictures for which he is most remembered. In 1922 he left for England to organize a loan exhibition of modern art which was shown in the major capitals of Australia in 1923. Not long after the exhibition closed in Melbourne, Boyd was killed in a car accident while travelling to Sydney. Penleigh Boyd repays study for a number of reasons. Firstly, he belongs to one of the best-known of Australia’s many artistic families. His brothers Martin and Merric, his son Robin and his nephew Arthur have all made highly significant contributions to Australian cultural life. Penleigh Boyd is less well-known than most of the members of the Boyd family, partly because of his early death, but also because his art is neither as individual nor as lasting as that of the more famous members of the family. If he is remembered, it is for his paintings of wattle in blossom. These paintings are, it is true, unique in Australian art, but they cannot be compared to the achievements of either of his brothers, or indeed of his son Robin. (From Introduction)
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ItemL. Bernard Hall and the National Gallery of Victoria: conflict and change( 1984)In all, Lindsay Bernard Hall acted as Director of the National Gallery of Victoria and its associated Schools of Art for a period of 42 years. During this period, the Gallery underwent a dramatic change from an unstructured colonial Gallery dependant upon limited Government funding to on able to purchase works on a competitive world market as a result of the Felton Bequest. Because of his position as Director, it could be argued that Hall was instrumental in many of the changes that occurred. However, despite the amount of study undertaken on Australian art and artists of the period, Hall and his work has been virtually ignored. There is no biography of the artist and the limited detail that survives depends upon subjective articles reflecting the contradictory attitudes towards Hall that occurred over time. This thesis is concerned with Hall, his work and his influences.