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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ItemChanging the landscape: the life and art of Moya Dyring( 2002)This thesis brings back into focus the life and art of Moya Oyring 1909-1967, who for a time played an important role in Australian art history. From 1937 she lived mainly in France and during her lifetime produced a substantial body of work, most of which was sold at exhibitions throughout Australia. Dyring's early work was figurative, her style strongly defined by the George Bell School and an early foray into Cubism. After settling in France the figures gave way to the constantly changing landscape as she travelled throughout the countryside of France, Spain and Italy. She recorded the life of the country villages the seaside towns and the vistas of Paris. But as her life slowed down in the late 1950s and early 1960s and she travelled less, the figures of children, playing in the parks and gardens blending with the cityscape of Paris, took over from the predominate landscape of earlier years. This thesis is presented in two parts. The first part takes the form of a biography, reconstructing the life of the artist from letters and interviews. Fifty six letters were sent to John and Sunday Reed by Dyring, over a period of thirty years and are now held in the archives of the State Library of Victoria. These letters and other relevant archival material have been used to reconstruct the life of the artist in consultation with family members and friends. Secondary sources, including catalogues and relevant art historical texts have provided additional knowledge of significant people and events that have had an impact on the artist's life, such as John and Sunday Reed, Sam Atyeo and Herbert and Mary Alice Evatt. The second section studies her work and the critical reception it received. It places the artist in the context of her own history, her art practice and art history as it relates to Dyring's gendered experience, politically and personally. Lack of knowledge of the artist's life and work has contributed to her being almost completely disregarded in exhibitions of women artists working in the thirties, forties and fifties. Her contribution to the emerging modernist scene in Melbourne and the part she played in the circle surrounding John and Sunday Reed at Heide, has been reduced to a few lines in art historical texts, yet a studio in Paris bears her name in homage to a great supporter of fellow artists. She had a rare gift for friendship and extended generous hospitality to a large circle friends and young artist visiting Paris from Australia. Like so many women artists of her generation her place in history has been ignored and her art forgotten. This thesis tells her story and places Moya Dyring and her art and life, back into the landscape.
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ItemThe life and work of Ludwig Becker (1808-1861): with a critical analysis of his Australian oeuvre and an appreciation of his contribution to artistic and scientific developments in Victoria( 1978)Ludwig Becker’s name has long been associated with the Great Exploring Expedition of 1860-61 and the work he executed during the Expedition as artist, naturalist and geologist. But details of his life and training have been obscure and work undertaken prior to the Expedition relatively unknown. Becker was no superficial or flamboyant character but a true scholar. He appeared content to remain in the background, sharing his knowledge and contributing much to the cultural life of early Melbourne, always the worker while others took the honours. During the research for this study of Becker’s life and work I realised that it would be enhanced by extending the critical analysis into the scientific field. I sought some guidance from scientific specialists. I acknowledge with gratitude the advice given me by Mr John Calaby, Division of Wild Life Research, C.S.I.R.O., Canberra; and Mr Alan West, Curator of Anthropology, both of the National Museum of Victoria. Help provided on a specific point is acknowledged in the relative note. The scientists confirmed that Becker was able to identify correctly almost all living species of the animal world that he sketched, providing a considerable amount of data which they can hardly fault. In all other respects this thesis is an original work. It provides a biographical study of Becker in three sections. The first covers his life prior to his arrival in Australia; the second covers nine years spent in Tasmania and Victoria; and the third tells of the part he played on the Expedition until his death. There is a lengthy critical appraisal of his artistic work, the German tradition which moulded him and comparisons with other artists, especially William Strutt. There is also a chapter on his promotion of the arts in Victoria. Appendices, including hitherto unknown (in Australia) biographical details of Hermann Beckler, with whom he was closely associated on the Expedition, as well as full notes to the text, provide additional information and sources. The second volume contains the Catalogue of Becker’s work. That prior to the Expedition cannot claim to be complete but does give the fullest information available to date. The catalogue of the sketches of the Expedition is complete. These sketches and other documentary material, including reports, letters and meteorological observations on which I have based my study of this section are in the collection of the Royal Society of Victoria, now part of the special collections held in the La Trobe Library, State Library of Victoria. Also in the La Trobe Library are the Minutes in manuscript of the Victorian Society of Fine Arts which I believe worthy of inclusion as a lengthy appendix in this study.
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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.
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ItemJames Blackburn: civil engineer, surveyor and architect: his life and work in Van Diemen's Land (1833-1849)( 1970)The theme of this thesis is the elucidation in detail of the life of an early Australian professional mana and convict – in a sense – made good, and to discuss his projected and remaining achievement in Tasmania – with special emphasis (as this thesis is submitted within the domain of local Art History rather than in the wider field of Australian History) on his architectural work. At the time of commencement (1956-57) this combination of full-scale biography from primary source material with a professionally-orientated survey of a man’s life work was totally new to the Australian visual arts. Biographies such as a life of Francis Greenway by M.H. Ellis (1949) for instance, contained no analysis, comprehension or even real consideration of the only thing, ultimately, which made Greenway worth writing about for a serious audience – his architecture. There is still extremely little of this duality as far as nineteenth century artists are concerned, and none whatsoever in the field of early architecture. The concern here, as expressed in the title, is with James Blackburn’s life and work in the island of Tasmania – the “set task” (admittedly a self-chosen one) expires, in fact, in the year 1849 when he settled permanently in what was to become the State of Victoria. An epilogue has, notwithstanding, been appended both to round off the biographical narrative and to include for anyone interested such information as has been obtained with brief and desultory spare-time explorations outside the periods of research of the main bulk of the thesis text. A sustained and prolonged onslaught would not alter the outlines of Blackburn’s life in Melbourne, but might (and might not) give more details of his schemes and yield further undertakings as City Surveyor. If it be borne in mind that prior to this investigation the only three statements which had been made about Blackburn in Melbourne were to the effect that he was “Father of the Melbourne Water Supply” and that he died in 1852 after falling from a horse (the latter two inaccurate) it will be seen that a reasonable expansion of knowledge has been achieved, and the last chapter many not appear objectionably gratuitous in this context. (From Introduction)