School of Culture and Communication - Theses

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End date: 1999 × Start date: 1980 × Subject: Australia × Subject: 20th century ×

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    The etched work of Jessie C.A. Traill, 1881-1967
    Lee, Mary Alice ( 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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    The first Australian modernists: Tempe Manning, Norah Simpson and Grace Cossington Smith: gender, myth and art criticism during the First World War
    Harding, Lesley ( 1997)
    Three women artists started the shift to modernist art practice in Australia during the first world war. Norah Simpson, Grace Cossington Smith and little known artist Tempe Manning contributed to the debate and practice of new techniques and new subjects. All were students of Dattilo Rubbo's school in wartime Sydney. Unable to find a relevant level of expression in the nationalist landscape tradition, they set about painting subjects that embraced the experiences of women. Bringing together their exposure to modem art in Europe prior to the war, the politicised environment and their own personal ideas, these artists forged a new vision of Australia and a new space for Australian art. Drawing on gallery archives, newspaper articles and reviews, oral histories and a comprehensive range of secondary sources, this thesis offers a more detailed account of the emergence of modernism in Sydney, and the critical role of women artists, than has previously appeared.