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McCrae Georgiana 5 refsview full entry

Reference: see Letters of Charles Joseph La Trobe. [’Published in the centenary of his death, this collection of the correspondence of Charles La Trobe (1801-1875), who was from 1839 Superintendent of Port Phillip District and from 1851 the first Lieutenant-Governor of Victoria, is absorbing and illuminating reading for anyone interested in the early colonial history of Victoria. La Trobe’s encouragement of and support for religious, cultural and educational institutions ensured that he became a hugely influential figure in the development of Melbourne, in particular.’]
Publishing details: Government printer, 1975. Series: Victoriana series no. 1. Royal octavo pale blue cloth over boards, in pictorial dust jacket pp ix, 96; illustrated with numerous plates (some colour)

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McCrae Georgiana 5 refs

Reference: see Letters of Charles Joseph La Trobe. [’Published in the centenary of his death, this collection of the correspondence of Charles La Trobe (1801-1875), who was from 1839 Superintendent of Port Phillip District and from 1851 the first Lieutenant-Governor of Victoria, is absorbing and illuminating reading for anyone interested in the early colonial history of Victoria. La Trobe’s encouragement of and support for religious, cultural and educational institutions ensured that he became a hugely influential figure in the development of Melbourne, in particular.’]

Publishing details: Government printer, 1975. Series: Victoriana series no. 1. Royal octavo pale blue cloth over boards, in pictorial dust jacket pp ix, 96; illustrated with numerous plates (some colour)

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Noyce E Collins Street used as illustrationview full entry

Reference: see Letters of Charles Joseph La Trobe. [’Published in the centenary of his death, this collection of the correspondence of Charles La Trobe (1801-1875), who was from 1839 Superintendent of Port Phillip District and from 1851 the first Lieutenant-Governor of Victoria, is absorbing and illuminating reading for anyone interested in the early colonial history of Victoria. La Trobe’s encouragement of and support for religious, cultural and educational institutions ensured that he became a hugely influential figure in the development of Melbourne, in particular.’]
Publishing details: Government printer, 1975. Series: Victoriana series no. 1. Royal octavo pale blue cloth over boards, in pictorial dust jacket pp ix, 96; illustrated with numerous plates (some colour)

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Noyce E Collins Street used as illustration

Reference: see Letters of Charles Joseph La Trobe. [’Published in the centenary of his death, this collection of the correspondence of Charles La Trobe (1801-1875), who was from 1839 Superintendent of Port Phillip District and from 1851 the first Lieutenant-Governor of Victoria, is absorbing and illuminating reading for anyone interested in the early colonial history of Victoria. La Trobe’s encouragement of and support for religious, cultural and educational institutions ensured that he became a hugely influential figure in the development of Melbourne, in particular.’]

Publishing details: Government printer, 1975. Series: Victoriana series no. 1. Royal octavo pale blue cloth over boards, in pictorial dust jacket pp ix, 96; illustrated with numerous plates (some colour)

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Liardet Evelyn work used as illustrationview full entry

Reference: see Letters of Charles Joseph La Trobe. [’Published in the centenary of his death, this collection of the correspondence of Charles La Trobe (1801-1875), who was from 1839 Superintendent of Port Phillip District and from 1851 the first Lieutenant-Governor of Victoria, is absorbing and illuminating reading for anyone interested in the early colonial history of Victoria. La Trobe’s encouragement of and support for religious, cultural and educational institutions ensured that he became a hugely influential figure in the development of Melbourne, in particular.’]
Publishing details: Government printer, 1975. Series: Victoriana series no. 1. Royal octavo pale blue cloth over boards, in pictorial dust jacket pp ix, 96; illustrated with numerous plates (some colour)

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Liardet Evelyn work used as illustration

Reference: see Letters of Charles Joseph La Trobe. [’Published in the centenary of his death, this collection of the correspondence of Charles La Trobe (1801-1875), who was from 1839 Superintendent of Port Phillip District and from 1851 the first Lieutenant-Governor of Victoria, is absorbing and illuminating reading for anyone interested in the early colonial history of Victoria. La Trobe’s encouragement of and support for religious, cultural and educational institutions ensured that he became a hugely influential figure in the development of Melbourne, in particular.’]

Publishing details: Government printer, 1975. Series: Victoriana series no. 1. Royal octavo pale blue cloth over boards, in pictorial dust jacket pp ix, 96; illustrated with numerous plates (some colour)

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Ham Thomas works used as illustrationview full entry

Reference: see Letters of Charles Joseph La Trobe. [’Published in the centenary of his death, this collection of the correspondence of Charles La Trobe (1801-1875), who was from 1839 Superintendent of Port Phillip District and from 1851 the first Lieutenant-Governor of Victoria, is absorbing and illuminating reading for anyone interested in the early colonial history of Victoria. La Trobe’s encouragement of and support for religious, cultural and educational institutions ensured that he became a hugely influential figure in the development of Melbourne, in particular.’]
Publishing details: Government printer, 1975. Series: Victoriana series no. 1. Royal octavo pale blue cloth over boards, in pictorial dust jacket pp ix, 96; illustrated with numerous plates (some colour)

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Ham Thomas works used as illustration

Reference: see Letters of Charles Joseph La Trobe. [’Published in the centenary of his death, this collection of the correspondence of Charles La Trobe (1801-1875), who was from 1839 Superintendent of Port Phillip District and from 1851 the first Lieutenant-Governor of Victoria, is absorbing and illuminating reading for anyone interested in the early colonial history of Victoria. La Trobe’s encouragement of and support for religious, cultural and educational institutions ensured that he became a hugely influential figure in the development of Melbourne, in particular.’]

Publishing details: Government printer, 1975. Series: Victoriana series no. 1. Royal octavo pale blue cloth over boards, in pictorial dust jacket pp ix, 96; illustrated with numerous plates (some colour)

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Ham Brothers works used as illustrationview full entry

Reference: see Letters of Charles Joseph La Trobe. [’Published in the centenary of his death, this collection of the correspondence of Charles La Trobe (1801-1875), who was from 1839 Superintendent of Port Phillip District and from 1851 the first Lieutenant-Governor of Victoria, is absorbing and illuminating reading for anyone interested in the early colonial history of Victoria. La Trobe’s encouragement of and support for religious, cultural and educational institutions ensured that he became a hugely influential figure in the development of Melbourne, in particular.’]
Publishing details: Government printer, 1975. Series: Victoriana series no. 1. Royal octavo pale blue cloth over boards, in pictorial dust jacket pp ix, 96; illustrated with numerous plates (some colour)

×

Ham Brothers works used as illustration

Reference: see Letters of Charles Joseph La Trobe. [’Published in the centenary of his death, this collection of the correspondence of Charles La Trobe (1801-1875), who was from 1839 Superintendent of Port Phillip District and from 1851 the first Lieutenant-Governor of Victoria, is absorbing and illuminating reading for anyone interested in the early colonial history of Victoria. La Trobe’s encouragement of and support for religious, cultural and educational institutions ensured that he became a hugely influential figure in the development of Melbourne, in particular.’]

Publishing details: Government printer, 1975. Series: Victoriana series no. 1. Royal octavo pale blue cloth over boards, in pictorial dust jacket pp ix, 96; illustrated with numerous plates (some colour)

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Grant Francis portrait of La Trobeview full entry

Reference: see Letters of Charles Joseph La Trobe. [’Published in the centenary of his death, this collection of the correspondence of Charles La Trobe (1801-1875), who was from 1839 Superintendent of Port Phillip District and from 1851 the first Lieutenant-Governor of Victoria, is absorbing and illuminating reading for anyone interested in the early colonial history of Victoria. La Trobe’s encouragement of and support for religious, cultural and educational institutions ensured that he became a hugely influential figure in the development of Melbourne, in particular.’]
Publishing details: Government printer, 1975. Series: Victoriana series no. 1. Royal octavo pale blue cloth over boards, in pictorial dust jacket pp ix, 96; illustrated with numerous plates (some colour)

×

Grant Francis portrait of La Trobe

Reference: see Letters of Charles Joseph La Trobe. [’Published in the centenary of his death, this collection of the correspondence of Charles La Trobe (1801-1875), who was from 1839 Superintendent of Port Phillip District and from 1851 the first Lieutenant-Governor of Victoria, is absorbing and illuminating reading for anyone interested in the early colonial history of Victoria. La Trobe’s encouragement of and support for religious, cultural and educational institutions ensured that he became a hugely influential figure in the development of Melbourne, in particular.’]

Publishing details: Government printer, 1975. Series: Victoriana series no. 1. Royal octavo pale blue cloth over boards, in pictorial dust jacket pp ix, 96; illustrated with numerous plates (some colour)

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O’Brien George work used as illustrationview full entry

Reference: see Letters of Charles Joseph La Trobe. [’Published in the centenary of his death, this collection of the correspondence of Charles La Trobe (1801-1875), who was from 1839 Superintendent of Port Phillip District and from 1851 the first Lieutenant-Governor of Victoria, is absorbing and illuminating reading for anyone interested in the early colonial history of Victoria. La Trobe’s encouragement of and support for religious, cultural and educational institutions ensured that he became a hugely influential figure in the development of Melbourne, in particular.’]
Publishing details: Government printer, 1975. Series: Victoriana series no. 1. Royal octavo pale blue cloth over boards, in pictorial dust jacket pp ix, 96; illustrated with numerous plates (some colour)

×

O’Brien George work used as illustration

Reference: see Letters of Charles Joseph La Trobe. [’Published in the centenary of his death, this collection of the correspondence of Charles La Trobe (1801-1875), who was from 1839 Superintendent of Port Phillip District and from 1851 the first Lieutenant-Governor of Victoria, is absorbing and illuminating reading for anyone interested in the early colonial history of Victoria. La Trobe’s encouragement of and support for religious, cultural and educational institutions ensured that he became a hugely influential figure in the development of Melbourne, in particular.’]

Publishing details: Government printer, 1975. Series: Victoriana series no. 1. Royal octavo pale blue cloth over boards, in pictorial dust jacket pp ix, 96; illustrated with numerous plates (some colour)

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Tulloch D work used as illustrationview full entry

Reference: see Letters of Charles Joseph La Trobe. [’Published in the centenary of his death, this collection of the correspondence of Charles La Trobe (1801-1875), who was from 1839 Superintendent of Port Phillip District and from 1851 the first Lieutenant-Governor of Victoria, is absorbing and illuminating reading for anyone interested in the early colonial history of Victoria. La Trobe’s encouragement of and support for religious, cultural and educational institutions ensured that he became a hugely influential figure in the development of Melbourne, in particular.’]
Publishing details: Government printer, 1975. Series: Victoriana series no. 1. Royal octavo pale blue cloth over boards, in pictorial dust jacket pp ix, 96; illustrated with numerous plates (some colour)

×

Tulloch D work used as illustration

Reference: see Letters of Charles Joseph La Trobe. [’Published in the centenary of his death, this collection of the correspondence of Charles La Trobe (1801-1875), who was from 1839 Superintendent of Port Phillip District and from 1851 the first Lieutenant-Governor of Victoria, is absorbing and illuminating reading for anyone interested in the early colonial history of Victoria. La Trobe’s encouragement of and support for religious, cultural and educational institutions ensured that he became a hugely influential figure in the development of Melbourne, in particular.’]

Publishing details: Government printer, 1975. Series: Victoriana series no. 1. Royal octavo pale blue cloth over boards, in pictorial dust jacket pp ix, 96; illustrated with numerous plates (some colour)

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von Guerard E work used as illustrationview full entry

Reference: see Letters of Charles Joseph La Trobe. [’Published in the centenary of his death, this collection of the correspondence of Charles La Trobe (1801-1875), who was from 1839 Superintendent of Port Phillip District and from 1851 the first Lieutenant-Governor of Victoria, is absorbing and illuminating reading for anyone interested in the early colonial history of Victoria. La Trobe’s encouragement of and support for religious, cultural and educational institutions ensured that he became a hugely influential figure in the development of Melbourne, in particular.’]
Publishing details: Government printer, 1975. Series: Victoriana series no. 1. Royal octavo pale blue cloth over boards, in pictorial dust jacket pp ix, 96; illustrated with numerous plates (some colour)

×

von Guerard E work used as illustration

Reference: see Letters of Charles Joseph La Trobe. [’Published in the centenary of his death, this collection of the correspondence of Charles La Trobe (1801-1875), who was from 1839 Superintendent of Port Phillip District and from 1851 the first Lieutenant-Governor of Victoria, is absorbing and illuminating reading for anyone interested in the early colonial history of Victoria. La Trobe’s encouragement of and support for religious, cultural and educational institutions ensured that he became a hugely influential figure in the development of Melbourne, in particular.’]

Publishing details: Government printer, 1975. Series: Victoriana series no. 1. Royal octavo pale blue cloth over boards, in pictorial dust jacket pp ix, 96; illustrated with numerous plates (some colour)

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Austin William work used as illustrationview full entry

Reference: see Letters of Charles Joseph La Trobe. [’Published in the centenary of his death, this collection of the correspondence of Charles La Trobe (1801-1875), who was from 1839 Superintendent of Port Phillip District and from 1851 the first Lieutenant-Governor of Victoria, is absorbing and illuminating reading for anyone interested in the early colonial history of Victoria. La Trobe’s encouragement of and support for religious, cultural and educational institutions ensured that he became a hugely influential figure in the development of Melbourne, in particular.’]
Publishing details: Government printer, 1975. Series: Victoriana series no. 1. Royal octavo pale blue cloth over boards, in pictorial dust jacket pp ix, 96; illustrated with numerous plates (some colour)

×

Austin William work used as illustration

Reference: see Letters of Charles Joseph La Trobe. [’Published in the centenary of his death, this collection of the correspondence of Charles La Trobe (1801-1875), who was from 1839 Superintendent of Port Phillip District and from 1851 the first Lieutenant-Governor of Victoria, is absorbing and illuminating reading for anyone interested in the early colonial history of Victoria. La Trobe’s encouragement of and support for religious, cultural and educational institutions ensured that he became a hugely influential figure in the development of Melbourne, in particular.’]

Publishing details: Government printer, 1975. Series: Victoriana series no. 1. Royal octavo pale blue cloth over boards, in pictorial dust jacket pp ix, 96; illustrated with numerous plates (some colour)

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Gill S T work used as illustrationview full entry

Reference: see Letters of Charles Joseph La Trobe. [’Published in the centenary of his death, this collection of the correspondence of Charles La Trobe (1801-1875), who was from 1839 Superintendent of Port Phillip District and from 1851 the first Lieutenant-Governor of Victoria, is absorbing and illuminating reading for anyone interested in the early colonial history of Victoria. La Trobe’s encouragement of and support for religious, cultural and educational institutions ensured that he became a hugely influential figure in the development of Melbourne, in particular.’]
Publishing details: Government printer, 1975. Series: Victoriana series no. 1. Royal octavo pale blue cloth over boards, in pictorial dust jacket pp ix, 96; illustrated with numerous plates (some colour)

×

Gill S T work used as illustration

Reference: see Letters of Charles Joseph La Trobe. [’Published in the centenary of his death, this collection of the correspondence of Charles La Trobe (1801-1875), who was from 1839 Superintendent of Port Phillip District and from 1851 the first Lieutenant-Governor of Victoria, is absorbing and illuminating reading for anyone interested in the early colonial history of Victoria. La Trobe’s encouragement of and support for religious, cultural and educational institutions ensured that he became a hugely influential figure in the development of Melbourne, in particular.’]

Publishing details: Government printer, 1975. Series: Victoriana series no. 1. Royal octavo pale blue cloth over boards, in pictorial dust jacket pp ix, 96; illustrated with numerous plates (some colour)

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Andrews Gordonview full entry

Reference: see Graphic identities : 20th century Australian design / editor, Horacio Silva ; art director, Dominic Hofstede ; texts, Elizabeth Glickfeld. Includes biographies.
Graphic Identities presents the work of eight designers practicing in Australia from the 1930s to 1980s whose stories when taken together tell a compelling narrative of visual culture in this country. The names Douglas Annand, Frances Burke, Dahl Collings, Pieter Huveneers, Arthur Leydin, Alistair Morrison and Shirley de Vocht resonate within their industries, but their designs have impacted all our lives through currency, packaging and postage stamps as well as advertising, publishing and architectural signage. Their work in retail (including Myer, David Jones, Farmers), travel (Qantas, Orient Line, Hayman Island), alcohol (Penfolds, Tooth and Co) and banking (Westpac, Reserve Bank of Australia) have solidified the image of some our most iconic brands. Pioneers of a new Australian aesthetic in open dialogue with international art and design movements, many of the designers in Graphic Identities contributed to the professionalisation of the design sector through industry organisations as well as educational institutions. All played a part in formulating a bold, original, and sophisticated body of work - marking the apotheosis of the analogue era. As an adjunct to the Graphic Identities exhibition at the Powerhouse, Sydney, curated by Senior Curator of Design and Architecture, Keinton Butler, the publication features over 100 reproductions of unique work acquired by the Museum from the estates of the designers from the late-1980s onwards.
Notes "Graphic identities was curated by Keinton Butler, Senior Curator of design and Architecture, with curatorial assistance by Vanessa Jacob at the Powerhouse Museum, Sydney, October 2021-February 2022. This publication was commissioned and produced as an adjunct to that exhibition."--Colophon.
Publishing details: Powerhouse Publishing, 2021, 160 pages : illustrations (some colour)

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Andrews Gordon

Reference: see Graphic identities : 20th century Australian design / editor, Horacio Silva ; art director, Dominic Hofstede ; texts, Elizabeth Glickfeld. Includes biographies.
Graphic Identities presents the work of eight designers practicing in Australia from the 1930s to 1980s whose stories when taken together tell a compelling narrative of visual culture in this country. The names Douglas Annand, Frances Burke, Dahl Collings, Pieter Huveneers, Arthur Leydin, Alistair Morrison and Shirley de Vocht resonate within their industries, but their designs have impacted all our lives through currency, packaging and postage stamps as well as advertising, publishing and architectural signage. Their work in retail (including Myer, David Jones, Farmers), travel (Qantas, Orient Line, Hayman Island), alcohol (Penfolds, Tooth and Co) and banking (Westpac, Reserve Bank of Australia) have solidified the image of some our most iconic brands. Pioneers of a new Australian aesthetic in open dialogue with international art and design movements, many of the designers in Graphic Identities contributed to the professionalisation of the design sector through industry organisations as well as educational institutions. All played a part in formulating a bold, original, and sophisticated body of work - marking the apotheosis of the analogue era. As an adjunct to the Graphic Identities exhibition at the Powerhouse, Sydney, curated by Senior Curator of Design and Architecture, Keinton Butler, the publication features over 100 reproductions of unique work acquired by the Museum from the estates of the designers from the late-1980s onwards.
Notes "Graphic identities was curated by Keinton Butler, Senior Curator of design and Architecture, with curatorial assistance by Vanessa Jacob at the Powerhouse Museum, Sydney, October 2021-February 2022. This publication was commissioned and produced as an adjunct to that exhibition."--Colophon.

Publishing details: Powerhouse Publishing, 2021, 160 pages : illustrations (some colour)

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Davies Isabel view full entry

Reference: see Still life : eight women realists / Irene Barberis ... [et al]. Exhibition: Victorian College of the Arts Gallery, 2-24 March, 1978. Includes biographical information.
"Irene barberis, Isabel Davies, Barbara Grossman, Rae Marks, Moira Morrison, Mary Mortean, Christine Simons, Jenny Watson."

Publishing details: Victorian College of the Arts Gallery, 1978 
24p. : ill.

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Davies Isabel

Reference: see Still life : eight women realists / Irene Barberis ... [et al]. Exhibition: Victorian College of the Arts Gallery, 2-24 March, 1978. Includes biographical information.
"Irene barberis, Isabel Davies, Barbara Grossman, Rae Marks, Moira Morrison, Mary Mortean, Christine Simons, Jenny Watson."

Publishing details: Victorian College of the Arts Gallery, 1978 
24p. : ill.

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Grossman Barbara view full entry

Reference: see Still life : eight women realists / Irene Barberis ... [et al]. Exhibition: Victorian College of the Arts Gallery, 2-24 March, 1978. Includes biographical information.
"Irene barberis, Isabel Davies, Barbara Grossman, Rae Marks, Moira Morrison, Mary Mortean, Christine Simons, Jenny Watson."

Publishing details: Victorian College of the Arts Gallery, 1978 
24p. : ill.

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Grossman Barbara

Reference: see Still life : eight women realists / Irene Barberis ... [et al]. Exhibition: Victorian College of the Arts Gallery, 2-24 March, 1978. Includes biographical information.
"Irene barberis, Isabel Davies, Barbara Grossman, Rae Marks, Moira Morrison, Mary Mortean, Christine Simons, Jenny Watson."

Publishing details: Victorian College of the Arts Gallery, 1978 
24p. : ill.

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Marks Rae view full entry

Reference: see Still life : eight women realists / Irene Barberis ... [et al]. Exhibition: Victorian College of the Arts Gallery, 2-24 March, 1978. Includes biographical information.
"Irene barberis, Isabel Davies, Barbara Grossman, Rae Marks, Moira Morrison, Mary Mortean, Christine Simons, Jenny Watson."

Publishing details: Victorian College of the Arts Gallery, 1978 
24p. : ill.

×

Marks Rae

Reference: see Still life : eight women realists / Irene Barberis ... [et al]. Exhibition: Victorian College of the Arts Gallery, 2-24 March, 1978. Includes biographical information.
"Irene barberis, Isabel Davies, Barbara Grossman, Rae Marks, Moira Morrison, Mary Mortean, Christine Simons, Jenny Watson."

Publishing details: Victorian College of the Arts Gallery, 1978 
24p. : ill.

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Morrison Moira view full entry

Reference: see Still life : eight women realists / Irene Barberis ... [et al]. Exhibition: Victorian College of the Arts Gallery, 2-24 March, 1978. Includes biographical information.
"Irene barberis, Isabel Davies, Barbara Grossman, Rae Marks, Moira Morrison, Mary Mortean, Christine Simons, Jenny Watson."

Publishing details: Victorian College of the Arts Gallery, 1978 
24p. : ill.

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Morrison Moira

Reference: see Still life : eight women realists / Irene Barberis ... [et al]. Exhibition: Victorian College of the Arts Gallery, 2-24 March, 1978. Includes biographical information.
"Irene barberis, Isabel Davies, Barbara Grossman, Rae Marks, Moira Morrison, Mary Mortean, Christine Simons, Jenny Watson."

Publishing details: Victorian College of the Arts Gallery, 1978 
24p. : ill.

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Mortean Maryview full entry

Reference: see Still life : eight women realists / Irene Barberis ... [et al]. Exhibition: Victorian College of the Arts Gallery, 2-24 March, 1978. Includes biographical information.
"Irene barberis, Isabel Davies, Barbara Grossman, Rae Marks, Moira Morrison, Mary Mortean, Christine Simons, Jenny Watson."

Publishing details: Victorian College of the Arts Gallery, 1978 
24p. : ill.

×

Mortean Mary

Reference: see Still life : eight women realists / Irene Barberis ... [et al]. Exhibition: Victorian College of the Arts Gallery, 2-24 March, 1978. Includes biographical information.
"Irene barberis, Isabel Davies, Barbara Grossman, Rae Marks, Moira Morrison, Mary Mortean, Christine Simons, Jenny Watson."

Publishing details: Victorian College of the Arts Gallery, 1978 
24p. : ill.

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Simons Christine view full entry

Reference: see Still life : eight women realists / Irene Barberis ... [et al]. Exhibition: Victorian College of the Arts Gallery, 2-24 March, 1978. Includes biographical information.
"Irene barberis, Isabel Davies, Barbara Grossman, Rae Marks, Moira Morrison, Mary Mortean, Christine Simons, Jenny Watson."

Publishing details: Victorian College of the Arts Gallery, 1978 
24p. : ill.

×

Simons Christine

Reference: see Still life : eight women realists / Irene Barberis ... [et al]. Exhibition: Victorian College of the Arts Gallery, 2-24 March, 1978. Includes biographical information.
"Irene barberis, Isabel Davies, Barbara Grossman, Rae Marks, Moira Morrison, Mary Mortean, Christine Simons, Jenny Watson."

Publishing details: Victorian College of the Arts Gallery, 1978 
24p. : ill.

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Watson Jenny view full entry

Reference: see Still life : eight women realists / Irene Barberis ... [et al]. Exhibition: Victorian College of the Arts Gallery, 2-24 March, 1978. Includes biographical information.
"Irene barberis, Isabel Davies, Barbara Grossman, Rae Marks, Moira Morrison, Mary Mortean, Christine Simons, Jenny Watson."

Publishing details: Victorian College of the Arts Gallery, 1978 
24p. : ill.

×

Watson Jenny

Reference: see Still life : eight women realists / Irene Barberis ... [et al]. Exhibition: Victorian College of the Arts Gallery, 2-24 March, 1978. Includes biographical information.
"Irene barberis, Isabel Davies, Barbara Grossman, Rae Marks, Moira Morrison, Mary Mortean, Christine Simons, Jenny Watson."

Publishing details: Victorian College of the Arts Gallery, 1978 
24p. : ill.

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Barberis Ireneview full entry

Reference: see Still life : eight women realists / Irene Barberis ... [et al]. Exhibition: Victorian College of the Arts Gallery, 2-24 March, 1978. Includes biographical information.
"Irene barberis, Isabel Davies, Barbara Grossman, Rae Marks, Moira Morrison, Mary Mortean, Christine Simons, Jenny Watson."

Publishing details: Victorian College of the Arts Gallery, 1978 
24p. : ill.

×

Barberis Irene

Reference: see Still life : eight women realists / Irene Barberis ... [et al]. Exhibition: Victorian College of the Arts Gallery, 2-24 March, 1978. Includes biographical information.
"Irene barberis, Isabel Davies, Barbara Grossman, Rae Marks, Moira Morrison, Mary Mortean, Christine Simons, Jenny Watson."

Publishing details: Victorian College of the Arts Gallery, 1978 
24p. : ill.

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Pirating the Pacificview full entry

Reference: Pirating the Pacific : images of travel, trade & tourism / edited by Ann Stephen. Bibliography: p. 79.
Publishing details: Powerhouse Publishing, 1993 
79 p. : ill. (some col.), map, ports.

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Pirating the Pacific

Reference: Pirating the Pacific : images of travel, trade & tourism / edited by Ann Stephen. Bibliography: p. 79.

Publishing details: Powerhouse Publishing, 1993 
79 p. : ill. (some col.), map, ports.

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Pacific, Pirating the view full entry

Reference: see Pirating the Pacific : images of travel, trade & tourism / edited by Ann Stephen. Bibliography: p. 79.
Publishing details: Powerhouse Publishing, 1993 
79 p. : ill. (some col.), map, ports.

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Pacific, Pirating the

Reference: see Pirating the Pacific : images of travel, trade & tourism / edited by Ann Stephen. Bibliography: p. 79.

Publishing details: Powerhouse Publishing, 1993 
79 p. : ill. (some col.), map, ports.

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Collings Dahl poster for Orient Lines p8 and p40view full entry

Reference: see Pirating the Pacific : images of travel, trade & tourism / edited by Ann Stephen. Bibliography: p. 79.
Publishing details: Powerhouse Publishing, 1993 
79 p. : ill. (some col.), map, ports.

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Collings Dahl poster for Orient Lines p8 and p40

Reference: see Pirating the Pacific : images of travel, trade & tourism / edited by Ann Stephen. Bibliography: p. 79.

Publishing details: Powerhouse Publishing, 1993 
79 p. : ill. (some col.), map, ports.

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Chevalier Nicholas 1884 Illustrated Australasian News illustrationview full entry

Reference: see Pirating the Pacific : images of travel, trade & tourism / edited by Ann Stephen. Bibliography: p. 79.
Publishing details: Powerhouse Publishing, 1993 
79 p. : ill. (some col.), map, ports.

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Chevalier Nicholas 1884 Illustrated Australasian News illustration

Reference: see Pirating the Pacific : images of travel, trade & tourism / edited by Ann Stephen. Bibliography: p. 79.

Publishing details: Powerhouse Publishing, 1993 
79 p. : ill. (some col.), map, ports.

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Henry Lucien p17view full entry

Reference: see Pirating the Pacific : images of travel, trade & tourism / edited by Ann Stephen. Bibliography: p. 79.
Publishing details: Powerhouse Publishing, 1993 
79 p. : ill. (some col.), map, ports.

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Henry Lucien p17

Reference: see Pirating the Pacific : images of travel, trade & tourism / edited by Ann Stephen. Bibliography: p. 79.

Publishing details: Powerhouse Publishing, 1993 
79 p. : ill. (some col.), map, ports.

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Kerry & Co photographs from Tyrrell Collection in Powerhouse p41 etc eg 64-5view full entry

Reference: see Pirating the Pacific : images of travel, trade & tourism / edited by Ann Stephen. Bibliography: p. 79.
Publishing details: Powerhouse Publishing, 1993 
79 p. : ill. (some col.), map, ports.

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Kerry & Co photographs from Tyrrell Collection in Powerhouse p41 etc eg 64-5

Reference: see Pirating the Pacific : images of travel, trade & tourism / edited by Ann Stephen. Bibliography: p. 79.

Publishing details: Powerhouse Publishing, 1993 
79 p. : ill. (some col.), map, ports.

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Lawes W G photographer p52view full entry

Reference: see Pirating the Pacific : images of travel, trade & tourism / edited by Ann Stephen. Bibliography: p. 79.
Publishing details: Powerhouse Publishing, 1993 
79 p. : ill. (some col.), map, ports.

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Lawes W G photographer p52

Reference: see Pirating the Pacific : images of travel, trade & tourism / edited by Ann Stephen. Bibliography: p. 79.

Publishing details: Powerhouse Publishing, 1993 
79 p. : ill. (some col.), map, ports.

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Tyrrell James R and photography p64view full entry

Reference: see Pirating the Pacific : images of travel, trade & tourism / edited by Ann Stephen. Bibliography: p. 79.
Publishing details: Powerhouse Publishing, 1993 
79 p. : ill. (some col.), map, ports.

×

Tyrrell James R and photography p64

Reference: see Pirating the Pacific : images of travel, trade & tourism / edited by Ann Stephen. Bibliography: p. 79.

Publishing details: Powerhouse Publishing, 1993 
79 p. : ill. (some col.), map, ports.

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King Henry photograher p64view full entry

Reference: see Pirating the Pacific : images of travel, trade & tourism / edited by Ann Stephen. Bibliography: p. 79.
Publishing details: Powerhouse Publishing, 1993 
79 p. : ill. (some col.), map, ports.

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King Henry photograher p64

Reference: see Pirating the Pacific : images of travel, trade & tourism / edited by Ann Stephen. Bibliography: p. 79.

Publishing details: Powerhouse Publishing, 1993 
79 p. : ill. (some col.), map, ports.

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Brown George Rev photograher p65view full entry

Reference: see Pirating the Pacific : images of travel, trade & tourism / edited by Ann Stephen. Bibliography: p. 79.
Publishing details: Powerhouse Publishing, 1993 
79 p. : ill. (some col.), map, ports.

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Brown George Rev photograher p65

Reference: see Pirating the Pacific : images of travel, trade & tourism / edited by Ann Stephen. Bibliography: p. 79.

Publishing details: Powerhouse Publishing, 1993 
79 p. : ill. (some col.), map, ports.

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Chism Jillview full entry

Reference: see No piece of cake : art by women from a slice of Queensland / curated by Lynne Seear. "A project from Kicks Art Collective Inc and Cairns Regional Gallery" Includes artists’ statements and artists’ profiles.
Publishing details: [Cairns, Qld.] : Kick Arts Collective Inc & Cairns Regional Gallery, c1995 
27 p. : ill

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Chism Jill

Reference: see No piece of cake : art by women from a slice of Queensland / curated by Lynne Seear. "A project from Kicks Art Collective Inc and Cairns Regional Gallery" Includes artists’ statements and artists’ profiles.

Publishing details: [Cairns, Qld.] : Kick Arts Collective Inc & Cairns Regional Gallery, c1995 
27 p. : ill

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Fermo Samanthaview full entry

Reference: see No piece of cake : art by women from a slice of Queensland / curated by Lynne Seear. "A project from Kicks Art Collective Inc and Cairns Regional Gallery" Includes artists’ statements and artists’ profiles.
Publishing details: [Cairns, Qld.] : Kick Arts Collective Inc & Cairns Regional Gallery, c1995 
27 p. : ill

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Fermo Samantha

Reference: see No piece of cake : art by women from a slice of Queensland / curated by Lynne Seear. "A project from Kicks Art Collective Inc and Cairns Regional Gallery" Includes artists’ statements and artists’ profiles.

Publishing details: [Cairns, Qld.] : Kick Arts Collective Inc & Cairns Regional Gallery, c1995 
27 p. : ill

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Graham Janview full entry

Reference: see No piece of cake : art by women from a slice of Queensland / curated by Lynne Seear. "A project from Kicks Art Collective Inc and Cairns Regional Gallery" Includes artists’ statements and artists’ profiles.
Publishing details: [Cairns, Qld.] : Kick Arts Collective Inc & Cairns Regional Gallery, c1995 
27 p. : ill

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Graham Jan

Reference: see No piece of cake : art by women from a slice of Queensland / curated by Lynne Seear. "A project from Kicks Art Collective Inc and Cairns Regional Gallery" Includes artists’ statements and artists’ profiles.

Publishing details: [Cairns, Qld.] : Kick Arts Collective Inc & Cairns Regional Gallery, c1995 
27 p. : ill

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Grant Margoview full entry

Reference: see No piece of cake : art by women from a slice of Queensland / curated by Lynne Seear. "A project from Kicks Art Collective Inc and Cairns Regional Gallery" Includes artists’ statements and artists’ profiles.
Publishing details: [Cairns, Qld.] : Kick Arts Collective Inc & Cairns Regional Gallery, c1995 
27 p. : ill

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Grant Margo

Reference: see No piece of cake : art by women from a slice of Queensland / curated by Lynne Seear. "A project from Kicks Art Collective Inc and Cairns Regional Gallery" Includes artists’ statements and artists’ profiles.

Publishing details: [Cairns, Qld.] : Kick Arts Collective Inc & Cairns Regional Gallery, c1995 
27 p. : ill

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Grycewicz Leahview full entry

Reference: see No piece of cake : art by women from a slice of Queensland / curated by Lynne Seear. "A project from Kicks Art Collective Inc and Cairns Regional Gallery" Includes artists’ statements and artists’ profiles.
Publishing details: [Cairns, Qld.] : Kick Arts Collective Inc & Cairns Regional Gallery, c1995 
27 p. : ill

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Grycewicz Leah

Reference: see No piece of cake : art by women from a slice of Queensland / curated by Lynne Seear. "A project from Kicks Art Collective Inc and Cairns Regional Gallery" Includes artists’ statements and artists’ profiles.

Publishing details: [Cairns, Qld.] : Kick Arts Collective Inc & Cairns Regional Gallery, c1995 
27 p. : ill

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Howard Lenoreview full entry

Reference: see No piece of cake : art by women from a slice of Queensland / curated by Lynne Seear. "A project from Kicks Art Collective Inc and Cairns Regional Gallery" Includes artists’ statements and artists’ profiles.
Publishing details: [Cairns, Qld.] : Kick Arts Collective Inc & Cairns Regional Gallery, c1995 
27 p. : ill

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Howard Lenore

Reference: see No piece of cake : art by women from a slice of Queensland / curated by Lynne Seear. "A project from Kicks Art Collective Inc and Cairns Regional Gallery" Includes artists’ statements and artists’ profiles.

Publishing details: [Cairns, Qld.] : Kick Arts Collective Inc & Cairns Regional Gallery, c1995 
27 p. : ill

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Horiki Yukiview full entry

Reference: see No piece of cake : art by women from a slice of Queensland / curated by Lynne Seear. "A project from Kicks Art Collective Inc and Cairns Regional Gallery" Includes artists’ statements and artists’ profiles.
Publishing details: [Cairns, Qld.] : Kick Arts Collective Inc & Cairns Regional Gallery, c1995 
27 p. : ill

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Horiki Yuki

Reference: see No piece of cake : art by women from a slice of Queensland / curated by Lynne Seear. "A project from Kicks Art Collective Inc and Cairns Regional Gallery" Includes artists’ statements and artists’ profiles.

Publishing details: [Cairns, Qld.] : Kick Arts Collective Inc & Cairns Regional Gallery, c1995 
27 p. : ill

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Jacoby Catherineview full entry

Reference: see No piece of cake : art by women from a slice of Queensland / curated by Lynne Seear. "A project from Kicks Art Collective Inc and Cairns Regional Gallery" Includes artists’ statements and artists’ profiles.
Publishing details: [Cairns, Qld.] : Kick Arts Collective Inc & Cairns Regional Gallery, c1995 
27 p. : ill

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Jacoby Catherine

Reference: see No piece of cake : art by women from a slice of Queensland / curated by Lynne Seear. "A project from Kicks Art Collective Inc and Cairns Regional Gallery" Includes artists’ statements and artists’ profiles.

Publishing details: [Cairns, Qld.] : Kick Arts Collective Inc & Cairns Regional Gallery, c1995 
27 p. : ill

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Liddell Mareeview full entry

Reference: see No piece of cake : art by women from a slice of Queensland / curated by Lynne Seear. "A project from Kicks Art Collective Inc and Cairns Regional Gallery" Includes artists’ statements and artists’ profiles.
Publishing details: [Cairns, Qld.] : Kick Arts Collective Inc & Cairns Regional Gallery, c1995 
27 p. : ill

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Liddell Maree

Reference: see No piece of cake : art by women from a slice of Queensland / curated by Lynne Seear. "A project from Kicks Art Collective Inc and Cairns Regional Gallery" Includes artists’ statements and artists’ profiles.

Publishing details: [Cairns, Qld.] : Kick Arts Collective Inc & Cairns Regional Gallery, c1995 
27 p. : ill

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McArthur Seanneview full entry

Reference: see No piece of cake : art by women from a slice of Queensland / curated by Lynne Seear. "A project from Kicks Art Collective Inc and Cairns Regional Gallery" Includes artists’ statements and artists’ profiles.
Publishing details: [Cairns, Qld.] : Kick Arts Collective Inc & Cairns Regional Gallery, c1995 
27 p. : ill

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McArthur Seanne

Reference: see No piece of cake : art by women from a slice of Queensland / curated by Lynne Seear. "A project from Kicks Art Collective Inc and Cairns Regional Gallery" Includes artists’ statements and artists’ profiles.

Publishing details: [Cairns, Qld.] : Kick Arts Collective Inc & Cairns Regional Gallery, c1995 
27 p. : ill

Location:

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MacNamara Shirleyview full entry

Reference: see No piece of cake : art by women from a slice of Queensland / curated by Lynne Seear. "A project from Kicks Art Collective Inc and Cairns Regional Gallery" Includes artists’ statements and artists’ profiles.
Publishing details: [Cairns, Qld.] : Kick Arts Collective Inc & Cairns Regional Gallery, c1995 
27 p. : ill

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MacNamara Shirley

Reference: see No piece of cake : art by women from a slice of Queensland / curated by Lynne Seear. "A project from Kicks Art Collective Inc and Cairns Regional Gallery" Includes artists’ statements and artists’ profiles.

Publishing details: [Cairns, Qld.] : Kick Arts Collective Inc & Cairns Regional Gallery, c1995 
27 p. : ill

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Nezovic Sharmilaview full entry

Reference: see No piece of cake : art by women from a slice of Queensland / curated by Lynne Seear. "A project from Kicks Art Collective Inc and Cairns Regional Gallery" Includes artists’ statements and artists’ profiles.
Publishing details: [Cairns, Qld.] : Kick Arts Collective Inc & Cairns Regional Gallery, c1995 
27 p. : ill

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Nezovic Sharmila

Reference: see No piece of cake : art by women from a slice of Queensland / curated by Lynne Seear. "A project from Kicks Art Collective Inc and Cairns Regional Gallery" Includes artists’ statements and artists’ profiles.

Publishing details: [Cairns, Qld.] : Kick Arts Collective Inc & Cairns Regional Gallery, c1995 
27 p. : ill

Location:

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Nordbruch Debra-Leeview full entry

Reference: see No piece of cake : art by women from a slice of Queensland / curated by Lynne Seear. "A project from Kicks Art Collective Inc and Cairns Regional Gallery" Includes artists’ statements and artists’ profiles.
Publishing details: [Cairns, Qld.] : Kick Arts Collective Inc & Cairns Regional Gallery, c1995 
27 p. : ill

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Nordbruch Debra-Lee

Reference: see No piece of cake : art by women from a slice of Queensland / curated by Lynne Seear. "A project from Kicks Art Collective Inc and Cairns Regional Gallery" Includes artists’ statements and artists’ profiles.

Publishing details: [Cairns, Qld.] : Kick Arts Collective Inc & Cairns Regional Gallery, c1995 
27 p. : ill

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Pannell Jandyview full entry

Reference: see No piece of cake : art by women from a slice of Queensland / curated by Lynne Seear. "A project from Kicks Art Collective Inc and Cairns Regional Gallery" Includes artists’ statements and artists’ profiles.
Publishing details: [Cairns, Qld.] : Kick Arts Collective Inc & Cairns Regional Gallery, c1995 
27 p. : ill

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Pannell Jandy

Reference: see No piece of cake : art by women from a slice of Queensland / curated by Lynne Seear. "A project from Kicks Art Collective Inc and Cairns Regional Gallery" Includes artists’ statements and artists’ profiles.

Publishing details: [Cairns, Qld.] : Kick Arts Collective Inc & Cairns Regional Gallery, c1995 
27 p. : ill

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Poulsen Julieview full entry

Reference: see No piece of cake : art by women from a slice of Queensland / curated by Lynne Seear. "A project from Kicks Art Collective Inc and Cairns Regional Gallery" Includes artists’ statements and artists’ profiles.
Publishing details: [Cairns, Qld.] : Kick Arts Collective Inc & Cairns Regional Gallery, c1995 
27 p. : ill

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Poulsen Julie

Reference: see No piece of cake : art by women from a slice of Queensland / curated by Lynne Seear. "A project from Kicks Art Collective Inc and Cairns Regional Gallery" Includes artists’ statements and artists’ profiles.

Publishing details: [Cairns, Qld.] : Kick Arts Collective Inc & Cairns Regional Gallery, c1995 
27 p. : ill

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Waters Melissaview full entry

Reference: see No piece of cake : art by women from a slice of Queensland / curated by Lynne Seear. "A project from Kicks Art Collective Inc and Cairns Regional Gallery" Includes artists’ statements and artists’ profiles.
Publishing details: [Cairns, Qld.] : Kick Arts Collective Inc & Cairns Regional Gallery, c1995 
27 p. : ill

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Waters Melissa

Reference: see No piece of cake : art by women from a slice of Queensland / curated by Lynne Seear. "A project from Kicks Art Collective Inc and Cairns Regional Gallery" Includes artists’ statements and artists’ profiles.

Publishing details: [Cairns, Qld.] : Kick Arts Collective Inc & Cairns Regional Gallery, c1995 
27 p. : ill

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Greenway Francis 1777-1837 biographyview full entry

Reference: see Sydney Architecture, by Graham Jahn. Includes biographies of the significant Sydney architects. Includes index. This book lists over 500 of Sydney's colonial, victorian, arts& crafts, modern and contemporary buildings with their historical, architectural and anecdotal notes and brief biographies of their architects. It has house plans, location maps and suggested tours.
Publishing details: The Watermark Press Sydney 1997, 256pp, b/w Illusts, paperback

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Greenway Francis 1777-1837 biography

Reference: see Sydney Architecture, by Graham Jahn. Includes biographies of the significant Sydney architects. Includes index. This book lists over 500 of Sydney's colonial, victorian, arts& crafts, modern and contemporary buildings with their historical, architectural and anecdotal notes and brief biographies of their architects. It has house plans, location maps and suggested tours.

Publishing details: The Watermark Press Sydney 1997, 256pp, b/w Illusts, paperback

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Verge John 1782-1861 biographyview full entry

Reference: see Sydney Architecture, by Graham Jahn. Includes biographies of the significant Sydney architects. Includes index. This book lists over 500 of Sydney's colonial, victorian, arts& crafts, modern and contemporary buildings with their historical, architectural and anecdotal notes and brief biographies of their architects. It has house plans, location maps and suggested tours.
Publishing details: The Watermark Press Sydney 1997, 256pp, b/w Illusts, paperback

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Verge John 1782-1861 biography

Reference: see Sydney Architecture, by Graham Jahn. Includes biographies of the significant Sydney architects. Includes index. This book lists over 500 of Sydney's colonial, victorian, arts& crafts, modern and contemporary buildings with their historical, architectural and anecdotal notes and brief biographies of their architects. It has house plans, location maps and suggested tours.

Publishing details: The Watermark Press Sydney 1997, 256pp, b/w Illusts, paperback

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Blacket Edmund 1817-1883 biographyview full entry

Reference: see Sydney Architecture, by Graham Jahn. Includes biographies of the significant Sydney architects. Includes index. This book lists over 500 of Sydney's colonial, victorian, arts& crafts, modern and contemporary buildings with their historical, architectural and anecdotal notes and brief biographies of their architects. It has house plans, location maps and suggested tours.
Publishing details: The Watermark Press Sydney 1997, 256pp, b/w Illusts, paperback

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Blacket Edmund 1817-1883 biography

Reference: see Sydney Architecture, by Graham Jahn. Includes biographies of the significant Sydney architects. Includes index. This book lists over 500 of Sydney's colonial, victorian, arts& crafts, modern and contemporary buildings with their historical, architectural and anecdotal notes and brief biographies of their architects. It has house plans, location maps and suggested tours.

Publishing details: The Watermark Press Sydney 1997, 256pp, b/w Illusts, paperback

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Barnet James 1827-1904 biographyview full entry

Reference: see Sydney Architecture, by Graham Jahn. Includes biographies of the significant Sydney architects. Includes index. This book lists over 500 of Sydney's colonial, victorian, arts& crafts, modern and contemporary buildings with their historical, architectural and anecdotal notes and brief biographies of their architects. It has house plans, location maps and suggested tours.
Publishing details: The Watermark Press Sydney 1997, 256pp, b/w Illusts, paperback

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Barnet James 1827-1904 biography

Reference: see Sydney Architecture, by Graham Jahn. Includes biographies of the significant Sydney architects. Includes index. This book lists over 500 of Sydney's colonial, victorian, arts& crafts, modern and contemporary buildings with their historical, architectural and anecdotal notes and brief biographies of their architects. It has house plans, location maps and suggested tours.

Publishing details: The Watermark Press Sydney 1997, 256pp, b/w Illusts, paperback

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Wardell William 1823-1899 biographyview full entry

Reference: see Sydney Architecture, by Graham Jahn. Includes biographies of the significant Sydney architects. Includes index. This book lists over 500 of Sydney's colonial, victorian, arts& crafts, modern and contemporary buildings with their historical, architectural and anecdotal notes and brief biographies of their architects. It has house plans, location maps and suggested tours.
Publishing details: The Watermark Press Sydney 1997, 256pp, b/w Illusts, paperback

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Wardell William 1823-1899 biography

Reference: see Sydney Architecture, by Graham Jahn. Includes biographies of the significant Sydney architects. Includes index. This book lists over 500 of Sydney's colonial, victorian, arts& crafts, modern and contemporary buildings with their historical, architectural and anecdotal notes and brief biographies of their architects. It has house plans, location maps and suggested tours.

Publishing details: The Watermark Press Sydney 1997, 256pp, b/w Illusts, paperback

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Hunt Jiohn Horbury 1838-1904 biographyview full entry

Reference: see Sydney Architecture, by Graham Jahn. Includes biographies of the significant Sydney architects. Includes index. This book lists over 500 of Sydney's colonial, victorian, arts& crafts, modern and contemporary buildings with their historical, architectural and anecdotal notes and brief biographies of their architects. It has house plans, location maps and suggested tours.
Publishing details: The Watermark Press Sydney 1997, 256pp, b/w Illusts, paperback

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Hunt Jiohn Horbury 1838-1904 biography

Reference: see Sydney Architecture, by Graham Jahn. Includes biographies of the significant Sydney architects. Includes index. This book lists over 500 of Sydney's colonial, victorian, arts& crafts, modern and contemporary buildings with their historical, architectural and anecdotal notes and brief biographies of their architects. It has house plans, location maps and suggested tours.

Publishing details: The Watermark Press Sydney 1997, 256pp, b/w Illusts, paperback

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Vernon Walter Liberty 1846-1914 biographyview full entry

Reference: see Sydney Architecture, by Graham Jahn. Includes biographies of the significant Sydney architects. Includes index. This book lists over 500 of Sydney's colonial, victorian, arts& crafts, modern and contemporary buildings with their historical, architectural and anecdotal notes and brief biographies of their architects. It has house plans, location maps and suggested tours.
Publishing details: The Watermark Press Sydney 1997, 256pp, b/w Illusts, paperback

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Vernon Walter Liberty 1846-1914 biography

Reference: see Sydney Architecture, by Graham Jahn. Includes biographies of the significant Sydney architects. Includes index. This book lists over 500 of Sydney's colonial, victorian, arts& crafts, modern and contemporary buildings with their historical, architectural and anecdotal notes and brief biographies of their architects. It has house plans, location maps and suggested tours.

Publishing details: The Watermark Press Sydney 1997, 256pp, b/w Illusts, paperback

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Sulman John 1849-1934 biographyview full entry

Reference: see Sydney Architecture, by Graham Jahn. Includes biographies of the significant Sydney architects. Includes index. This book lists over 500 of Sydney's colonial, victorian, arts& crafts, modern and contemporary buildings with their historical, architectural and anecdotal notes and brief biographies of their architects. It has house plans, location maps and suggested tours.
Publishing details: The Watermark Press Sydney 1997, 256pp, b/w Illusts, paperback

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Sulman John 1849-1934 biography

Reference: see Sydney Architecture, by Graham Jahn. Includes biographies of the significant Sydney architects. Includes index. This book lists over 500 of Sydney's colonial, victorian, arts& crafts, modern and contemporary buildings with their historical, architectural and anecdotal notes and brief biographies of their architects. It has house plans, location maps and suggested tours.

Publishing details: The Watermark Press Sydney 1997, 256pp, b/w Illusts, paperback

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Griffin Walter Burley 1876 -1937 biographyview full entry

Reference: see Sydney Architecture, by Graham Jahn. Includes biographies of the significant Sydney architects. Includes index. This book lists over 500 of Sydney's colonial, victorian, arts& crafts, modern and contemporary buildings with their historical, architectural and anecdotal notes and brief biographies of their architects. It has house plans, location maps and suggested tours.
Publishing details: The Watermark Press Sydney 1997, 256pp, b/w Illusts, paperback

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Griffin Walter Burley 1876 -1937 biography

Reference: see Sydney Architecture, by Graham Jahn. Includes biographies of the significant Sydney architects. Includes index. This book lists over 500 of Sydney's colonial, victorian, arts& crafts, modern and contemporary buildings with their historical, architectural and anecdotal notes and brief biographies of their architects. It has house plans, location maps and suggested tours.

Publishing details: The Watermark Press Sydney 1997, 256pp, b/w Illusts, paperback

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Griffin Marion Mahonyview full entry

Reference: see Sydney Architecture, by Graham Jahn. Includes biographies of the significant Sydney architects. Includes index. This book lists over 500 of Sydney's colonial, victorian, arts& crafts, modern and contemporary buildings with their historical, architectural and anecdotal notes and brief biographies of their architects. It has house plans, location maps and suggested tours.
Publishing details: The Watermark Press Sydney 1997, 256pp, b/w Illusts, paperback

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Griffin Marion Mahony

Reference: see Sydney Architecture, by Graham Jahn. Includes biographies of the significant Sydney architects. Includes index. This book lists over 500 of Sydney's colonial, victorian, arts& crafts, modern and contemporary buildings with their historical, architectural and anecdotal notes and brief biographies of their architects. It has house plans, location maps and suggested tours.

Publishing details: The Watermark Press Sydney 1997, 256pp, b/w Illusts, paperback

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Wilson William Hardy 1881-1955 biographyview full entry

Reference: see Sydney Architecture, by Graham Jahn. Includes biographies of the significant Sydney architects. Includes index. This book lists over 500 of Sydney's colonial, victorian, arts& crafts, modern and contemporary buildings with their historical, architectural and anecdotal notes and brief biographies of their architects. It has house plans, location maps and suggested tours.
Publishing details: The Watermark Press Sydney 1997, 256pp, b/w Illusts, paperback

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Wilson William Hardy 1881-1955 biography

Reference: see Sydney Architecture, by Graham Jahn. Includes biographies of the significant Sydney architects. Includes index. This book lists over 500 of Sydney's colonial, victorian, arts& crafts, modern and contemporary buildings with their historical, architectural and anecdotal notes and brief biographies of their architects. It has house plans, location maps and suggested tours.

Publishing details: The Watermark Press Sydney 1997, 256pp, b/w Illusts, paperback

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Wilkinson Leslie 1882-1973 biographyview full entry

Reference: see Sydney Architecture, by Graham Jahn. Includes biographies of the significant Sydney architects. Includes index. This book lists over 500 of Sydney's colonial, victorian, arts& crafts, modern and contemporary buildings with their historical, architectural and anecdotal notes and brief biographies of their architects. It has house plans, location maps and suggested tours.
Publishing details: The Watermark Press Sydney 1997, 256pp, b/w Illusts, paperback

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Wilkinson Leslie 1882-1973 biography

Reference: see Sydney Architecture, by Graham Jahn. Includes biographies of the significant Sydney architects. Includes index. This book lists over 500 of Sydney's colonial, victorian, arts& crafts, modern and contemporary buildings with their historical, architectural and anecdotal notes and brief biographies of their architects. It has house plans, location maps and suggested tours.

Publishing details: The Watermark Press Sydney 1997, 256pp, b/w Illusts, paperback

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Stephenson Arthur George 1980-1967 biographyview full entry

Reference: see Sydney Architecture, by Graham Jahn. Includes biographies of the significant Sydney architects. Includes index. This book lists over 500 of Sydney's colonial, victorian, arts& crafts, modern and contemporary buildings with their historical, architectural and anecdotal notes and brief biographies of their architects. It has house plans, location maps and suggested tours.
Publishing details: The Watermark Press Sydney 1997, 256pp, b/w Illusts, paperback

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Stephenson Arthur George 1980-1967 biography

Reference: see Sydney Architecture, by Graham Jahn. Includes biographies of the significant Sydney architects. Includes index. This book lists over 500 of Sydney's colonial, victorian, arts& crafts, modern and contemporary buildings with their historical, architectural and anecdotal notes and brief biographies of their architects. It has house plans, location maps and suggested tours.

Publishing details: The Watermark Press Sydney 1997, 256pp, b/w Illusts, paperback

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Soldersten Emil 1901-1961 biographyview full entry

Reference: see Sydney Architecture, by Graham Jahn. Includes biographies of the significant Sydney architects. Includes index. This book lists over 500 of Sydney's colonial, victorian, arts& crafts, modern and contemporary buildings with their historical, architectural and anecdotal notes and brief biographies of their architects. It has house plans, location maps and suggested tours.
Publishing details: The Watermark Press Sydney 1997, 256pp, b/w Illusts, paperback

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Soldersten Emil 1901-1961 biography

Reference: see Sydney Architecture, by Graham Jahn. Includes biographies of the significant Sydney architects. Includes index. This book lists over 500 of Sydney's colonial, victorian, arts& crafts, modern and contemporary buildings with their historical, architectural and anecdotal notes and brief biographies of their architects. It has house plans, location maps and suggested tours.

Publishing details: The Watermark Press Sydney 1997, 256pp, b/w Illusts, paperback

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Lipson Samuel 1901-1995 biographyview full entry

Reference: see Sydney Architecture, by Graham Jahn. Includes biographies of the significant Sydney architects. Includes index. This book lists over 500 of Sydney's colonial, victorian, arts& crafts, modern and contemporary buildings with their historical, architectural and anecdotal notes and brief biographies of their architects. It has house plans, location maps and suggested tours.
Publishing details: The Watermark Press Sydney 1997, 256pp, b/w Illusts, paperback

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Lipson Samuel 1901-1995 biography

Reference: see Sydney Architecture, by Graham Jahn. Includes biographies of the significant Sydney architects. Includes index. This book lists over 500 of Sydney's colonial, victorian, arts& crafts, modern and contemporary buildings with their historical, architectural and anecdotal notes and brief biographies of their architects. It has house plans, location maps and suggested tours.

Publishing details: The Watermark Press Sydney 1997, 256pp, b/w Illusts, paperback

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Ancher Sydney 1904-1978 biographyview full entry

Reference: see Sydney Architecture, by Graham Jahn. Includes biographies of the significant Sydney architects. Includes index. This book lists over 500 of Sydney's colonial, victorian, arts& crafts, modern and contemporary buildings with their historical, architectural and anecdotal notes and brief biographies of their architects. It has house plans, location maps and suggested tours.
Publishing details: The Watermark Press Sydney 1997, 256pp, b/w Illusts, paperback

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Ancher Sydney 1904-1978 biography

Reference: see Sydney Architecture, by Graham Jahn. Includes biographies of the significant Sydney architects. Includes index. This book lists over 500 of Sydney's colonial, victorian, arts& crafts, modern and contemporary buildings with their historical, architectural and anecdotal notes and brief biographies of their architects. It has house plans, location maps and suggested tours.

Publishing details: The Watermark Press Sydney 1997, 256pp, b/w Illusts, paperback

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Seidler Harry biographyview full entry

Reference: see Sydney Architecture, by Graham Jahn. Includes biographies of the significant Sydney architects. Includes index. This book lists over 500 of Sydney's colonial, victorian, arts& crafts, modern and contemporary buildings with their historical, architectural and anecdotal notes and brief biographies of their architects. It has house plans, location maps and suggested tours.
Publishing details: The Watermark Press Sydney 1997, 256pp, b/w Illusts, paperback

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Seidler Harry biography

Reference: see Sydney Architecture, by Graham Jahn. Includes biographies of the significant Sydney architects. Includes index. This book lists over 500 of Sydney's colonial, victorian, arts& crafts, modern and contemporary buildings with their historical, architectural and anecdotal notes and brief biographies of their architects. It has house plans, location maps and suggested tours.

Publishing details: The Watermark Press Sydney 1997, 256pp, b/w Illusts, paperback

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Murcutt Glenn biographyview full entry

Reference: see Sydney Architecture, by Graham Jahn. Includes biographies of the significant Sydney architects. Includes index. This book lists over 500 of Sydney's colonial, victorian, arts& crafts, modern and contemporary buildings with their historical, architectural and anecdotal notes and brief biographies of their architects. It has house plans, location maps and suggested tours.
Publishing details: The Watermark Press Sydney 1997, 256pp, b/w Illusts, paperback

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Murcutt Glenn biography

Reference: see Sydney Architecture, by Graham Jahn. Includes biographies of the significant Sydney architects. Includes index. This book lists over 500 of Sydney's colonial, victorian, arts& crafts, modern and contemporary buildings with their historical, architectural and anecdotal notes and brief biographies of their architects. It has house plans, location maps and suggested tours.

Publishing details: The Watermark Press Sydney 1997, 256pp, b/w Illusts, paperback

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Cox Philip biographyview full entry

Reference: see Sydney Architecture, by Graham Jahn. Includes biographies of the significant Sydney architects. Includes index. This book lists over 500 of Sydney's colonial, victorian, arts& crafts, modern and contemporary buildings with their historical, architectural and anecdotal notes and brief biographies of their architects. It has house plans, location maps and suggested tours.
Publishing details: The Watermark Press Sydney 1997, 256pp, b/w Illusts, paperback

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Cox Philip biography

Reference: see Sydney Architecture, by Graham Jahn. Includes biographies of the significant Sydney architects. Includes index. This book lists over 500 of Sydney's colonial, victorian, arts& crafts, modern and contemporary buildings with their historical, architectural and anecdotal notes and brief biographies of their architects. It has house plans, location maps and suggested tours.

Publishing details: The Watermark Press Sydney 1997, 256pp, b/w Illusts, paperback

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Holtermann Collection view full entry

Reference: see Gold and Silver - Photographs of Australian Goldfields from the Holtermann Collection, by Keast Burke
Publishing details: Heinemann Melbourne 1973 Hardback

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Holtermann Collection

Reference: see Gold and Silver - Photographs of Australian Goldfields from the Holtermann Collection, by Keast Burke

Publishing details: Heinemann Melbourne 1973 Hardback

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Goldfieldsview full entry

Reference: see Gold and Silver - Photographs of Australian Goldfields from the Holtermann Collection, by Keast Burke
Publishing details: Heinemann Melbourne 1973 Hardback

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Goldfields

Reference: see Gold and Silver - Photographs of Australian Goldfields from the Holtermann Collection, by Keast Burke

Publishing details: Heinemann Melbourne 1973 Hardback

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Sladek Kview full entry

Reference: see Sydney Rare Book Auctions, 14 July, 2023, lot 315: A collection of 3 framed paintings of Sydney landscapes by K. Sladek, ready to hang. Sladek was an Australian artist, working through the 1980s. 1) Balmain, oil on board in a 66x50.5 frame, mild foxing 2) Hyde Park (ft. Centre Point Tower and the War Memorial) oil on board in a gilt 36x43.5 cm frame. In good condition. 3) Harbour side view, oil on board in a 66x50.5 cm frame. Pigments vibrant, in good condition. Artworks.

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Sladek K

Reference: see Sydney Rare Book Auctions, 14 July, 2023, lot 315: A collection of 3 framed paintings of Sydney landscapes by K. Sladek, ready to hang. Sladek was an Australian artist, working through the 1980s. 1) Balmain, oil on board in a 66x50.5 frame, mild foxing 2) Hyde Park (ft. Centre Point Tower and the War Memorial) oil on board in a gilt 36x43.5 cm frame. In good condition. 3) Harbour side view, oil on board in a 66x50.5 cm frame. Pigments vibrant, in good condition. Artworks.

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Deix Guntherview full entry

Reference: see Sydney Rare Book auction, 14 July, 2023, lot 321: Looking For Myself & Found The Other World (1993) etching 2/12 by Gunther Deix (1945-). Gunter Deix is a German-Austrian self-taught artist and proprietor of the Outsider Gallery in Captain's Flat NSW. Settling in Australia in 1968, much of his work centers on amalgamating figurative forms with the landscape of the bush. Artwork.
Also lots 322-4.

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Deix Gunther

Reference: see Sydney Rare Book auction, 14 July, 2023, lot 321: Looking For Myself & Found The Other World (1993) etching 2/12 by Gunther Deix (1945-). Gunter Deix is a German-Austrian self-taught artist and proprietor of the Outsider Gallery in Captain's Flat NSW. Settling in Australia in 1968, much of his work centers on amalgamating figurative forms with the landscape of the bush. Artwork.
Also lots 322-4.

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Hiller Christine Mary Kit view full entry

Reference: see Sydney Rare Book Auctions, 14 July, 2023, lot 325 Self Portrait with Pansies (1989) by Christine Mary Kit Hiller. Hand coloured lino-cut. 30x30cm in a 54x57cm frame. Hiller is a Tasmanian artist; a selected finalist for the Archibald portrait prize through 1982-86 and a consecutive winner of the National Portia Geach portrait Prize. Held in major state institutions and private collections such as the Robert Holmes a Court. In good condition, vibrant colours in a complimentary frame that accentuates the work's bold lines. Artwork.

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Hiller Christine Mary Kit

Reference: see Sydney Rare Book Auctions, 14 July, 2023, lot 325 Self Portrait with Pansies (1989) by Christine Mary Kit Hiller. Hand coloured lino-cut. 30x30cm in a 54x57cm frame. Hiller is a Tasmanian artist; a selected finalist for the Archibald portrait prize through 1982-86 and a consecutive winner of the National Portia Geach portrait Prize. Held in major state institutions and private collections such as the Robert Holmes a Court. In good condition, vibrant colours in a complimentary frame that accentuates the work's bold lines. Artwork.

Publishing details:

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Modernismview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Modernism

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Andre of Melbourne photographview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Andre of Melbourne photograph

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Annand Dopuglasview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Annand Dopuglas

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Annand Douglasview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Annand Douglas

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Atkinson Yvonneview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Atkinson Yvonne

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Atyeo Sam chapter p49-59view full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Atyeo Sam chapter p49-59

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Badham Herbertview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Badham Herbert

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Barnett F Oswald photographsview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Barnett F Oswald photographs

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Beckett Clariceview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Beckett Clarice

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Bergner Yoslview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Bergner Yosl

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Blundell Ethel earthenwareview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Blundell Ethel earthenware

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Boyd Arthurview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Boyd Arthur

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Broome-Norton Jeanview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Broome-Norton Jean

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Burke Keast photographsview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Burke Keast photographs

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Bryans Linaview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Bryans Lina

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Bush Charlesview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Bush Charles

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Cato Jackview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Cato Jack

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Cazneaux Haroldview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Cazneaux Harold

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Challen Arthurview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Challen Arthur

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Cohn Olaview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Cohn Ola

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Cotton Oliveview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Cotton Olive

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Counihan Noelview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Counihan Noel

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Craig Sybilview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Craig Sybil

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Curtis Robert Emersonview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Curtis Robert Emerson

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Derham Francesview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Derham Frances

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Dupain Maxview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Dupain Max

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Dickinson - Monteath Studioview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Dickinson - Monteath Studio

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Monteath Studioview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Monteath Studio

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Dyring Moyaview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Dyring Moya

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Fletcher Marjorie sculpturesview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Fletcher Marjorie sculptures

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Francis Ivorview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Francis Ivor

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Gleeson Jamesview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Gleeson James

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Gruner Eliothview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Gruner Elioth

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Hall Hugh P photographview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Hall Hugh P photograph

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Heysen Noraview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Heysen Nora

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Hinder Frankview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Hinder Frank

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Hinder Margelview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Hinder Margel

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Hoffman Brick Companyview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Hoffman Brick Company

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Hoffman Ware earthenwareview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Hoffman Ware earthenware

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Ippen Evelyn designerview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Ippen Evelyn designer

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Katani Tjam Yilkariview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Katani Tjam Yilkari

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Kemp Rogerview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Kemp Roger

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Kilgour Noelview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Kilgour Noel

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Kuehn Nanette photographview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Kuehn Nanette photograph

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Kunz Alfred designerview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Kunz Alfred designer

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Lahey Vidaview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Lahey Vida

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Lawler Adrianview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Lawler Adrian

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Leason Percy chapter p127-135view full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Leason Percy chapter p127-135

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Le Guay Laurence photographsview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Le Guay Laurence photographs

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Loneragan Charles watercolour 1936 Weldersview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Loneragan Charles watercolour 1936 Welders

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Lowe Allan earthenwareview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Lowe Allan earthenware

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

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McClintock Herbertview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

McClintock Herbert

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Mallard Henri photographview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Mallard Henri photograph

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Maughan Jack 1897-1980 illustratorview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Maughan Jack 1897-1980 illustrator

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Mayo Daphneview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Mayo Daphne

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Meere Charlesview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Meere Charles

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Murch Charlesview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Murch Charles

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Namatjira Albertview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Namatjira Albert

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Nicholas Hilda Rixview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Nicholas Hilda Rix

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Noll Adolphina fabricview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Noll Adolphina fabric

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

O’Connell Michael designerview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

O’Connell Michael designer

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Pate Klytieview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Pate Klytie

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Premier Potteryview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Premier Pottery

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Preston Margaretview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Preston Margaret

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Smith Peter Purvesview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Smith Peter Purves

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Purvis Tom (England 1888-1959)view full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Purvis Tom (England 1888-1959)

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Randille clothingview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Randille clothing

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Ricketts Williamview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Ricketts William

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Robertshaw Fredaview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Robertshaw Freda

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Rowell Johnview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Rowell John

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Rowell Williamview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Rowell William

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Sellheim Gertview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Sellheim Gert

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Smith Grace Cossingtonview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Smith Grace Cossington

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Spowers Ethelview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Spowers Ethel

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Smith Bernard paintingview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Smith Bernard painting

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Spowers Ethelview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Spowers Ethel

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Syme Evelynview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Syme Evelyn

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Thornhill Dorothyview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Thornhill Dorothy

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Trompf Percyview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Trompf Percy

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Tucker Albertview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Tucker Albert

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Vassilieff Danilaview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Vassilieff Danila

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Vike Haraldview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Vike Harald

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Waller Christianview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Waller Christian

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Ward Fred designer chapter p49-59 furnitureview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Ward Fred designer chapter p49-59 furniture

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Wilangarr Makani attributedview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Wilangarr Makani attributed

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Wilson Ericview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Wilson Eric

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Airzone PTY LTD radiosview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Airzone PTY LTD radios

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

radio designsview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

radio designs

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

radio designsview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

radio designs

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

fashionview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

fashion

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

designview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

design

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Coates Robert photograph 1939view full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Coates Robert photograph 1939

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Streeton Arthurview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Streeton Arthur

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Dunstan Roy photograph 1935view full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Dunstan Roy photograph 1935

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Thomson D F photographview full entry

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

×

Thomson D F photograph

Reference: see Brave New World: Australia 1930s. Edited by Isobel Crombie and Elena Taylor. Published for the exhibition Brave New World: Australia 1930s, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 14 July 2017-15 October 2017. Includes index and list of works. [’Beginning with the Great Depression and ending with the Second World War, the 1930s was characterised by both optimism and despair. Brave New World: Australia 1930s presents a fresh look at this turbulent decade and considers the engagement of artists with the great issues of the time: the Depression and its aftermath; nationalism and the body culture movement; growing calls for Indigenous rights; the celebration of technological progress, and its antithesis in the nostalgia for pastoralism; the ‘new woman’; and increasing anxiety at the possibility of another world war.

Includes works by Albert Tucker, Percy Leason, Daniel Vassilieff, Noel Counihan, Max Dupain, Dorothy Thornhill, Fred Ward, Sybil Craig, William Ricketts, Margaret Preston, Arthur Murch, Elioth Gruner, Freda Robertshaw, Albert Namatjira, Lionel Lindsay et al

Featuring thematic essays by Essays by Charles Pickett, Caroline Butler-Bowdon, Paola Di Trocchio, Peter Sheridan, John McPhee, Isobel Crombie, Rachel Fensham, Jeanette Hoorn, Ian McLean, Myles Russell-Cook, Elena Taylor. Brave New World considers a broad range of artistic production – painting, photography, printmaking, sculpture, decorative arts, fashion, architecture, commercial art, dance, film and design – to show the rich diversity of this fascinating and contested decade.’]

[’The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.  The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today. (This book was published to accompany an exhibition.)’]

Publishing details: National Gallery of Victoria, 2017,
Hardback, 212 pages
Fully illustrated in colour

Location:

Close

Beyond Sentimentality: The Family as Patron, Subject and Author of Early Photography in Colonial Australiaview full entry

Reference: Beyond Sentimentality: The Family as Patron, Subject and Author of Early Photography in Colonial Australia, by. Elisa deCourcy. [This article investigates the first decade and a half of photographic practice in the Australian colonies from the perspective of family participation in the portrait marketplace. The article argues that this period has largely been narrated around determining the point of photography’s arrival. This approach risks underplaying both the significant innovation and entrepreneurship that defined early photographic practice in this part of the British Empire and how photographic culture engaged with settlers’ dispossession of First Nations land. This is not to say that early colonial Australian photography developed in isolation. Rather, the evasion of early British photography patents, as well as Australia’s geographic location diluted the perpetuation of the English studio model in this part of the world. This, in turn, impacted the kinds of individuals who practised as daguerreian photographers in the colonies and – because of the appetites of colonial society, particularly settler families – the types of photographic products offered.]
Publishing details: History of Photography
Published online: 16 May 2022 - https://www.tandfonline.com/doi/full/10.1080/03087298.2022.2113245
Ref: 1000

×

Beyond Sentimentality: The Family as Patron, Subject and Author of Early Photography in Colonial Australia

Reference: Beyond Sentimentality: The Family as Patron, Subject and Author of Early Photography in Colonial Australia, by. Elisa deCourcy. [This article investigates the first decade and a half of photographic practice in the Australian colonies from the perspective of family participation in the portrait marketplace. The article argues that this period has largely been narrated around determining the point of photography’s arrival. This approach risks underplaying both the significant innovation and entrepreneurship that defined early photographic practice in this part of the British Empire and how photographic culture engaged with settlers’ dispossession of First Nations land. This is not to say that early colonial Australian photography developed in isolation. Rather, the evasion of early British photography patents, as well as Australia’s geographic location diluted the perpetuation of the English studio model in this part of the world. This, in turn, impacted the kinds of individuals who practised as daguerreian photographers in the colonies and – because of the appetites of colonial society, particularly settler families – the types of photographic products offered.]

Publishing details: History of Photography
Published online: 16 May 2022 - https://www.tandfonline.com/doi/full/10.1080/03087298.2022.2113245

Location: 1000

Close

photographyview full entry

Reference: see Beyond Sentimentality: The Family as Patron, Subject and Author of Early Photography in Colonial Australia, by. Elisa deCourcy. [This article investigates the first decade and a half of photographic practice in the Australian colonies from the perspective of family participation in the portrait marketplace. The article argues that this period has largely been narrated around determining the point of photography’s arrival. This approach risks underplaying both the significant innovation and entrepreneurship that defined early photographic practice in this part of the British Empire and how photographic culture engaged with settlers’ dispossession of First Nations land. This is not to say that early colonial Australian photography developed in isolation. Rather, the evasion of early British photography patents, as well as Australia’s geographic location diluted the perpetuation of the English studio model in this part of the world. This, in turn, impacted the kinds of individuals who practised as daguerreian photographers in the colonies and – because of the appetites of colonial society, particularly settler families – the types of photographic products offered.]
Publishing details: History of Photography
Published online: 16 May 2022 - https://www.tandfonline.com/doi/full/10.1080/03087298.2022.2113245

×

photography

Reference: see Beyond Sentimentality: The Family as Patron, Subject and Author of Early Photography in Colonial Australia, by. Elisa deCourcy. [This article investigates the first decade and a half of photographic practice in the Australian colonies from the perspective of family participation in the portrait marketplace. The article argues that this period has largely been narrated around determining the point of photography’s arrival. This approach risks underplaying both the significant innovation and entrepreneurship that defined early photographic practice in this part of the British Empire and how photographic culture engaged with settlers’ dispossession of First Nations land. This is not to say that early colonial Australian photography developed in isolation. Rather, the evasion of early British photography patents, as well as Australia’s geographic location diluted the perpetuation of the English studio model in this part of the world. This, in turn, impacted the kinds of individuals who practised as daguerreian photographers in the colonies and – because of the appetites of colonial society, particularly settler families – the types of photographic products offered.]

Publishing details: History of Photography
Published online: 16 May 2022 - https://www.tandfonline.com/doi/full/10.1080/03087298.2022.2113245

Location:

Close

Bock Thomas extensive informationview full entry

Reference: see Beyond Sentimentality: The Family as Patron, Subject and Author of Early Photography in Colonial Australia, by. Elisa deCourcy. [This article investigates the first decade and a half of photographic practice in the Australian colonies from the perspective of family participation in the portrait marketplace. The article argues that this period has largely been narrated around determining the point of photography’s arrival. This approach risks underplaying both the significant innovation and entrepreneurship that defined early photographic practice in this part of the British Empire and how photographic culture engaged with settlers’ dispossession of First Nations land. This is not to say that early colonial Australian photography developed in isolation. Rather, the evasion of early British photography patents, as well as Australia’s geographic location diluted the perpetuation of the English studio model in this part of the world. This, in turn, impacted the kinds of individuals who practised as daguerreian photographers in the colonies and – because of the appetites of colonial society, particularly settler families – the types of photographic products offered.]
Publishing details: History of Photography
Published online: 16 May 2022 - https://www.tandfonline.com/doi/full/10.1080/03087298.2022.2113245

×

Bock Thomas extensive information

Reference: see Beyond Sentimentality: The Family as Patron, Subject and Author of Early Photography in Colonial Australia, by. Elisa deCourcy. [This article investigates the first decade and a half of photographic practice in the Australian colonies from the perspective of family participation in the portrait marketplace. The article argues that this period has largely been narrated around determining the point of photography’s arrival. This approach risks underplaying both the significant innovation and entrepreneurship that defined early photographic practice in this part of the British Empire and how photographic culture engaged with settlers’ dispossession of First Nations land. This is not to say that early colonial Australian photography developed in isolation. Rather, the evasion of early British photography patents, as well as Australia’s geographic location diluted the perpetuation of the English studio model in this part of the world. This, in turn, impacted the kinds of individuals who practised as daguerreian photographers in the colonies and – because of the appetites of colonial society, particularly settler families – the types of photographic products offered.]

Publishing details: History of Photography
Published online: 16 May 2022 - https://www.tandfonline.com/doi/full/10.1080/03087298.2022.2113245

Location:

Close

Daguerreotypesview full entry

Reference: see Beyond Sentimentality: The Family as Patron, Subject and Author of Early Photography in Colonial Australia, by. Elisa deCourcy. [This article investigates the first decade and a half of photographic practice in the Australian colonies from the perspective of family participation in the portrait marketplace. The article argues that this period has largely been narrated around determining the point of photography’s arrival. This approach risks underplaying both the significant innovation and entrepreneurship that defined early photographic practice in this part of the British Empire and how photographic culture engaged with settlers’ dispossession of First Nations land. This is not to say that early colonial Australian photography developed in isolation. Rather, the evasion of early British photography patents, as well as Australia’s geographic location diluted the perpetuation of the English studio model in this part of the world. This, in turn, impacted the kinds of individuals who practised as daguerreian photographers in the colonies and – because of the appetites of colonial society, particularly settler families – the types of photographic products offered.]
Publishing details: History of Photography
Published online: 16 May 2022 - https://www.tandfonline.com/doi/full/10.1080/03087298.2022.2113245

×

Daguerreotypes

Reference: see Beyond Sentimentality: The Family as Patron, Subject and Author of Early Photography in Colonial Australia, by. Elisa deCourcy. [This article investigates the first decade and a half of photographic practice in the Australian colonies from the perspective of family participation in the portrait marketplace. The article argues that this period has largely been narrated around determining the point of photography’s arrival. This approach risks underplaying both the significant innovation and entrepreneurship that defined early photographic practice in this part of the British Empire and how photographic culture engaged with settlers’ dispossession of First Nations land. This is not to say that early colonial Australian photography developed in isolation. Rather, the evasion of early British photography patents, as well as Australia’s geographic location diluted the perpetuation of the English studio model in this part of the world. This, in turn, impacted the kinds of individuals who practised as daguerreian photographers in the colonies and – because of the appetites of colonial society, particularly settler families – the types of photographic products offered.]

Publishing details: History of Photography
Published online: 16 May 2022 - https://www.tandfonline.com/doi/full/10.1080/03087298.2022.2113245

Location:

Close

Goodman George Barron (?–1851) photographer - extensive informationview full entry

Reference: see Beyond Sentimentality: The Family as Patron, Subject and Author of Early Photography in Colonial Australia, by. Elisa deCourcy. [This article investigates the first decade and a half of photographic practice in the Australian colonies from the perspective of family participation in the portrait marketplace. The article argues that this period has largely been narrated around determining the point of photography’s arrival. This approach risks underplaying both the significant innovation and entrepreneurship that defined early photographic practice in this part of the British Empire and how photographic culture engaged with settlers’ dispossession of First Nations land. This is not to say that early colonial Australian photography developed in isolation. Rather, the evasion of early British photography patents, as well as Australia’s geographic location diluted the perpetuation of the English studio model in this part of the world. This, in turn, impacted the kinds of individuals who practised as daguerreian photographers in the colonies and – because of the appetites of colonial society, particularly settler families – the types of photographic products offered.]
Publishing details: History of Photography
Published online: 16 May 2022 - https://www.tandfonline.com/doi/full/10.1080/03087298.2022.2113245

×

Goodman George Barron (?–1851) photographer - extensive information

Reference: see Beyond Sentimentality: The Family as Patron, Subject and Author of Early Photography in Colonial Australia, by. Elisa deCourcy. [This article investigates the first decade and a half of photographic practice in the Australian colonies from the perspective of family participation in the portrait marketplace. The article argues that this period has largely been narrated around determining the point of photography’s arrival. This approach risks underplaying both the significant innovation and entrepreneurship that defined early photographic practice in this part of the British Empire and how photographic culture engaged with settlers’ dispossession of First Nations land. This is not to say that early colonial Australian photography developed in isolation. Rather, the evasion of early British photography patents, as well as Australia’s geographic location diluted the perpetuation of the English studio model in this part of the world. This, in turn, impacted the kinds of individuals who practised as daguerreian photographers in the colonies and – because of the appetites of colonial society, particularly settler families – the types of photographic products offered.]

Publishing details: History of Photography
Published online: 16 May 2022 - https://www.tandfonline.com/doi/full/10.1080/03087298.2022.2113245

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Insley Lawson (dates unknown) photographerview full entry

Reference: see Beyond Sentimentality: The Family as Patron, Subject and Author of Early Photography in Colonial Australia, by. Elisa deCourcy. [This article investigates the first decade and a half of photographic practice in the Australian colonies from the perspective of family participation in the portrait marketplace. The article argues that this period has largely been narrated around determining the point of photography’s arrival. This approach risks underplaying both the significant innovation and entrepreneurship that defined early photographic practice in this part of the British Empire and how photographic culture engaged with settlers’ dispossession of First Nations land. This is not to say that early colonial Australian photography developed in isolation. Rather, the evasion of early British photography patents, as well as Australia’s geographic location diluted the perpetuation of the English studio model in this part of the world. This, in turn, impacted the kinds of individuals who practised as daguerreian photographers in the colonies and – because of the appetites of colonial society, particularly settler families – the types of photographic products offered.]
Publishing details: History of Photography
Published online: 16 May 2022 - https://www.tandfonline.com/doi/full/10.1080/03087298.2022.2113245

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Insley Lawson (dates unknown) photographer

Reference: see Beyond Sentimentality: The Family as Patron, Subject and Author of Early Photography in Colonial Australia, by. Elisa deCourcy. [This article investigates the first decade and a half of photographic practice in the Australian colonies from the perspective of family participation in the portrait marketplace. The article argues that this period has largely been narrated around determining the point of photography’s arrival. This approach risks underplaying both the significant innovation and entrepreneurship that defined early photographic practice in this part of the British Empire and how photographic culture engaged with settlers’ dispossession of First Nations land. This is not to say that early colonial Australian photography developed in isolation. Rather, the evasion of early British photography patents, as well as Australia’s geographic location diluted the perpetuation of the English studio model in this part of the world. This, in turn, impacted the kinds of individuals who practised as daguerreian photographers in the colonies and – because of the appetites of colonial society, particularly settler families – the types of photographic products offered.]

Publishing details: History of Photography
Published online: 16 May 2022 - https://www.tandfonline.com/doi/full/10.1080/03087298.2022.2113245

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Pellion Alphonse view full entry

Reference: Alphonse Pellion, ‘Voyage a Bathurst (nouv. Holl.), Une vue de Prospect Hill, Maison de Camp de M. Lawson’, 1819. Watercolour and ink on paper. Mitchell Library, State Library of New South Wales, Sydney, SV/302.

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Pellion Alphonse

Reference: Alphonse Pellion, ‘Voyage a Bathurst (nouv. Holl.), Une vue de Prospect Hill, Maison de Camp de M. Lawson’, 1819. Watercolour and ink on paper. Mitchell Library, State Library of New South Wales, Sydney, SV/302.

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Evans Joyceview full entry

Reference: National Library of Australia exhibtion, 4 Apr 23 – 5 Nov 2020.
The career of Joyce Evans OAM (1929–2019) spans more than six decades of landscape, documentary, and portrait photography. Her work is preserved through the Library’s Joyce Evans Archive, one of our largest collections of images by a contemporary Australian photographer, and contains images which capture essential aspects of Australian life.
This collection-in-focus display contains highlights from the Library’s Joyce Evans Archive, and can be seen in our Treasures Gallery from Tuesday 4 April 2023. Entry to the Gallery is free and no bookings are required.
'I don't know what sort of photographer I am, but I try to be an honest one.'

Joyce Evans was an unusual phenomenon in the Australian photography scene. Her conversion to photography did not occur until she was already in her forties, while her engagement in professional photography had to wait until she was fifty. She never developed a signature style, nor did she become a template photographer, but she possessed a sensibility that has become characteristic of her work, so that you can quickly recognise a Joyce Evans photograph. She was an artist who possessed a definite photographic personality.

Evans combined documentary photography, social photography, landscape photography and studio practice. She also had a social conscience. Although avoiding didactic images or illustrative propaganda, in her documentary work and in her choice of subjects, she had pursued an agenda that shone a light on racism, social inequality and environmental degradation.

This stylish and generously-illustrated monograph shows how Evans' photography was about capturing not only the surface appearances, but ultimately the essences, of her subjects. It illustrates the Evans' belief that in silence and stillness you come to feel the spirit of the subject, and that capturing this spirit was the photographer's goal.

Publishing details: NLA, 2020 [catalogue details to be entered]
Ref: 1000

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Evans Joyce

Reference: National Library of Australia exhibtion, 4 Apr 23 – 5 Nov 2020.
The career of Joyce Evans OAM (1929–2019) spans more than six decades of landscape, documentary, and portrait photography. Her work is preserved through the Library’s Joyce Evans Archive, one of our largest collections of images by a contemporary Australian photographer, and contains images which capture essential aspects of Australian life.
This collection-in-focus display contains highlights from the Library’s Joyce Evans Archive, and can be seen in our Treasures Gallery from Tuesday 4 April 2023. Entry to the Gallery is free and no bookings are required.
'I don't know what sort of photographer I am, but I try to be an honest one.'

Joyce Evans was an unusual phenomenon in the Australian photography scene. Her conversion to photography did not occur until she was already in her forties, while her engagement in professional photography had to wait until she was fifty. She never developed a signature style, nor did she become a template photographer, but she possessed a sensibility that has become characteristic of her work, so that you can quickly recognise a Joyce Evans photograph. She was an artist who possessed a definite photographic personality.

Evans combined documentary photography, social photography, landscape photography and studio practice. She also had a social conscience. Although avoiding didactic images or illustrative propaganda, in her documentary work and in her choice of subjects, she had pursued an agenda that shone a light on racism, social inequality and environmental degradation.

This stylish and generously-illustrated monograph shows how Evans' photography was about capturing not only the surface appearances, but ultimately the essences, of her subjects. It illustrates the Evans' belief that in silence and stillness you come to feel the spirit of the subject, and that capturing this spirit was the photographer's goal.

Publishing details: NLA, 2020 [catalogue details to be entered]

Location: 1000

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Evans Joyceview full entry

Reference: Joyce Evans, by Sasha Grishin

'I don't know what sort of photographer I am, but I try to be an honest one.'

Joyce Evans was an unusual phenomenon in the Australian photography scene. Her conversion to photography did not occur until she was already in her forties, while her engagement in professional photography had to wait until she was fifty. She never developed a signature style, nor did she become a template photographer, but she possessed a sensibility that has become characteristic of her work, so that you can quickly recognise a Joyce Evans photograph. She was an artist who possessed a definite photographic personality.

Evans combined documentary photography, social photography, landscape photography and studio practice. She also had a social conscience. Although avoiding didactic images or illustrative propaganda, in her documentary work and in her choice of subjects, she had pursued an agenda that shone a light on racism, social inequality and environmental degradation.

This stylish and generously-illustrated monograph shows how Evans' photography was about capturing not only the surface appearances, but ultimately the essences, of her subjects. It illustrates the Evans' belief that in silence and stillness you come to feel the spirit of the subject, and that capturing this spirit was the photographer's goal.
Publishing details: National Library of Australia, 2022, 176pp, hc.
Ref: 1000

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Evans Joyce

Reference: Joyce Evans, by Sasha Grishin

'I don't know what sort of photographer I am, but I try to be an honest one.'

Joyce Evans was an unusual phenomenon in the Australian photography scene. Her conversion to photography did not occur until she was already in her forties, while her engagement in professional photography had to wait until she was fifty. She never developed a signature style, nor did she become a template photographer, but she possessed a sensibility that has become characteristic of her work, so that you can quickly recognise a Joyce Evans photograph. She was an artist who possessed a definite photographic personality.

Evans combined documentary photography, social photography, landscape photography and studio practice. She also had a social conscience. Although avoiding didactic images or illustrative propaganda, in her documentary work and in her choice of subjects, she had pursued an agenda that shone a light on racism, social inequality and environmental degradation.

This stylish and generously-illustrated monograph shows how Evans' photography was about capturing not only the surface appearances, but ultimately the essences, of her subjects. It illustrates the Evans' belief that in silence and stillness you come to feel the spirit of the subject, and that capturing this spirit was the photographer's goal.

Publishing details: National Library of Australia, 2022, 176pp, hc.

Location: 1000

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Tribe Barbara view full entry

Reference: see John Scaeffer Collection at Bonhams, Sydney 10 July 2023, The Estate of John Schaeffer AO, Sydney. 23 lots.

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Tribe Barbara

Reference: see John Scaeffer Collection at Bonhams, Sydney 10 July 2023, The Estate of John Schaeffer AO, Sydney. 23 lots.

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Walch Kenview full entry

Reference: see Pro Auction Limited, UK, 10.7.23, lot 21, Pointillist oil painting  Night Sky by Ken Walch (British, born 1927) signed K Walch 1993 framed 140 x 107cm
Walch was born in Wimbledon in 1927. After school he moved to Australia in the early 1950’s and won a place at the National Gallery Art School in Melbourne where he studied under Murray Griffin until 1953 when he returned to England. He then enrolled at St Martins School of Art where his principal tutor was the colourist, Fredrick Gore. Gore introduced him to English post impressionism and the use of colour to emphasise the emotional aspects of painting. Walch took a diploma in Art Teaching and taught in various schools until his retirement ARTWORK: Ken Walch "Night Sky" (Apt 10)

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Walch Ken

Reference: see Pro Auction Limited, UK, 10.7.23, lot 21, Pointillist oil painting  Night Sky by Ken Walch (British, born 1927) signed K Walch 1993 framed 140 x 107cm
Walch was born in Wimbledon in 1927. After school he moved to Australia in the early 1950’s and won a place at the National Gallery Art School in Melbourne where he studied under Murray Griffin until 1953 when he returned to England. He then enrolled at St Martins School of Art where his principal tutor was the colourist, Fredrick Gore. Gore introduced him to English post impressionism and the use of colour to emphasise the emotional aspects of painting. Walch took a diploma in Art Teaching and taught in various schools until his retirement ARTWORK: Ken Walch "Night Sky" (Apt 10)

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Lindt John William 1845-1926view full entry

Reference: see Bellmans auction, UK, 13.7.23, lot 145a, LINDT, John William (1845-1926, photographer). 12 fine albumen photographic prints by J. W. Lindt, 3 taken on board H.M.S. Dart, the remainder of scenes in New Guinea, mounted in an album. PRESENTATION COPY. Please see the full description below.

LINDT, John William (1845-1926, landscape and ethnographic photographer). 12 fine albumen photographic prints by John William Lindt comprising three taken on board the H.M.S. Dart and the remainder of indigenous people and scenes in New Guinea, each mounted on thick card and captioned in manuscript by the photographer, in a contemporary oblong 4to cloth album, gilt edges, the upper cover lettered in gilt, "Australian Scenery. I. W. Lindt. Photographer, 7 Collins Street, East Melbourne", the albumen prints 152 x 206mm., [1885]. PRESENTATION COPY, the front pastedown of the album inscribed, "To Captain Field, H.M.S. Dart, in remembrance of the pleasant trip from Dinner Island to Sydney, J. W. Lindt, 23 [?]Sept. 1885." The albumen prints are captioned in manuscript by Lindt as follows: "On the job, H.M.S. 'Dart'"; "On board H.M.S. 'Dart'"; "Leisure H.M.S. 'Dart'"; "[?]Herepunu Women on the Market Place at Kalo (Kemp Witch R.N.G.)"; "Tupuselai nr Port Moresby (New Guinea)"; "Lakatoi or Motu Trading Vessel, Port Moresby"; "Koiari Chiefs, Saddera Martera, N.G."; "Tree Houses, Koiari District, N. G."; "Ka Kalo Creek, Kapa Kapa, N.G."; "Digaragara Is. from Cape Ventenat Normanby Is. Scene of Captn. Miller's Murder"; "Dinner Island, China Straits, N.G." and "Native Women, Port Moresby, N.G." In addition, the New Guinea prints are inscribed lower left "(Copyright)". "John William Lindt ... was born at Frankfurt on Main ... At 17 he ran away to sea and joined a Dutch sailing ship. He deserted at Brisbane ... and then worked in a photographic studio ... Using the wet-plate process he photographed the Clarence River district and its Aboriginals, producing albums in 1875 and 1876. He then ... went to Melbourne where he opened a studio in Collins Street. He soon won repute for his society, theatre and landscape portraits. In 1880 he photographed the capture of the Kelly gang at Glenrowan ... In 1885 Lindt went with Sir Peter Scratchley's expedition to the Protectorate of British New Guinea as official photographer. He presented an album of his New Guinea photographs to the Indian and Colonial Exhibition in London in 1886. He went to Europe to publish his Picturesque New Guinea (London, 1887) ... He was elected a judge at the international photographic exhibition at Frankfurt, received a gold medal from the Photographic Association of Vienna and became a member of the Royal Geographical Society, London" (from the Australian Dictionary of Biography). The recipient of this presentation copy was Captain Arthur Mostyn Field (1855-1950), an officer in the Royal Navy who rose to the rank of Admiral. He was elected as a Fellow of the Royal Society in 1905 in recognition of his work as a "distinguished Hydrographic Surveyor" chiefly in Australia, the Pacific Islands and the South China Seas.

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Lindt John William 1845-1926

Reference: see Bellmans auction, UK, 13.7.23, lot 145a, LINDT, John William (1845-1926, photographer). 12 fine albumen photographic prints by J. W. Lindt, 3 taken on board H.M.S. Dart, the remainder of scenes in New Guinea, mounted in an album. PRESENTATION COPY. Please see the full description below.

LINDT, John William (1845-1926, landscape and ethnographic photographer). 12 fine albumen photographic prints by John William Lindt comprising three taken on board the H.M.S. Dart and the remainder of indigenous people and scenes in New Guinea, each mounted on thick card and captioned in manuscript by the photographer, in a contemporary oblong 4to cloth album, gilt edges, the upper cover lettered in gilt, "Australian Scenery. I. W. Lindt. Photographer, 7 Collins Street, East Melbourne", the albumen prints 152 x 206mm., [1885]. PRESENTATION COPY, the front pastedown of the album inscribed, "To Captain Field, H.M.S. Dart, in remembrance of the pleasant trip from Dinner Island to Sydney, J. W. Lindt, 23 [?]Sept. 1885." The albumen prints are captioned in manuscript by Lindt as follows: "On the job, H.M.S. 'Dart'"; "On board H.M.S. 'Dart'"; "Leisure H.M.S. 'Dart'"; "[?]Herepunu Women on the Market Place at Kalo (Kemp Witch R.N.G.)"; "Tupuselai nr Port Moresby (New Guinea)"; "Lakatoi or Motu Trading Vessel, Port Moresby"; "Koiari Chiefs, Saddera Martera, N.G."; "Tree Houses, Koiari District, N. G."; "Ka Kalo Creek, Kapa Kapa, N.G."; "Digaragara Is. from Cape Ventenat Normanby Is. Scene of Captn. Miller's Murder"; "Dinner Island, China Straits, N.G." and "Native Women, Port Moresby, N.G." In addition, the New Guinea prints are inscribed lower left "(Copyright)". "John William Lindt ... was born at Frankfurt on Main ... At 17 he ran away to sea and joined a Dutch sailing ship. He deserted at Brisbane ... and then worked in a photographic studio ... Using the wet-plate process he photographed the Clarence River district and its Aboriginals, producing albums in 1875 and 1876. He then ... went to Melbourne where he opened a studio in Collins Street. He soon won repute for his society, theatre and landscape portraits. In 1880 he photographed the capture of the Kelly gang at Glenrowan ... In 1885 Lindt went with Sir Peter Scratchley's expedition to the Protectorate of British New Guinea as official photographer. He presented an album of his New Guinea photographs to the Indian and Colonial Exhibition in London in 1886. He went to Europe to publish his Picturesque New Guinea (London, 1887) ... He was elected a judge at the international photographic exhibition at Frankfurt, received a gold medal from the Photographic Association of Vienna and became a member of the Royal Geographical Society, London" (from the Australian Dictionary of Biography). The recipient of this presentation copy was Captain Arthur Mostyn Field (1855-1950), an officer in the Royal Navy who rose to the rank of Admiral. He was elected as a Fellow of the Royal Society in 1905 in recognition of his work as a "distinguished Hydrographic Surveyor" chiefly in Australia, the Pacific Islands and the South China Seas.

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Solomons H B photographerview full entry

Reference: see The Book Merchant Jenkins, auction, Occult Books & Other Antiquarian Artefacts
Jul 15, 2023, lot 154: Carte de Visite Photograph Album: Gillanders, McRae and Cameron families, Armidale, NSW.
16cm x 13cm. 34 CDV photographs. Floral mother of pearl album with metal clasp.
Includes many photographs by H. B. Solomons, a photographer active in Armidale from 1881. Most of the photographs are captioned on the mount identifying the sitter.
Album is bulging and the lower board starting to detatch. Mounts are tanned with some tears around the frames. Photographs in Good to Very Good Condition.
Note: Also includes CDV portraits of members of the family from Scotland.

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Solomons H B photographer

Reference: see The Book Merchant Jenkins, auction, Occult Books & Other Antiquarian Artefacts
Jul 15, 2023, lot 154: Carte de Visite Photograph Album: Gillanders, McRae and Cameron families, Armidale, NSW.
16cm x 13cm. 34 CDV photographs. Floral mother of pearl album with metal clasp.
Includes many photographs by H. B. Solomons, a photographer active in Armidale from 1881. Most of the photographs are captioned on the mount identifying the sitter.
Album is bulging and the lower board starting to detatch. Mounts are tanned with some tears around the frames. Photographs in Good to Very Good Condition.
Note: Also includes CDV portraits of members of the family from Scotland.

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Swann Heather Bview full entry

Reference: Heather B. Swann : Leda and the Swan / curated by Anthony Fitzpatrick

Publishing details: TarraWarra Museum of Art, 202, 15 pages : colour illustrations
Ref: 1000

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Swann Heather B

Reference: Heather B. Swann : Leda and the Swan / curated by Anthony Fitzpatrick

Publishing details: TarraWarra Museum of Art, 202, 15 pages : colour illustrations

Location: 1000

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Swann Heather Bview full entry

Reference: Nervous/Rhythm : Heather B. Swann.
• Strangeness / Virgina Fraser
• Nervousness / Deborah Hart
• Human Eyes / Gina Levenspiel
• Heather B. Swann's Full Moon Spoon / Hitomi Toku
• The Enigmatic Body of Heather B. Swann / Elspeth Pitt
• Sculpture That Knows Waiting / Daisuke Harada.
 
Publishing details: Hobart, Tasmania : Michael Bugelli Gallery, [2018] 77 pages : illustrations (chiefly colour)
Ref: 1000

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Swann Heather B

Reference: Nervous/Rhythm : Heather B. Swann.
• Strangeness / Virgina Fraser
• Nervousness / Deborah Hart
• Human Eyes / Gina Levenspiel
• Heather B. Swann's Full Moon Spoon / Hitomi Toku
• The Enigmatic Body of Heather B. Swann / Elspeth Pitt
• Sculpture That Knows Waiting / Daisuke Harada.
 

Publishing details: Hobart, Tasmania : Michael Bugelli Gallery, [2018] 77 pages : illustrations (chiefly colour)

Location: 1000

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Enchanteview full entry

Reference: Enchante : a collection of handicrafts / [curators, Pat Brassington, Brian Parkes and Heather B, Swann.]
Publishing details: Hobart : Plimsoll Gallery, Centre for the Arts, 1996 
29 p. : ill. (some col.)
Ref: 1000

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Enchante

Reference: Enchante : a collection of handicrafts / [curators, Pat Brassington, Brian Parkes and Heather B, Swann.]

Publishing details: Hobart : Plimsoll Gallery, Centre for the Arts, 1996 
29 p. : ill. (some col.)

Location: 1000

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Rosamond an exhibition of worksview full entry

Reference: Rosamond : an exhibition of works by the recipients of the Rosamond McCulloch 4 month Studio Residencies, Cite Internationale des Arts, Paris 1991-1998 : Alex Wanders, Sharyn Woods, Jane Burton, Karina Clarke, Michael Edwards, Filomena Coppola, Heather B. Swann

Publishing details: Hobart : Plimsoll Gallery, 1999 
36 p. : ill.
Ref: 146

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Rosamond an exhibition of works

Reference: Rosamond : an exhibition of works by the recipients of the Rosamond McCulloch 4 month Studio Residencies, Cite Internationale des Arts, Paris 1991-1998 : Alex Wanders, Sharyn Woods, Jane Burton, Karina Clarke, Michael Edwards, Filomena Coppola, Heather B. Swann

Publishing details: Hobart : Plimsoll Gallery, 1999 
36 p. : ill.

Location: 146

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Wanders Alex view full entry

Reference: see Rosamond : an exhibition of works by the recipients of the Rosamond McCulloch 4 month Studio Residencies, Cite Internationale des Arts, Paris 1991-1998 : Alex Wanders, Sharyn Woods, Jane Burton, Karina Clarke, Michael Edwards, Filomena Coppola, Heather B. Swann

Publishing details: Hobart : Plimsoll Gallery, 1999 
36 p. : ill.

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Wanders Alex

Reference: see Rosamond : an exhibition of works by the recipients of the Rosamond McCulloch 4 month Studio Residencies, Cite Internationale des Arts, Paris 1991-1998 : Alex Wanders, Sharyn Woods, Jane Burton, Karina Clarke, Michael Edwards, Filomena Coppola, Heather B. Swann

Publishing details: Hobart : Plimsoll Gallery, 1999 
36 p. : ill.

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Woods Sharyn ,view full entry

Reference: see Rosamond : an exhibition of works by the recipients of the Rosamond McCulloch 4 month Studio Residencies, Cite Internationale des Arts, Paris 1991-1998 : Alex Wanders, Sharyn Woods, Jane Burton, Karina Clarke, Michael Edwards, Filomena Coppola, Heather B. Swann

Publishing details: Hobart : Plimsoll Gallery, 1999 
36 p. : ill.

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Woods Sharyn ,

Reference: see Rosamond : an exhibition of works by the recipients of the Rosamond McCulloch 4 month Studio Residencies, Cite Internationale des Arts, Paris 1991-1998 : Alex Wanders, Sharyn Woods, Jane Burton, Karina Clarke, Michael Edwards, Filomena Coppola, Heather B. Swann

Publishing details: Hobart : Plimsoll Gallery, 1999 
36 p. : ill.

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Burton Jane view full entry

Reference: see Rosamond : an exhibition of works by the recipients of the Rosamond McCulloch 4 month Studio Residencies, Cite Internationale des Arts, Paris 1991-1998 : Alex Wanders, Sharyn Woods, Jane Burton, Karina Clarke, Michael Edwards, Filomena Coppola, Heather B. Swann

Publishing details: Hobart : Plimsoll Gallery, 1999 
36 p. : ill.

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Burton Jane

Reference: see Rosamond : an exhibition of works by the recipients of the Rosamond McCulloch 4 month Studio Residencies, Cite Internationale des Arts, Paris 1991-1998 : Alex Wanders, Sharyn Woods, Jane Burton, Karina Clarke, Michael Edwards, Filomena Coppola, Heather B. Swann

Publishing details: Hobart : Plimsoll Gallery, 1999 
36 p. : ill.

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Clarke Karina view full entry

Reference: see Rosamond : an exhibition of works by the recipients of the Rosamond McCulloch 4 month Studio Residencies, Cite Internationale des Arts, Paris 1991-1998 : Alex Wanders, Sharyn Woods, Jane Burton, Karina Clarke, Michael Edwards, Filomena Coppola, Heather B. Swann

Publishing details: Hobart : Plimsoll Gallery, 1999 
36 p. : ill.

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Clarke Karina

Reference: see Rosamond : an exhibition of works by the recipients of the Rosamond McCulloch 4 month Studio Residencies, Cite Internationale des Arts, Paris 1991-1998 : Alex Wanders, Sharyn Woods, Jane Burton, Karina Clarke, Michael Edwards, Filomena Coppola, Heather B. Swann

Publishing details: Hobart : Plimsoll Gallery, 1999 
36 p. : ill.

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Edwards Michael view full entry

Reference: see Rosamond : an exhibition of works by the recipients of the Rosamond McCulloch 4 month Studio Residencies, Cite Internationale des Arts, Paris 1991-1998 : Alex Wanders, Sharyn Woods, Jane Burton, Karina Clarke, Michael Edwards, Filomena Coppola, Heather B. Swann

Publishing details: Hobart : Plimsoll Gallery, 1999 
36 p. : ill.

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Edwards Michael

Reference: see Rosamond : an exhibition of works by the recipients of the Rosamond McCulloch 4 month Studio Residencies, Cite Internationale des Arts, Paris 1991-1998 : Alex Wanders, Sharyn Woods, Jane Burton, Karina Clarke, Michael Edwards, Filomena Coppola, Heather B. Swann

Publishing details: Hobart : Plimsoll Gallery, 1999 
36 p. : ill.

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Coppola Filomena view full entry

Reference: see Rosamond : an exhibition of works by the recipients of the Rosamond McCulloch 4 month Studio Residencies, Cite Internationale des Arts, Paris 1991-1998 : Alex Wanders, Sharyn Woods, Jane Burton, Karina Clarke, Michael Edwards, Filomena Coppola, Heather B. Swann

Publishing details: Hobart : Plimsoll Gallery, 1999 
36 p. : ill.

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Coppola Filomena

Reference: see Rosamond : an exhibition of works by the recipients of the Rosamond McCulloch 4 month Studio Residencies, Cite Internationale des Arts, Paris 1991-1998 : Alex Wanders, Sharyn Woods, Jane Burton, Karina Clarke, Michael Edwards, Filomena Coppola, Heather B. Swann

Publishing details: Hobart : Plimsoll Gallery, 1999 
36 p. : ill.

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Swann Heather Bview full entry

Reference: see Rosamond : an exhibition of works by the recipients of the Rosamond McCulloch 4 month Studio Residencies, Cite Internationale des Arts, Paris 1991-1998 : Alex Wanders, Sharyn Woods, Jane Burton, Karina Clarke, Michael Edwards, Filomena Coppola, Heather B. Swann

Publishing details: Hobart : Plimsoll Gallery, 1999 
36 p. : ill.

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Swann Heather B

Reference: see Rosamond : an exhibition of works by the recipients of the Rosamond McCulloch 4 month Studio Residencies, Cite Internationale des Arts, Paris 1991-1998 : Alex Wanders, Sharyn Woods, Jane Burton, Karina Clarke, Michael Edwards, Filomena Coppola, Heather B. Swann

Publishing details: Hobart : Plimsoll Gallery, 1999 
36 p. : ill.

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Female Nude Theview full entry

Reference: The Female Nude: A Monash Gallery of Art Travelling Exhibition. Monash Gallery of Art exhibition catalogue. Features the work of Bill Henson, John Brack, and others.


Publishing details: Melbourne: Monash Gallery of Art, 2004. 12 pages, illustrations, some colour. Pictorial saddle-stapled wrappers.
Ref: 1000

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Female Nude The

Reference: The Female Nude: A Monash Gallery of Art Travelling Exhibition. Monash Gallery of Art exhibition catalogue. Features the work of Bill Henson, John Brack, and others.

Publishing details: Melbourne: Monash Gallery of Art, 2004. 12 pages, illustrations, some colour. Pictorial saddle-stapled wrappers.

Location: 1000

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Nudesview full entry

Reference: see The Female Nude: A Monash Gallery of Art Travelling Exhibition. Monash Gallery of Art exhibition catalogue. Features the work of Bill Henson, John Brack, and others.


Publishing details: Melbourne: Monash Gallery of Art, 2004. 12 pages, illustrations, some colour. Pictorial saddle-stapled wrappers.

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Nudes

Reference: see The Female Nude: A Monash Gallery of Art Travelling Exhibition. Monash Gallery of Art exhibition catalogue. Features the work of Bill Henson, John Brack, and others.

Publishing details: Melbourne: Monash Gallery of Art, 2004. 12 pages, illustrations, some colour. Pictorial saddle-stapled wrappers.

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Dunn Richardview full entry

Reference: Richard Dunn - After Namatjira: Blasted Geometries. - the artist’s exploration of land and Country is exhibited at the Sofitel Hotel in Collins Street, Melbourne,
Publishing details: Sofitel Hotel in Collins Street, Melbourne, 2023 [catalogue details to be added]
Ref: 1000

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Dunn Richard

Reference: Richard Dunn - After Namatjira: Blasted Geometries. - the artist’s exploration of land and Country is exhibited at the Sofitel Hotel in Collins Street, Melbourne,

Publishing details: Sofitel Hotel in Collins Street, Melbourne, 2023 [catalogue details to be added]

Location: 1000

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Dunn Richardview full entry

Reference: Richard Dunn: Thinking Pictures, published by Kerber Verlag, Berlin.
Publishing details: [Kerber Verlag, Berlin [publication details to be added]
Ref: 1000

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Dunn Richard

Reference: Richard Dunn: Thinking Pictures, published by Kerber Verlag, Berlin.

Publishing details: [Kerber Verlag, Berlin [publication details to be added]

Location: 1000

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Dunn Richardview full entry

Reference: Richard Dunn - Thinking Pictures, exhibiotion at Charles Nodrum Gallery,
22 July - 12 August, 2023
Publishing details: Charles Nodrum Gallery, 2023 [catalogue details to be added]
Ref: 1000

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Dunn Richard

Reference: Richard Dunn - Thinking Pictures, exhibiotion at Charles Nodrum Gallery,
22 July - 12 August, 2023

Publishing details: Charles Nodrum Gallery, 2023 [catalogue details to be added]

Location: 1000

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Glover Johnview full entry

Reference: see British Institution for promoting the Fine Arts in the United Kingdom... [Catalogue of works].

[From Hordern House catalogue July 2023:]’Very rare original documentation of works exhibited at the British Institution for Promoting the Fine Arts (usually known as the British Institution), which had been founded in 1806 as a private club for connoisseurs, and to exhibit the works of both contemporaries and Old Masters. Admission cost a shilling. These exhibition catalogues are only very rarely offered for sale, and are scarce in libraries. Works by both John Glover and William Westall are recorded in this catalogue for 1817, at which time both men were living in London. The catalogue records respectively two and four paintings by them, alongside works by Turner and Constable.
The notes on the artists appended to the catalogue give Glover’s address as Montague Square. Glover, who had begun exhibiting at the British Institution in 1810, showed two paintings in the annual exhibition for 1817, listed as ‘A Farm Yard’ and ‘Cephalis and Procris’ (Cephalis, properly “Cephalus”, was the mythological figure given a javelin that always hit its target by the goddess Eos, with which he accidentally killed his wife after a misunderstanding). To an Australian audience, of course, Glover’s importance lies in the work he did after his arrival in Hobart. Glover arrived in 1831, having followed his three sons, who had sailed for Van Diemen’s Land in 1829.
Also in the same exhibition are paintings by William Westall, who is listed as residing with his brother Richard, in either Bedford Square or Lake Grasmere. Westall was famous for his work as landscape artist on Matthew Flinders’ exploration of Australia aboard the Investigator, and it was the same brother Richard who restored many of his pencil-and-wash drawings after they were damaged in the wreck of the Porpoise. William had returned to London in 1805, where he established himself as an associate of the Royal Academy in 1812, and where he was commissioned to paint nine pictures to illustrate Flinders’ A Voyage to Terra Australis of 1814. The exhibition catalogue here lists four paintings by Westall, a ‘Distant View of Lake Windermere, from the Road between Troutbeck and Kirkstone’; a ‘View in the Garden of Corpus Christi College, Oxford’; ‘View from the garden of a Man- darin on the river beyond Canton in China’; and ‘Lake Windermere, with Stone Hall’.’]
Publishing details: London, W. Bulmer, 1817. Quarto, 28pp., uncut; light pencil sketches on final page; original plain paper wrappers.

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Glover John

Reference: see British Institution for promoting the Fine Arts in the United Kingdom... [Catalogue of works].

[From Hordern House catalogue July 2023:]’Very rare original documentation of works exhibited at the British Institution for Promoting the Fine Arts (usually known as the British Institution), which had been founded in 1806 as a private club for connoisseurs, and to exhibit the works of both contemporaries and Old Masters. Admission cost a shilling. These exhibition catalogues are only very rarely offered for sale, and are scarce in libraries. Works by both John Glover and William Westall are recorded in this catalogue for 1817, at which time both men were living in London. The catalogue records respectively two and four paintings by them, alongside works by Turner and Constable.
The notes on the artists appended to the catalogue give Glover’s address as Montague Square. Glover, who had begun exhibiting at the British Institution in 1810, showed two paintings in the annual exhibition for 1817, listed as ‘A Farm Yard’ and ‘Cephalis and Procris’ (Cephalis, properly “Cephalus”, was the mythological figure given a javelin that always hit its target by the goddess Eos, with which he accidentally killed his wife after a misunderstanding). To an Australian audience, of course, Glover’s importance lies in the work he did after his arrival in Hobart. Glover arrived in 1831, having followed his three sons, who had sailed for Van Diemen’s Land in 1829.
Also in the same exhibition are paintings by William Westall, who is listed as residing with his brother Richard, in either Bedford Square or Lake Grasmere. Westall was famous for his work as landscape artist on Matthew Flinders’ exploration of Australia aboard the Investigator, and it was the same brother Richard who restored many of his pencil-and-wash drawings after they were damaged in the wreck of the Porpoise. William had returned to London in 1805, where he established himself as an associate of the Royal Academy in 1812, and where he was commissioned to paint nine pictures to illustrate Flinders’ A Voyage to Terra Australis of 1814. The exhibition catalogue here lists four paintings by Westall, a ‘Distant View of Lake Windermere, from the Road between Troutbeck and Kirkstone’; a ‘View in the Garden of Corpus Christi College, Oxford’; ‘View from the garden of a Man- darin on the river beyond Canton in China’; and ‘Lake Windermere, with Stone Hall’.’]

Publishing details: London, W. Bulmer, 1817. Quarto, 28pp., uncut; light pencil sketches on final page; original plain paper wrappers.

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Westall Williamview full entry

Reference: see British Institution for promoting the Fine Arts in the United Kingdom... [Catalogue of works].

[From Hordern House catalogue July 2023:]’Very rare original documentation of works exhibited at the British Institution for Promoting the Fine Arts (usually known as the British Institution), which had been founded in 1806 as a private club for connoisseurs, and to exhibit the works of both contemporaries and Old Masters. Admission cost a shilling. These exhibition catalogues are only very rarely offered for sale, and are scarce in libraries. Works by both John Glover and William Westall are recorded in this catalogue for 1817, at which time both men were living in London. The catalogue records respectively two and four paintings by them, alongside works by Turner and Constable.
The notes on the artists appended to the catalogue give Glover’s address as Montague Square. Glover, who had begun exhibiting at the British Institution in 1810, showed two paintings in the annual exhibition for 1817, listed as ‘A Farm Yard’ and ‘Cephalis and Procris’ (Cephalis, properly “Cephalus”, was the mythological figure given a javelin that always hit its target by the goddess Eos, with which he accidentally killed his wife after a misunderstanding). To an Australian audience, of course, Glover’s importance lies in the work he did after his arrival in Hobart. Glover arrived in 1831, having followed his three sons, who had sailed for Van Diemen’s Land in 1829.
Also in the same exhibition are paintings by William Westall, who is listed as residing with his brother Richard, in either Bedford Square or Lake Grasmere. Westall was famous for his work as landscape artist on Matthew Flinders’ exploration of Australia aboard the Investigator, and it was the same brother Richard who restored many of his pencil-and-wash drawings after they were damaged in the wreck of the Porpoise. William had returned to London in 1805, where he established himself as an associate of the Royal Academy in 1812, and where he was commissioned to paint nine pictures to illustrate Flinders’ A Voyage to Terra Australis of 1814. The exhibition catalogue here lists four paintings by Westall, a ‘Distant View of Lake Windermere, from the Road between Troutbeck and Kirkstone’; a ‘View in the Garden of Corpus Christi College, Oxford’; ‘View from the garden of a Man- darin on the river beyond Canton in China’; and ‘Lake Windermere, with Stone Hall’.’]
Publishing details: London, W. Bulmer, 1817. Quarto, 28pp., uncut; light pencil sketches on final page; original plain paper wrappers.

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Westall William

Reference: see British Institution for promoting the Fine Arts in the United Kingdom... [Catalogue of works].

[From Hordern House catalogue July 2023:]’Very rare original documentation of works exhibited at the British Institution for Promoting the Fine Arts (usually known as the British Institution), which had been founded in 1806 as a private club for connoisseurs, and to exhibit the works of both contemporaries and Old Masters. Admission cost a shilling. These exhibition catalogues are only very rarely offered for sale, and are scarce in libraries. Works by both John Glover and William Westall are recorded in this catalogue for 1817, at which time both men were living in London. The catalogue records respectively two and four paintings by them, alongside works by Turner and Constable.
The notes on the artists appended to the catalogue give Glover’s address as Montague Square. Glover, who had begun exhibiting at the British Institution in 1810, showed two paintings in the annual exhibition for 1817, listed as ‘A Farm Yard’ and ‘Cephalis and Procris’ (Cephalis, properly “Cephalus”, was the mythological figure given a javelin that always hit its target by the goddess Eos, with which he accidentally killed his wife after a misunderstanding). To an Australian audience, of course, Glover’s importance lies in the work he did after his arrival in Hobart. Glover arrived in 1831, having followed his three sons, who had sailed for Van Diemen’s Land in 1829.
Also in the same exhibition are paintings by William Westall, who is listed as residing with his brother Richard, in either Bedford Square or Lake Grasmere. Westall was famous for his work as landscape artist on Matthew Flinders’ exploration of Australia aboard the Investigator, and it was the same brother Richard who restored many of his pencil-and-wash drawings after they were damaged in the wreck of the Porpoise. William had returned to London in 1805, where he established himself as an associate of the Royal Academy in 1812, and where he was commissioned to paint nine pictures to illustrate Flinders’ A Voyage to Terra Australis of 1814. The exhibition catalogue here lists four paintings by Westall, a ‘Distant View of Lake Windermere, from the Road between Troutbeck and Kirkstone’; a ‘View in the Garden of Corpus Christi College, Oxford’; ‘View from the garden of a Man- darin on the river beyond Canton in China’; and ‘Lake Windermere, with Stone Hall’.’]

Publishing details: London, W. Bulmer, 1817. Quarto, 28pp., uncut; light pencil sketches on final page; original plain paper wrappers.

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Huxley T Hview full entry

Reference: MACGILLIVRAY, John.
Narrative of the Voyage of H.M.S. Rattlesnake... by John MacGillivray. with engraved folding map and 13 lithographed plates after T. Huxley and others as well as many text illustrations. [From From Hordern House catalogue July 2023:
First edition: “a very important voyage of exploration and scientific research” (Ferguson). This was the last, and today is the most difficult to find, of the great exploration journals published by Boone during the heroic age of Australian exploration.
John MacGillivray served as the chief naturalist on the Rattlesnake, part of the important series of hydrographical voyages undertaken by the Admiralty in the late 1840s to chart the Great Barrier Reef and north coast, and the southern coast of New Guinea. The Rattlesnake continued the work that began with Lort Stokes on the Beagle and was continued by Blackwood on the Fly and Bramble. The ship’s complement was distinguished by the presence of the naturalist, T.H. Huxley, and the marine artist, Sir Oswald Brierly. A number of the plates here are after drawings by Huxley.
MacGillivray’s books is also of value for its reprinting of William Carron’s extremely rare narrative of the tragic Kennedy expedition. It was the Rattlesnake that transported Kennedy and his large party to their point of departure on the Queensland coast. The statement made by Jackey Jackey, the remarkable figure who was Kennedy’s Aboriginal servant, is also included.
Ferguson, 11972; Hill, 1060; Wantrup, 145.
Provenance: R. David Parsons (American collector, with book-label); Eric Stock (Melbourne collector, with bookplates).
Publishing details: London, T. & W. Boone, 1852. Two volumes, octavo,

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Huxley T H

Reference: MACGILLIVRAY, John.
Narrative of the Voyage of H.M.S. Rattlesnake... by John MacGillivray. with engraved folding map and 13 lithographed plates after T. Huxley and others as well as many text illustrations. [From From Hordern House catalogue July 2023:
First edition: “a very important voyage of exploration and scientific research” (Ferguson). This was the last, and today is the most difficult to find, of the great exploration journals published by Boone during the heroic age of Australian exploration.
John MacGillivray served as the chief naturalist on the Rattlesnake, part of the important series of hydrographical voyages undertaken by the Admiralty in the late 1840s to chart the Great Barrier Reef and north coast, and the southern coast of New Guinea. The Rattlesnake continued the work that began with Lort Stokes on the Beagle and was continued by Blackwood on the Fly and Bramble. The ship’s complement was distinguished by the presence of the naturalist, T.H. Huxley, and the marine artist, Sir Oswald Brierly. A number of the plates here are after drawings by Huxley.
MacGillivray’s books is also of value for its reprinting of William Carron’s extremely rare narrative of the tragic Kennedy expedition. It was the Rattlesnake that transported Kennedy and his large party to their point of departure on the Queensland coast. The statement made by Jackey Jackey, the remarkable figure who was Kennedy’s Aboriginal servant, is also included.
Ferguson, 11972; Hill, 1060; Wantrup, 145.
Provenance: R. David Parsons (American collector, with book-label); Eric Stock (Melbourne collector, with bookplates).

Publishing details: London, T. & W. Boone, 1852. Two volumes, octavo,

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Turpin Jennyview full entry

Reference: see Annandale Galleries website.

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Turpin Jenny

Reference: see Annandale Galleries website.

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Bayonas Luisview full entry

Reference: Vale Luis Bayonas, screenwriter, filmmaker and artist, by John Waters - IF M<agazine, FilmNewsTV & Streaming·July 11, 2023

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Bayonas Luis

Reference: Vale Luis Bayonas, screenwriter, filmmaker and artist, by John Waters - IF M<agazine, FilmNewsTV & Streaming·July 11, 2023

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Elliott Peter Collection of Australian Artview full entry

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]
Publishing details: Beagle Press, 2013, dw, 188pp

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Elliott Peter Collection of Australian Art

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]

Publishing details: Beagle Press, 2013, dw, 188pp

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Young Blamireview full entry

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]
Publishing details: Beagle Press, 2013, dw, 188pp

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Young Blamire

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]

Publishing details: Beagle Press, 2013, dw, 188pp

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Lindsay Norman 6 worksview full entry

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]
Publishing details: Beagle Press, 2013, dw, 188pp

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Lindsay Norman 6 works

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]

Publishing details: Beagle Press, 2013, dw, 188pp

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Heysen hansview full entry

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]
Publishing details: Beagle Press, 2013, dw, 188pp

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Heysen hans

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]

Publishing details: Beagle Press, 2013, dw, 188pp

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Hilder J Jview full entry

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]
Publishing details: Beagle Press, 2013, dw, 188pp

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Hilder J J

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]

Publishing details: Beagle Press, 2013, dw, 188pp

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Gruner Elioth 2 worksview full entry

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]
Publishing details: Beagle Press, 2013, dw, 188pp

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Gruner Elioth 2 works

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]

Publishing details: Beagle Press, 2013, dw, 188pp

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Jackson James R 6 worksview full entry

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]
Publishing details: Beagle Press, 2013, dw, 188pp

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Jackson James R 6 works

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]

Publishing details: Beagle Press, 2013, dw, 188pp

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McInnes W B view full entry

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]
Publishing details: Beagle Press, 2013, dw, 188pp

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McInnes W B

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]

Publishing details: Beagle Press, 2013, dw, 188pp

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Johnson Robertview full entry

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]
Publishing details: Beagle Press, 2013, dw, 188pp

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Johnson Robert

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]

Publishing details: Beagle Press, 2013, dw, 188pp

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Miller Godfreyview full entry

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]
Publishing details: Beagle Press, 2013, dw, 188pp

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Miller Godfrey

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]

Publishing details: Beagle Press, 2013, dw, 188pp

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Herman Saliview full entry

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]
Publishing details: Beagle Press, 2013, dw, 188pp

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Herman Sali

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]

Publishing details: Beagle Press, 2013, dw, 188pp

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Dobell William 2 worksview full entry

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]
Publishing details: Beagle Press, 2013, dw, 188pp

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Dobell William 2 works

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]

Publishing details: Beagle Press, 2013, dw, 188pp

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Pidgeon W E 1909-1981view full entry

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]
Publishing details: Beagle Press, 2013, dw, 188pp

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Pidgeon W E 1909-1981

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]

Publishing details: Beagle Press, 2013, dw, 188pp

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Kmit Michael 3 worksview full entry

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]
Publishing details: Beagle Press, 2013, dw, 188pp

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Kmit Michael 3 works

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]

Publishing details: Beagle Press, 2013, dw, 188pp

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Drysdale Russell 2 worksview full entry

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]
Publishing details: Beagle Press, 2013, dw, 188pp

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Drysdale Russell 2 works

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]

Publishing details: Beagle Press, 2013, dw, 188pp

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Soloman Lance 6 worksview full entry

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]
Publishing details: Beagle Press, 2013, dw, 188pp

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Soloman Lance 6 works

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]

Publishing details: Beagle Press, 2013, dw, 188pp

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Hefliger Paulview full entry

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]
Publishing details: Beagle Press, 2013, dw, 188pp

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Hefliger Paul

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]

Publishing details: Beagle Press, 2013, dw, 188pp

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Tucker Albertview full entry

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]
Publishing details: Beagle Press, 2013, dw, 188pp

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Tucker Albert

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]

Publishing details: Beagle Press, 2013, dw, 188pp

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Friend Donald 6 worksview full entry

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]
Publishing details: Beagle Press, 2013, dw, 188pp

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Friend Donald 6 works

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]

Publishing details: Beagle Press, 2013, dw, 188pp

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Gleeson Jamesview full entry

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]
Publishing details: Beagle Press, 2013, dw, 188pp

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Gleeson James

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]

Publishing details: Beagle Press, 2013, dw, 188pp

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Lymburner Francisview full entry

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]
Publishing details: Beagle Press, 2013, dw, 188pp

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Lymburner Francis

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]

Publishing details: Beagle Press, 2013, dw, 188pp

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Nolan Sidney 2 worksview full entry

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]
Publishing details: Beagle Press, 2013, dw, 188pp

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Nolan Sidney 2 works

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]

Publishing details: Beagle Press, 2013, dw, 188pp

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O’Brien Justin 2 worksview full entry

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]
Publishing details: Beagle Press, 2013, dw, 188pp

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O’Brien Justin 2 works

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]

Publishing details: Beagle Press, 2013, dw, 188pp

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Hodgkinson Frank 6 worksview full entry

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]
Publishing details: Beagle Press, 2013, dw, 188pp

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Hodgkinson Frank 6 works

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]

Publishing details: Beagle Press, 2013, dw, 188pp

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Strachan Davidview full entry

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]
Publishing details: Beagle Press, 2013, dw, 188pp

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Strachan David

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]

Publishing details: Beagle Press, 2013, dw, 188pp

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Boyd Athur 2 worksview full entry

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]
Publishing details: Beagle Press, 2013, dw, 188pp

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Boyd Athur 2 works

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]

Publishing details: Beagle Press, 2013, dw, 188pp

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Smart Jeffreyview full entry

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]
Publishing details: Beagle Press, 2013, dw, 188pp

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Smart Jeffrey

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]

Publishing details: Beagle Press, 2013, dw, 188pp

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Crooke Rayview full entry

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]
Publishing details: Beagle Press, 2013, dw, 188pp

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Crooke Ray

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]

Publishing details: Beagle Press, 2013, dw, 188pp

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Olley Margaretview full entry

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]
Publishing details: Beagle Press, 2013, dw, 188pp

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Olley Margaret

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]

Publishing details: Beagle Press, 2013, dw, 188pp

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Molvig Jon 3 worksview full entry

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]
Publishing details: Beagle Press, 2013, dw, 188pp

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Molvig Jon 3 works

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]

Publishing details: Beagle Press, 2013, dw, 188pp

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Perceval Johnview full entry

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]
Publishing details: Beagle Press, 2013, dw, 188pp

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Perceval John

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]

Publishing details: Beagle Press, 2013, dw, 188pp

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Boyd Davidview full entry

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]
Publishing details: Beagle Press, 2013, dw, 188pp

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Boyd David

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]

Publishing details: Beagle Press, 2013, dw, 188pp

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Dickerson Robert 2 worksview full entry

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]
Publishing details: Beagle Press, 2013, dw, 188pp

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Dickerson Robert 2 works

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]

Publishing details: Beagle Press, 2013, dw, 188pp

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Pugh Clifton 4 worksview full entry

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]
Publishing details: Beagle Press, 2013, dw, 188pp

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Pugh Clifton 4 works

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]

Publishing details: Beagle Press, 2013, dw, 188pp

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Coburn John 2 worksview full entry

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]
Publishing details: Beagle Press, 2013, dw, 188pp

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Coburn John 2 works

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]

Publishing details: Beagle Press, 2013, dw, 188pp

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Daws Lawrence 2 worksview full entry

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]
Publishing details: Beagle Press, 2013, dw, 188pp

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Daws Lawrence 2 works

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]

Publishing details: Beagle Press, 2013, dw, 188pp

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Williams Fred 4 worksview full entry

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]
Publishing details: Beagle Press, 2013, dw, 188pp

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Williams Fred 4 works

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]

Publishing details: Beagle Press, 2013, dw, 188pp

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Blackman Charles 6 worksview full entry

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]
Publishing details: Beagle Press, 2013, dw, 188pp

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Blackman Charles 6 works

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]

Publishing details: Beagle Press, 2013, dw, 188pp

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French Leonard 3 worksview full entry

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]
Publishing details: Beagle Press, 2013, dw, 188pp

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French Leonard 3 works

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]

Publishing details: Beagle Press, 2013, dw, 188pp

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Hart Proview full entry

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]
Publishing details: Beagle Press, 2013, dw, 188pp

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Hart Pro

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]

Publishing details: Beagle Press, 2013, dw, 188pp

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Olsen John 6 worksview full entry

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]
Publishing details: Beagle Press, 2013, dw, 188pp

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Olsen John 6 works

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]

Publishing details: Beagle Press, 2013, dw, 188pp

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Meadmore Clementview full entry

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]
Publishing details: Beagle Press, 2013, dw, 188pp

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Meadmore Clement

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]

Publishing details: Beagle Press, 2013, dw, 188pp

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Upward Peterview full entry

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]
Publishing details: Beagle Press, 2013, dw, 188pp

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Upward Peter

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]

Publishing details: Beagle Press, 2013, dw, 188pp

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Thomson Ann 3 worksview full entry

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]
Publishing details: Beagle Press, 2013, dw, 188pp

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Thomson Ann 3 works

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]

Publishing details: Beagle Press, 2013, dw, 188pp

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Marmol Ignacio 3 worksview full entry

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]
Publishing details: Beagle Press, 2013, dw, 188pp

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Marmol Ignacio 3 works

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]

Publishing details: Beagle Press, 2013, dw, 188pp

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Aspden Davidview full entry

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]
Publishing details: Beagle Press, 2013, dw, 188pp

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Aspden David

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]

Publishing details: Beagle Press, 2013, dw, 188pp

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Robinson William 9 worksview full entry

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]
Publishing details: Beagle Press, 2013, dw, 188pp

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Robinson William 9 works

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]

Publishing details: Beagle Press, 2013, dw, 188pp

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Lanceley Colinview full entry

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]
Publishing details: Beagle Press, 2013, dw, 188pp

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Lanceley Colin

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]

Publishing details: Beagle Press, 2013, dw, 188pp

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Senbergs Janview full entry

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]
Publishing details: Beagle Press, 2013, dw, 188pp

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Senbergs Jan

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]

Publishing details: Beagle Press, 2013, dw, 188pp

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Baldessin Georgeview full entry

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]
Publishing details: Beagle Press, 2013, dw, 188pp

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Baldessin George

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]

Publishing details: Beagle Press, 2013, dw, 188pp

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Whiteley Brett 7 worksview full entry

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]
Publishing details: Beagle Press, 2013, dw, 188pp

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Whiteley Brett 7 works

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]

Publishing details: Beagle Press, 2013, dw, 188pp

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Looby Keith view full entry

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]
Publishing details: Beagle Press, 2013, dw, 188pp

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Looby Keith

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]

Publishing details: Beagle Press, 2013, dw, 188pp

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Powditch Peter 2 worksview full entry

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]
Publishing details: Beagle Press, 2013, dw, 188pp

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Powditch Peter 2 works

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]

Publishing details: Beagle Press, 2013, dw, 188pp

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Morris Robert b1949 2 worksview full entry

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]
Publishing details: Beagle Press, 2013, dw, 188pp

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Morris Robert b1949 2 works

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]

Publishing details: Beagle Press, 2013, dw, 188pp

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Risley Tom 1947-2010view full entry

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]
Publishing details: Beagle Press, 2013, dw, 188pp

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Risley Tom 1947-2010

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]

Publishing details: Beagle Press, 2013, dw, 188pp

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Smith Ianview full entry

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]
Publishing details: Beagle Press, 2013, dw, 188pp

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Smith Ian

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]

Publishing details: Beagle Press, 2013, dw, 188pp

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Furlonger Joe 4 worksview full entry

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]
Publishing details: Beagle Press, 2013, dw, 188pp

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Furlonger Joe 4 works

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]

Publishing details: Beagle Press, 2013, dw, 188pp

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Hodges Christopherview full entry

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]
Publishing details: Beagle Press, 2013, dw, 188pp

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Hodges Christopher

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]

Publishing details: Beagle Press, 2013, dw, 188pp

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Cooley Peterview full entry

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]
Publishing details: Beagle Press, 2013, dw, 188pp

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Cooley Peter

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]

Publishing details: Beagle Press, 2013, dw, 188pp

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Larwill Davidview full entry

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]
Publishing details: Beagle Press, 2013, dw, 188pp

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Larwill David

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]

Publishing details: Beagle Press, 2013, dw, 188pp

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Macleod Euan 3 worksview full entry

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]
Publishing details: Beagle Press, 2013, dw, 188pp

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Macleod Euan 3 works

Reference: see Peter Elliott Collection of Australian Art ,by Gavin Fry. Includes bibliography. 172 works listed and fully described. May be biographical informatiuon in descriptions. [Dr Peter Elliott AM is a remarkable Australian. One of a dynasty of medical professionals, Peter is a highly decorated and honoured specialist in the field of Gynaecology and Obstetrics. But it is as a collector of art that Peter Elliott is best known, with a passion and lifelong obsession as a patron, mentor and confidante to generations of Australian artists and art dealers. He learned about art in his parent's home, building on their interest and knowledge and passing that enthusiasm on to further generations of the Elliott clan. He has been generous in making his vast collection available to a wider audience and, in his declining years, has made provision to ensure it is available for the benefit of the wider Australian community. His collection contains many masterpieces of Australian art, as well as fascinating sub-collections, ranging from Pacific and Melanesian tribal art, to European antiques, sculpture and contemporary Australian Aboriginal art of the highest quality. This publication brings into focus an extraordinary collection of art and the exceptional individual who brought it together.’]

Publishing details: Beagle Press, 2013, dw, 188pp

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