CO

LL
ED ECT
IT OR
IO
N S

Y E A R B O O K

THE POWER OF FLOWERS

SHARON LAGDEN

BE INSPIRED
BY TALENTED
ARTISTS

VINTAGE
PHOTOGRAPHIC
PROCESS

A R T I S T S P R O F I L E S A N D W O R K S H O P S
 EDITORS LETTER
Welcome to the special Yearbook edition of Creative Artist.
E
very year we look forward to bringing
you our annual edition of Creative Artist.
This issue we showcase some remarkable
artists including oil and acrylic painters, as
well as a skilful photographer whose beautiful
images left us in awe of her talent.
Our regular Shooting for Art feature looks
at animal behaviour and how this can best be
captured on camera. We also introduce the
International Society of Scratchboard Artists
and detail their journey on how the society
came to be.
A feature we are especially thrilled about,
we take a look into the life of Norman Lindsay,
whose talent in multiple disciplines of art has
undoubtedly made him one of the greatest.
In Exhibit A, the spotlight is on TarraWarra
Museum of Art, located in the picturesque Yarra
Valley, Victoria. The museum offers a unique look
into modern and contemporary art, displaying
Australian and international art from the second
half of the twentieth century to the present day.
As always, we also highlight must-visit
exhibitions over the coming months, including
leading exhibitions internationally.
We hope you enjoy this special edition and
look forward to hearing your thoughts. If you
have feedback or wish to be featured in Creative
Artist, please send your submissions via email to
editorial@wpco.com.au or post your contribution
to: Creative Artist, PO Box 8035, Glenmore Park,
NSW 2745
Simon and the team
artist 3
CONTENTS YEARBOOK 2017

Gallery
28 EXHIBIT A TarraWarra Museum of Art
50 International Galleries
Giovanni da Rimini: A 14th-Century Masterpiece
Unveiled; Portraits by Czanne; Matthias Mansen:
Configurations; Vermeer and the Masters of
Genre Painting: Inspiration and Rivalry

Prole
12 Susan Greeff A Pilgrimage to Self
Discovery Photography
18 Bronwyn Chelius Art Defines Me
Fine Art
34 Sharon Lagden The Power of Flowers
Fine Art
56 Jan Matson A Life Long Love of Colour
Fine Art

70
 Contents

Workshops
24 Bronwyn Chelius Bubbles Oils
40 Sharon Lagden Weekend Project
Acrylics
62 Jan Matson Pastoral Scene Oils

Features
44 Vintage Photographic Processes
66 The Life of Norman Lindsay
70 The International Society of
Scratchboard Artists Patrick Hedges

Cover image by Cathy Sheeter

Regulars
3 Editors Page
6 The Vibe

artist 5
THE VIBE

Creating the Contemporary Chair: The Gordon Moffatt Gift

Images Thirty-three provocative and eye-catching and as objects embedded with meaning, expression
This page contemporary chairs, from a stool coated in Chilean and utility. Works on display range in date from
Marc Shamburg designer volcanic rock to a hanging seat shaped like a 1980 to 2016 and include examples of chairs
Australian born 1965 killer whale, will be displayed in the upcoming which represented breakthroughs in production, such
Michael Alvisse designer
National Gallery of Victoria exhibition Creating the
Singaporean born 1963
Shamburg Alvisse, Contemporary Chair: The Gordon Moffatt Gift.
Sydney manufacturer All recently acquired by the NGV through the
Australia est. 1994 support of Gordon Moffatt AM, the works explore
Stop playing with the continuing allure of the chair and its enduring
yourself puzzle 2005 hold over designers. Some of the most inventive
designed, 2016 Australian and international contemporary designers
reupholstered are featured including Tord Boontje, Jacopo Foggini,
wool, fibreglass, foam
Konstantin Grcic, gt2p, Porky Hefer, Helen Kontouris,
Dimensions variable
Forthcoming acquisition Ross Lovegrove, Christien Meindertsma, Patricia
to be purchased with Urquiola, Jlan van der Wiel and Oskar Zieta.
funds donated by Creating the Contemporary Chair explores the
Gordon Moffat AM, 2017 significance of chairs as markers of design evolution

NOW SHOWING
Until November
2017
as Philippe Starcks daring transparent design for the
Louis ghost chair and the ultimate mass produced
chair, Jasper Morrisons Air Chair. Unique studio-
created chairs are also presented including Dirk
van der Kooijs 3D printed Endless chair and Porky
Hefers handmade hanging seat, Fiona Blackfish, that
takes the form of a killer whale.
Throughout history, chairs have been utilised
across diverse cultures and designed for use as
seats of power, discourse, commerce, rest and
domesticity. The pervasiveness of chairs, coupled
with their long roots in tradition, elevates their
significance leading designers to embrace the
chair as a typology within which to reveal their own
capability, individuality and inspiration.

NGV International
This exhibition will run until November 2017
180 St Kilda Road, Melbourne VIC 3006
Web: www.ngv.gov.au

Images
This page
Installation view of Creating the Contemporary Chair: The
Gordon Moffatt Gift at the National Gallery of Victoria,
Melbourne. Photo: Wayne Taylor

artist 7
THE VIBE

Portraits of Language

Language defines a culture; it gives expression to the Images

experiences of those who speak it. Preserving and Top left: Portraits of
language 2016: Portrait
growing languages is an important step in preserving
of Frank River Bank
and growing a culture. Orana Arts Inc, The State
Doolan by Mervyn
Library of NSW and acclaimed photographer Mervyn Bishop
Bishop worked with community to create Portraits of Top Right: Portraits
Language, a photographic and oral documentation of language 2016-2:
exhibition highlighting the Local Elders of Dubbo Portrait of Uncle Ray
and their relationship to traditional language. The Peckham by Mervyn
exhibition celebrates the significant commitment and Bishop
achievements of Aboriginal Elders living in Dubbo today. Bottom left: Portraits
of language 2016-
6: Portrait of Grace
Western Plains Cultural Centre
Toomey Senior by
This exhibition will run until 3 September 2017 Mervyn Bishop
76 Wingewarra Street Dubbo NSW 2830 Bottom right: Portraits
Ph: 02 6801 4444 of language 2016:
Web: www.westernplainsculturalcentre.org Portrait of Jean Millgate
by Mervyn Bishop

NOW SHOWING
Until 3 September
2017

8 artist
 NOW SHOWING
8 July 27 August
2017

Contemporising the Modern

Photography from the 20th and 21st Century

Contemporising the modern showcases 50

photographic works that speak of Australia in the
20th and early 21st centuries, collected by Russell
Mills and donated to the Murray Art Museum Images
Above :Max DUPAIN
Albury (MAMA) in 2015. The collection explores
(19111992)
the development of Australian photography and
Silos through wind-
its coming of age in a period when photographers screen, 1965/2005
were investigating and pushing the boundaries of silver gelatin photograph
the acceptance of photography as a pure art form. Gift of the Russell Mills
The collection brings together iconic artists and Foundation, 2015
artworks of the period including Max Dupain, Olive MAMA collection 2008
Cotton, Jeff Carter, Roger Scott and Trent Parke. Left: Petrina HICKS (1972)
Lambswool - from the
series The Descendants,
Muswellbrook Regional Arts Centre
2008
Exhibition dates: 8 July 27 August 2017
Lightjetprint photograph
Corner Bridge & Williams Streets, Gift of the Russell Mills
Muswellbrook NSW 2333 Foundation, 2015
Ph: 02 6549 3800 MAMA collection
Web: www.muswellbrook.nsw.gov.au/mrac-home

EXHIBITION
29 July 17 September
From the Bower: Patterns of Collecting 2017

This exhibition presents artwork and items from the Art Gallery of Ballarat
Far left: L. Button Regarding
unique personal collections of four contemporary Exhibition dates: 29 July 17 September 2017
the Passage of Time
Victorian artists: Loris Button, Deborah Klein, Louise 40 Lydiard Street North, Ballarat VIC 3350
Left: Louise Saxton Porce-
Saxton and Carole Wilson. The artists are linked by Ph: 03 5320 5858 lain Garden, Gould Galleries
their studio practice, their regional locations and Web: www.artgalleryofballarat.com.au 2015
connections, and their love of gleaning.
Their studio collections range from curiosities,
natural history specimens, memorabilia, discarded
books and china, domestic textiles, carpet and
linoleum, and old tools of trade.

artist 9
THE VIBE

EXHIBITION
1 - 10 September
A Feast of Art Art Show 2017 2017

Images
Right: Joy Schmidt
The Kingfisher Oil
Below left:
Frances Worsnop-Solosy
Devils Creek Vineyard
in the Snow Pastel
(Winner 2D Art Prize)
Below right:
David McCabe
Sheds at Ovens
Watercolour
The 12th Annual A Feast of Art art show will be
held in the beautiful Historic Oxley Hall, Snow Road,
Oxley this September.
The art show will begin with a Gala Opening Night
at 7pm on Friday 1st September and winning artists
will be presented with their prizes on the night.
Prizes of $700 will be awarded to the winning artist
in each of the three sections:
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With additional awards for Highly Commended in
each section.
This local art show is conducted by the Milawa
Gourmet Region Association. It provides artists with
a wonderful opportunity to display and sell their art
works over a period of 10 days, gaining maximum
exposure of their work.
An opportunity to purchase an original piece
of art is available, as all art works will be for sale
following prize giving on Opening Night. With
paintings, drawings, photography and textile art
on display there will be something for everyone
to enjoy.
Visitors to the art show will be able to vote for
their favourite artwork and A Viewers Choice prize
of $150 will be presented to the winning artist with
the most votes at the conclusion of the art show on
Sunday 10th September.

Art show will be held from 1-10 September 2017

Historic Oxley Hall, Snow Road, Oxley
Entry forms: www.afeastoart.wordpress.com

10 artist
Showcase #15:
Kirsten Perry
Kirsten Perry investigates the relationship between
elements of error, chance, anthropomorphism
and humour. Traditionally, errors are discarded
or covered up but Kirsten likes to challenge this
aesthetic by highlighting and exaggerating errors,
especially through humour. Mould making is central
to her ceramic practice. Kirsten enjoys the technical
challenge of casting objects or textures not usually
associated with ceramics, such as paper, plastic
Images
Images provided by
and cardboard. This process has the ability to Kirsten Perry
transform the objects original purpose and allows
for serendipitous outcomes. Kirsten finds unexpected
results amusing.

Shepparton Art Museum

Exhibition dates: 5 August 22 October 2017 Exhibition
70 Welsford Street Shepparton VIC 3630 5 August 22 October
Ph: 03 5832 9861 2017
Web: www.sheppartonmuseum.com.au

Drawn to the West

With Artist Derek L Newton

Early in 2015 Derek will be leading a Pen and Ink 7 day

tour of the Historic Port City of Fremantle and beautiful
Rottnest Island WA. This first class tour will include
most meals and accommodation, studio visits of leading
Fremantle Artists and a guided tour of Fremantle and
Ferry to Rottnest Island. Interested? Why not register
your name and email address for more details. The
group will be limited to 15 with a minimum of 10.

Email your details to Derek at:

info@wannerooheritageart.com.au

artist 11
PROFILE

A Pilgrimage to
Self Discovery
12 artist

Photography and travelling have the amazing
gifts of opening up our senses to new
experiences, to change our perceptions, to
liberate us from comfort zones and to take us on
inner journeys.
Susan Greeff
T
hey say a golden thread runs through our life
experiences which ultimately lead to ones life
purpose. Each of these experiences shape
and grow our talents and natural gifts, which should
be used and shared to serve a higher purpose. This
is what South African photographer Susan Greeff
strongly believes. She recalls how images, travel and
supporting others had an impact on her life from a
very young age. Her interest in photography came
from her mothers photo albums and magazines;
especially the square formatted black and white
images. Susans father loved to travel and she was
always out of her skin happy when awoken early
to take a road trip. As for supporting others with
challenging life issues, this came naturally to Susan,
even as a young child, leading her into the field of
Life Coaching and Counselling.
A life changing moment for Susan occurred in
2006 when she walked the Camino de Compostella,
a pilgrims route in Spain. Seeing as she had to carry
a backpack for 320 kilometres, she brought a small
Sony Powershot, top of its range at the time, which
really gave good quality images. I really enjoyed
immersing myself in the landscape and people around
me through the camera. After the pilgrimage, life felt
different. You dont walk solo for 320 kilometres in a
strange country, meeting people from all walks of life >>
Photos
This photo: The trip to Kenya marked my first real encounter
with wildlife photography in the Masai Mara and the Amboselli
National Park. The processing style used gives a painterly
effect for a more contemporary take on wildlife photography.
Right: A Fine Art effect was created by diffusing the back-
ground in camera using Aperture Priority at f2.8 with a square
crop and some further tweaks in post processing.
artist 13
PROFILE A PILGRIMAGE TO SELF DISCOVERY
and not experience change. I realised that there was
more to my life than ever before.
By this time, Susans Life Counselling practice
was going well and she really loved her work, but
somehow something was missing. As she delved
deeper, Susan realised she had a yearning for being
more creative, doing and seeing something manifest
from her own creative efforts. And so the search
started for that something, but with that, also the
doubt of whether she was born to be a creative
person. You see, everyone around me could do
something creative - cooking, painting, craftwork
all kinds of things. But I wasnt really into that.
I know that we are all creative, whether you cook
an ordinary meal, do a school or college project
or simply planting in the garden. Susan quotes a
saying, when the student is ready, the teacher will
come. Her teacher came in the form of a book,
The Artist Way by Julia Cameron. As Susan worked
through the book, she realised that she had always
loved photography, although she did not see it as an
art form or creative expression at the time. It was
something I used to like doing, but I was willing to
explore the option that this might be my creative
expression.
And so it came that Susan bought her first DSLR
camera. The shop owner wanted to know the kind
of photography I was interested in. I wasnt sure,
because at the time I just liked to shoot anything,
but I knew that I needed to be more focused if I
14 artist
wanted to explore photography as a creative outlet.
A sudden thought popped into her head, you know
what, I would really like my images to speak to
people, whatever I shoot!
Susan was referred to Nicole Palmer, a local
photographic teacher, who not only taught but also
inspired seeing and sensing on a deeper level. She
was just the person Susan needed to influence her
first creative experiences with photography. Since
then, Susan has completed numerous photographic
workshops, courses and seminars with different
teachers in various photographic genres, all from
whom she has learned a great deal.
As her skills progressed, a major inspiration for
Susans black and white photography, in particular
the very dark and light contrast technique used
called Chiaroscuro, came from the work of old
masters like Ansel Adams, Margaret Bourke White,
Sebastio Salgado.
Susan describes herself as a feeling kind of
photographer, connecting with her subject on
an emotional and soulful level, intuitively looking
for an expression, behaviour or pattern to capture
with her camera. Henri Cartier-Bresson, a French
photographer, coined "the Decisive Moment", which
Susan has termed the intuitive moment or dropping
into the zone. It is when you sense what is going
to happen next, and it is in that moment that you lift
your camera and shoot. The French have a beautiful
name for street photography, they call it Flaneur
loosely meaning wandering aimlessly with a camera, Photos
something I do continually, even if I do only have my This page
smartphone with me to take a picture. I have a fascination with old
doors, steps and cobbled
In wandering, one reaches a contemplative or
streets and wandering
meditative state where everyday business drops aimlessly through the
away and you enter a state of deeper connection, ancient streets of old towns
where in a moment you start to see beyond seeing, on the Greek island of
it becomes more a sense of what is possible or Lesvos. I could get a sense
what is unfolding in front of you. It is when you of place and capture
sense what is going to happen next, and it is in that images from being in a
moment that you lift your camera and shoot. contemplative space.
This way of thinking led Susan to study at the
Opposite page
Miksang Institute of Contemplative Photography i
A Fine Art effect
n Boulder Colorado with Michael Wood and was created in post
Julie DuBose. As she became more confident, processing with this
Susans ability to play, explore and try out new Meerkat family in the
editing styles further developed. Kgalagadi Transfrontier
Photography allows Susan to travel more, another Park in South Africa, a very
deep passion of hers. Travel has broadened her special place where I like to
perspective and interest in other cultures and >> observe and shoot wildlife.

artist 15
PROFILE A PILGRIMAGE TO SELF DISCOVERY
landscapes. It gives me endless opportunities to
know myself more as a person, photographer and
life coach.
In 2013 Susan completed her first wildlife
photography safari in Masai Mara in Kenya, where
she found her happy place in the African wilderness
and started to create Wild Art as she calls it.
Several wildlife destinations followed and with that,
Susan was introduced to cultural photography, I had
the privilege to photograph African Tribes, like the
Bushmen and Ova-Himbas of Namibia and several
tribes of Ethiopia. Wildlife and cultural conservation
is close to Susans heart and she hopes to bring
awareness of their vulnerability through her
photography. In fact, 10% of profits from these
Photos
This page
Below:: A great opportunity to capture special moments, is when
lions are resting and interacting with one another. Here the
three lions were grooming each other and I zoomed in, patiently
waiting for the moment when all three had there heads in my
frame - The Decisive Moment.
16 artist
images are donated to organisations that work in
these fields.
As with any life journey, photography has
brought about many lessons for Susan. There were
numerous times over the years, as I was getting to
know the art of photography, that I was taken out of
my comfort zone. It is so easy to feel comfortable in
what we know, but then there is no real opportunity
to learn and grow. It is only through pushing the
boundaries of what we think is safe that we get to
know our own limitless potential.
With this in mind, an opportunity arose for
Susan to work with well known South African
photographer, Willem Oets. Williem invited Susan
to a Figure in Landscape workshop in Namibia,
Opposite page
Top left: Creating WildArt with one of South Africas Big 5,
reflection of a white rhino at the waterhole in black and white.
Top riight: Early morning with the sun coming up over the
Kalahari in South Africa, dust rising up as lions play-fight
with the sun, giving a beautiful back light effect processed in
black and white.

presented by renowned Swiss photographer,
Philippe Pache. At the time, Susan had only done
a few shoots with random people in a portrait
workshop and the thought of doing nude portraiture
scared her, but it was an opportunity not to be
missed. The theme of the workshop was Sensuality
with Light. We were in a natural landscape and the
models were not allowed to wear makeup or do
their hair. We as photographers on the other hand
were told to let go of the tripod, keep Photoshop
to a minimum and not make them look like fashion
models. This experience allowed Susan to realize
that she had to connect with her subjects on a
deeper level. Nowadays Susan welcomes these
uncomfortable moments as she recognizes that it
Susan Greeff
is teaching her a new lesson, whether on a creative
or personal scale.
Photography and travel has become a way of
living for Susan, where she can express and explore
creativity, follow her dreams and meet people
from different cultures; bringing awareness and
connecting people through her images. Even though
I dont have a full time life counseling and coaching
practice anymore, I encounter co travellers sharing
their life challenges with me and I end up coaching
or counseling them along the way. I jokingly started
to call myself The Travelling Coach.
I no longer doubt whether I am a creative person,
I know I am. Our lives are our biggest creative
project that was assigned to us, each of us are an
artwork in progress. The biggest gift you can give
yourself is to be present in creating your life, to
express your creativity, which is your birthright.
Susan runs Travel to Transform, facilitating tailor-
made private retreats, tours and safaris for clients
who need guidance on life issues, who wish to
unravel lifes purpose, who are creatively stuck or
who want to grow their creative photography skills
and portfolio.
Contact Details
Susan Greeff
Ph: +27 836440490
Email: sGreeff7@gmail.com
Web: www.susangreeffcreativephotography.com
Facebook: www.facebook.com/susan.greeff.14
Instragram: www.instagram.com/susangreeff/ I
artist 17
PROFILE

Art Denes Me
B
Art gives me ronwyn Chelius was born in Benoni, a dusty hill overlooking the bush. I loved the hot bushland
a purpose little town east of Johannesburg in July climate, the song of the cicada beetles and the
outside of 1972. As a young child, Bronwyns lullabies smell of the herds of impala, kudu and bushbuck
being a mother, were the soothing creative noises of her dad that roamed the area. Farm life was quite boring
homemaker and banging, sanding and spraying his art work while at times for Bronwyn. She found herself often
wife. Art is a singing along to the hit albums of David Bowies milling about her dads art studio, watching him
lifelong lesson Diamond Dogs and Pink Floyds We Dont Need No create beautiful large murals from indigenous
and journey of Education, among an array of other deafening tunes wood, which he sourced directly from the area. It
self-discovery. that wafted out of his art studio. was around this time that Bronwyn developed a
Bronwyn When she was 11, Bronwyns family left Benoni love, appreciating and understanding for the often-
Chelius and headed to the beautiful Eastern Transvaal, lengthy process of creating a piece of artwork.
now known as Mpumalanga. Her dad had found However, the realisation of her own desire to
an old run down farmhouse on the very top of a create art came much later in life. >>

18 artist
 Bronwyn Chelius

Paintings
This page
Above: Towards
Right: Roses

Opposite page
Bloom 2

artist 19
PROFILE ART DEFINES ME

At the age of 32 years old, the younger of

Bronwyns two daughters had just turned one and
was enrolled into preschool. This gave her the
time to pursue creative interests. Unsure where to
start, Bronwyn joined a pottery class and spent two
years molding and modeling clay. It was a fantastic
tactile experience, but it just didnt give her the
creative outlet she was looking for. She then tried
decoupage for a few months. After experimenting
with just about everything, Bronwyn felt creatively
unfulfilled. This let her to believe that all along she
knew she wanted to paint, but found the art scene
seemed to be intimidating. Eventually, Bronwyn
stumbled upon a newspaper advertisement offering
beginner art classes in drawing and painting, not
too far from home.
Charcoal and pencils in hand and a box full of
brushes and acrylic paints itching to get busy on a
canvas, Bronwyn knew she had come to the right
place. From this day she spent five years with
Carol Hayward-Fell, learning to draw and paint
with acrylics. Having reached a ceiling with Carol,
I wanted to extend myself a bit more to refine my
techniques, as well as learn and understand how to
use oil paints. In 2009, Bronwyn found a tutor by
the name of Steve Shooter a recluse and quiet man
and master of oils and watercolours. The lessons

20 artist
Bronwyn Chelius
were one on one, intense and tiring. It wasnt until
this point that I fully grasped the magic of oils, the
way a painting could evolve with added layers, and
how not to make mud by painting fat over lean. Due
to the fact that she had never studied art and hadnt
learned different techniques and mediums, it was
noticeable to see how Bronwyns work had evolved
and changed over the years. Bronwyn says that she
has yet to settle on a particular style of painting,
although there is a thread of realism that always
runs through the core of my work.
After an intense year with Steve, Bronwyn found
a vibrant and energetic teacher by the name of Dee
Donaldson. Dee was particular about the students
that she taught; no beginners and she needed to critic
potential students work to decide if they would fit
the mold of her group. Bronwyn was pleased to learn
that Dee would take her on as a student. Everything
that Id learned from Steve was unraveled as I was
forced to loosen up my style, use bigger brush strokes
and make marks on the canvas instead of blending. I
learned about glazing techniques to push the painting
back and intensify any areas that you feel youve lost
or need to highlight. In essence, Bronwyn had learned
enough about acrylic painting through to oils, and
how to bring the two elements of art that she loved
realism and abstract together to create masterpieces.
In 2015, she left Dee to work on her own from a
lovely home studio that overlooks a beautiful garden
with a view of the ocean. Even though she does
not currently attend classes, Bronwyn claims she
is always learning, some lessons are harder than
others. Artists block for example, is not the end of
your art career. It is just a time to place your focus
elsewhere. Even if the physical aspect of painting
is not happening, the mind is always at work, the
eyes are always looking. This, she says, forms part
of the invisible creative process, the parts you
dont see from the outside and ultimately culminate
in your next painting. Bronwyns other passion
is photography an important part of her art
making and does a lot of post photograph with
manipulation on Photoshop. I have learned though,
that a good photograph doesnt always make for a
good painting. This doesnt deter me from looking
through the lens and thinking that this image may
be my next inspired moment. >>

Paintings
This page Opposite page
Top: B & W 3 Top: B & W 1and 2
Left: Submerged Bottom: Buds and Bloom

artist 21
PROFILE ART DEFINES ME
Paintings In terms of inspiration, Bronwyn believes
This page she follows her own creative path in this world,
Above left: Light uninfluenced by current trends or old masters.
Above right: Lily However, some of her earlier works were compared
to Georgia OKeeffes flower paintings. This surprised
Opposite page Bronwyn, I wouldnt say she had any influence
Top right: Hand on Knee over how I paint flowers but after looking at her
Bottom left: Breath flower paintings and reading a short piece from the
Bottom right: Moonlight introduction of her book One Hundred Flowers, I
was struck by how incredibly similar we are. Georgia
had put into exact words, my very own feelings on
how I view a flower, how I wanted to translate that
into a painting, and what I ultimately wanted my

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Painting is a form of meditation for Bronwyn, an


escape into a world of her own. It is a time when her
mind drifts back to the days of when she pottered
around her dads art studio, I briefly close my eyes

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and for a moment, I can feel the smooth sanded
indigenous wood that he used in his murals. I can
even smell the intoxicating scent of the Tamboti
tree. I can see the amazing natural colours of the
Yellowwod, Redwood and Stinkwoods when he
sprays on the first coat of varnish. Art also allows
22 artist
Bronwyn to engage all her senses, a time when she
looses herself creating her own work, the world
disappearing around her. For a moment, nothing is
important. Stress and the pressures of everyday life
dissipate its pure happiness.
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Contact details
Bronwyn Chelius
Ph: +27 083 307 4234
Email: bronchelius@gmail.com
Web: www.bronwynbruce.com I
Bronwyn Chelius

artist 23
WORKSHOP OILS

Final Step

Bubbles
I wanted to play with my usual style of art. Being the kind of person that likes detail, I decided to
throw that by taking a photograph through the water. By doing this, the image became distorted
and made it more difcult for me to hone in on the detail. This painting is a result of that.

24 artist
 Bronwyn Chelius
Materials List
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Step 3b

Step One Step Two

The activation of a canvas surface is really up to
the individual artist. I like to use inks and wetted
down acrylic paints that I brush, blow and then tilt
the canvas from side to side to allow the colour to
run over the surface until Ive reached a desired
background effect. You may choose to use a
paint roller or a thick 50mm brush to apply your
background. For me, its a matter of getting rid of
the white canvas background that I find distracting
when I start a painting.
Once the background has dried properly, I do a rough
sketch of the subject using a soft pastel pencil. To
erase any mistakes or unwanted lines I use a Faber
Castell putty rubber. Drawing in light grid lines using
the same pastel pencil helps me with scale, especially
when working on a very large canvas.
Step Three
Im not a patient painter. I like to get started with
introducing my first thin layer of oils as soon as >>

artist 25
WORKSHOP OILS

possible. This provides me with a foundation layer

that I can build on. The risk of wet on wet painting
is creating mud, especially when using oil paints. On
a large palette I will prepare my transparent colours
right through to mid-tones and highlights. I apply
this to my painting and soon have a good idea of
what my overall painting will look like.

Step Four
Once the painting is dry, I apply a thin layer of
Alizarin Crimson mixed with a touch of Sap Green
and Prussian Blue that I thin down with liquin and
turps to form a transparent glaze. I use the glaze
on painting to knock back the areas that I want to
rework. I repeat this process until I feel happy with
the overall result.

Step 3c

Step 4

26 artist
 Artists Hints & Tips
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oil, acrylic & watercolor
by William F. Powell.
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liquin and two thirds pure
mineral or odourless
turps into. I like to spray
a little of this mixture into
my oils when I am mixing
colour for fine detail
work. It also helps to dry
the paint quicker.
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diluting your transparent
oil colours when making
a glaze.
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jars for recycling your
turps after use. Once the
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bottom of the jar, transfer
the remaining clearer
turps to your clean jar.
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The painting is almost complete, my last few steps better about taking care
are introducing the final touches of highlights and of the environment.
darkening the contrasting areas of the painting r

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to emphasise this. Now I feel as though I have brushes when you
breathed life into my painting. BSF
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One more coat of glaze can also be applied favourite product is
at this stage and few more touches of highlights. Australias very own Art
I occasionally even wipe back the glaze in the Spectrum Brush and
areas that I want my highlights to come through Hand Cleaner. It is non-
brighter. Remembering of course that the toxic and solvent free
painting needs to be properly dry before also biodegradable. It
applying your glaze. works like a bomb and
leaves your brushes
Final Step Step 5 Close Up beautifully moisturized.
I am very particular about the sides of my canvas r

3FDPSE
UIF
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PG

looking good. On completion of my work, I will Contact details your work. It is lovely to
paint the sides neatly in a complimentary colour. Bronwyn Chelius refer back to the steps
A painting is not complete until the sides are neat. Ph: +27 083 307 4234 you made to achieve your
When the painting is completely dry. I will spray on a Email: bronchelius@gmail.com final masterpiece!
layer of Damar Retouch Varnish. Web: www.bronwynbruce.com I

artist 27
EXHIBIT A
TarraWarra Museum of Art
This Museum of Art brings together the appreciation of both art and place.
Images
Below left and right:
TarraWarra Museum of Art
Photo: Redfish Bluefish
Photographic
Opposite page
Top: The Triumph of
Modernism in the Art of
Australia, installation view,
TarraWarra Museum
of Art 2015.
Photo: Andrew Curtis
Middle: Howard Arkley
(and friends), installation
view, TarraWarra Museum
of Art 2015-16.
Photo: Andrew Curtis
The Estate of Howard
Arkley. Courtesy Kalli Rolfe
Contemporary Art
28 artist
T
arrawarra is a Wurundjeri word that translates
approximately as slow moving water and is the
name given to the area in which the Museum
is located. Situated in the spectacular Yarra Valley,
on the cusp of outer Melbourne and inner regional
Victoria, the Museum is uniquely positioned to deliver
the important history of Australian modernism and
new developments in contemporary art to a large
cross section of the Victorian public. TarraWarra
Museum of Art is a not-for-profit public museum
and a member of the Public Galleries Association
of Victoria. It has a charter to display Australian and
international art from the second half of the twentieth
century to the present day. TarraWarra Museum of Art
was designed by acclaimed Melbourne architect Allan
Powell, built by Probuild Construction and opened
to the public in 2003. The elegant, voluminous
and flexible spaces are ideal for the presentation of
both modern and contemporary art and it won the
Premiers Design Award in 2004.
Founders Eva Besen AO and Marc Besen AC have
been passionate collectors of Australian art since
the 1950s, when they purchased significant works
by the artists of their time. Not only did they gift
the building that houses the museum, and 10 acres
of land on a 99 year lease, they also donated a
significant proportion of their private collection for
the enjoyment of the public. The collection includes
works by leading figures in Australian art from each
decade of the last seventy years, including Rick
Amor, Richard Bell, Sydney Ball, Charles Blackman,
Peter Booth, Arthur Boyd, John Brack, Juan Davila,
William Dobell, Russell Drysdale, Ian Fairweather,
Rosalie Gascoigne, Brent Harris, Joy Hester, Dale
Hickey, Robert Jacks, Roger Kemp, Joanna Lamb,
Godfrey Miller, Sidney Nolan, Susan Norrie, John
Olsen, John Perceval, Rosslynd Piggott, Jeffrey
Smart, Sally Smart, Edwin Tanner, Imants Tillers,
Albert Tucker, Tony Tuckson, Michelle Ussher, Danila
Vassilieff, Brett Whiteley and Fred Williams. The focus
of the collection is on painting, sculpture and photo
media. The Museum continues to acquire key works
to further enhance this collection. The collection
is presented in the form of temporary exhibitions,
juxtaposed with other Australian and international
artists, both modern and contemporary.
Through the research, production and presentation
of original art exhibitions, the Museum generates
knowledgeable, passionate and critically aware
audiences and promotes access to the visual arts
for all ages. Since opening its doors in 2003, the
Museum has presented over 80 exhibitions of modern
and contemporary art. There are three key curatorial
approaches underpinning the exhibition program.
The first is to view the important history
of Australian modernism through the filter of
contemporary art and ideas. The Museum has an
innovative approach to a collection based on the
history of modern Australian art by considering it
through the eyes of contemporary artists and ideas.
The Museum encourages audiences to look at the
past through the lens of the present. In 2014-15,
Gosia Wlodarczak was invited to respond to the
use of line in the works of Tony Tuckson and Ian
Fairweather, creating a new commission for the
Museum entitled Found in Translation. The Howard
Arkley (and friends) exhibition 2015-16 explored >>

artist 29
 EXHIBIT A
artist in context, and included a section of the work
Gallery
of 13 artist/friends of the artist, many of whom
continue to live and work in Melbourne today.
The second approach is to explore art as a world-
making activity. Artists bring the world into their art,
and change our view of that world. The Museum
aims to embrace the world making activity that art is
by being open to new ideas, exploring experimental
curatorial platforms and challenging conventional
ideas of what art can be. The exhibitions TarraWarra
Biennial 2012: Sonic Spheres and Pierre Huyghe:
TarraWarra International 2015 each presented
artists immersed in creating worlds. Sonic Spheres
featured 21 artists who sought to visualise the
notion of experimental sound, while the Pierre
Huyghe exhibition transformed the museum into a
series of installations and films at the nexus of the
natural and human world.
The third key stream of the Museums program
is to uncover the connections between art, place
and ideas. The unique location in the significant
and picturesque site of the Yarra Valley affords the
Museum the opportunity to explore the connections
between art and place. In 2013, a collaboration
between Wurundjeri elder Aunty Joy Wandin Murphy
AO, Jonathan Jones and Tom Nicholson about the
historic site of Coranderrk Aboriginal Station was
commissioned by the Museum alongside an exhibition
of the work of Russell Drysdale, thereby presenting
multiple points of view on the Australian landscape
and its inhabitants. In 2015, Earth and Sky: John
Mawurndjul and Gulumbu Yunupingu, guest curated
by Hetti Perkins, was presented alongside Kate
Beynon and RMIT lab Phase Change which was
part of the Art + Climate = Change 2015. This
juxtaposition invited audiences to move through the
exhibition space from Beynons underwater spirit
world, through Indigenous knowledge systems of
earth and sky, to the environment of Tarrawarra itself.
Upcoming exhibitions will continue to explore
these themes. All that is solid , the third

Images
Top: Jonathan Jones (Kamilaroi/Wiradjuri) with Aunty Joy Wandin
Murphy (Wurundjeri) after William Barak (Wurundjeri) Untitled
(shield design) 2013 (detail) Photo: Christian Capurro Courtesy
of the artists
Middle: Louise Weaver Hiding in Plain Sight (Witch Grass Nest)
(2011-12), Bird Hide (2011),
Time to Time (2013), Animate/Inanimate, installation view,
TarraWarra Museum of Art 2013
Photo: Mark Ashkanasy.
Bottom: Gosia Wlodarczak: Found in Translation, installation
view, TarraWarra Museum of Art 2015.
Photo: Longin Sarnecki
Courtesy of the artist

30 artist
exhibition in the TarraWarra International series,
will feature Australian and international artists
who depict precarious world histories. Many of
them use the format of the archival fragment as
a starting point for their work a photograph

Gallery
or video from days gone by. Others depict the
current social changes, turbulent conflicts, and
altered political landscapes with a new imaginative
filter. The artists in this years TarraWarra
International are Didem Erk (Turkey); Cao Fei
(China); Tom Nicholson (Australia); Patrick Pound
(Australia); and Cyrus Tang (Australia).
This summer the Museum will present a survey of
the work of Rosemary Laing, a renowned Australian
artist who has worked with photography since the
late 1980s. This exhibition includes major works that idea of landscape by distinguished speakers Aunty Images
demonstrate her interest in how Australians have Joy Wandin Murphy AO, Jane Lydon, David Pledger, Top: Judy Watson: the
both perceived and moved through the landscape. Richard Flanagan, Nikos Papastergiadis, Janet scarifier, installation view,
This exhibition will be presented concurrently with a Laurence, Tony Birch, Jonathan Jones and Paul Carter, TarraWarra Museum of
selection of works by Fred Williams, whose paintings the aim was to explore the meanings and histories of Art 2016.
demonstrate an acute understanding of colour in the the site upon which the Museum sits. Photo: Andrew Curtis
Since then, many artists have been commissioned Courtesy of the artist
Australian landscape, particular times of day, and the
and Milani Gallery,
effects of light. and a number of forums have been held at the
Brisbane
TarraWarra Museum of Art is a unique Museum: Museum to engage with these themes and uncover Above: TarraWarra
spectacular views on the outside, and innovative the connections between art, place and ideas. Biennial 2012: Sonic
exhibitions and programs on the inside. It is a very The Coranderrk story has continued to inspire Spheres, installation
special place, and much of the program is built on many of the Indigenous artists who have worked view, TarraWarra
the relationships it has with the community and with the Museum. In 2014, the artist Daniel Boyd Museum of Art, 2012.
environment. reimagined a photograph taken by Fred Kruger of Lauren Brincat, Blood
The Museums location in the Yarra Valley has the Coranderrk Station as part of the TarraWarra and Fire, 2012 and
been a springboard to a wide-ranging exploration Biennial 2014: Whisper in My Mask. In this painting, Marco Fusinato,
Mass Black Implosion
of sustainability, Indigenous history and ecology in which is now part of the Museums collection, Boyd
(Mikrokosmos) series,
an artistic context. In 2012, TarraWarra Museum has created a layer of white and black dots over the 2012. Photo: John Brash
of Art produced The Landscape Awry. This two- borrowed image. This act of reengagement with the Courtesy of the artists
day event comprised of performances, video original photograph asks us to consider the very and Anna Schwartz
projections, conversations and lectures about the act of seeing and viewing a landscape, and the >> Gallery

artist 31
EXHIBIT A
Images colonial gaze embedded in the Fred Kruger image.
Top: Brooke Collins As part of this Biennial, an artist duo known as The
presenting the Welcome Telepathy Project, convened a Town Meeting at the
to Country for the Have Healesville Hotel at which 90 locals joined a range
you heard of the Great of speakers to explore issues around the significance
Moorool? Town Meeting, of water in the Yarra Valley. The event included
Healesville Hotel, 2014. presentations by Brooke Collins (Coranderrk
Above: Panorama,
Festival), Mick Woiwod (local historian), Dr Leon
installation view,
Marvell (Associate Professor in Film & Video, Deakin
TarraWarra Museum of
Art 2016. University), The Healesville and District Historical
L to R: Daniel Boyd, Society, and music by Julie OHara.
Untitled (2014); Danie In 2016 the Museum commissioned the artist Judy
Mellor, Bayi dambun Watson to create an installation in response to the
bala mila (2014) Panorama exhibition. Watsons Aboriginal matrilineal
Photo: Andrew Curtis family are from Waanyi country in north-west
Courtesy of the artists Queensland and her process involves working with
stories and memories of Indigenous Country. Watson
created a specially commissioned new installation
in response to the Museums location in the Yarra
Valley. Following lines of emotional and physical
topography that centre on particular places and
moments in time, she focused on both the history of
Coranderrk Aboriginal Station and the mountains that
surround the Museum.
In 2013 the Museum presented the inaugural
TarraWarra International 2013: Animate/Inanimate,
which introduced contemporary international art to
32 artist
the Museums program and featured the work of
Allora & Calzadilla, Amar Kanwar, Janet Laurence,
Lin Tianmiao and Louise Weaver. These artists
considered the interconnections between diverse
life forms (natural, animal and human). Janet
Laurences installation (initially commissioned by
Sherman Contemporary Art Foundation) included
new photographs and video footage from the nearby
Healesville Sanctuary, and a group of specimens
from Museum Victoria. The Museum also partnered
with the Sanctuary for a series of joint tours and a
forum featuring presentations about the meanings,
histories and vulnerabilities of the natural and animal
worlds through the eyes of artists, cultural theorists
and environmental scientists.
The Museum has also dedicated itself to stimulating
innovative activities and promoting access to the
arts for the community. Local artists have presented
childrens workshops, volunteers have provided free
guided tours, staff have provided tours to the general
public and to school groups, and with the support of
the Yarra Ranges Council, the Museum has presented
free family Open Weekends in 2013, 2015 and 2016
which have included activities such as a TarraWarra
Trail to learn about the landscape; a visit from a
Wedge-tailed Eagle from the Sanctuary; pop-up talks
about the current exhibition; free live music, and art
making activites led by local artists.
TarraWarra Museum of Art
Open Tuesday Sunday, 11am to 5pm . Open all
public holidays except Christmas day
7 days a week from Boxing Day to Australia Day
311 Healesville-Yarra Glen Road, Healesville,
Victoria, Australia
Ph: 03 5957 3100
Email: museum@twma.com.au I
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D R AW I N G s P H O T O G R A P H Y s PA I N T I N G
Y E A R B O O K

THE POWER OF FLOWERS

SHA O LAGDEN
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PROFILE

The Power
of Flowers A change of pace in this
artists life led her to discover
an unexpected passion

34 artist
 Sharon Lagden

S
haron Lagdens discovery to art occurred
after a big interstate move and some
soul searching. In 2008, Sharon and her
family moved from Brisbane to the regional
area of Leongatha, Victoria, a move that Sharon
promised herself would bring new opportunity.
After living and working in the corporate world
for many years, Sharon felt exhausted and
restricted by the never-ending deadlines that
controlled her every move. Upon her move to
Leongatha, Sharon had three objectives; the
first to learn to play golf; the second to learn to
paint; and the third, to learn to ride a horse.
First up, Sharon joined the local golf club at
Woorayl and played many a round of golf with her
mother and friends, finally winning the D grade
championship in 2012.
Next on Sharons list, she started to paint.
Never having studied art, this world was all new
to her. In 2012 Sharon purchased some paint
and canvas from the local cheap shop. Although
the result achieved was far from perfect, >>

artist 35
 PROFILE THE POWER OF FLOWERS
Sharon Lagden

36 artist

Sharon enjoyed herself and wanted to know
more. She later joined the local Leongatha art
group and dabbled in watercolours for a couple
of years. I found that I surprised myself many
times with the result of my paintings and they
soon began to sell at local exhibitions, says
Sharon. I enjoyed watercolour, however I still
craved larger, more bold and colourful paintings.
Recognising this, Sharon enrolled in a six day
course in Melbourne and finally discovered her
passion; large, bold flowers.
There is so much more to a flower than just
its outward appearance. The varying shades of
colour that bounces the light from shade to full
colour within the petals. The form and fold of the
petals as they twist and turn, in and out of each
other. The depth of colour as you look deeper
into the centre and under the folds of leaves and
petals. The subject becomes more of a puzzle
than that of a one-dimensional flower. Sharons
favourite flower to paint is roses, in particular the
peony rose. It has so many petals that appear
and then disappear, always leading the eye in
Sharon Lagden
another direction and picking up colour from its
surroundings.
Once discovering her passion for art, Sharon
endeavoured to learn more about this new world,
borrowing books from the library and using Google
to search images of flower paintings at any spare
moment she got. I admit I purposely do not
research very many artists as I never want to be
seen as imitating someone elses work or style. I
want to stay true to myself and paint what I see, not
what someone else sees.
Painting is certainly a process that requires
planning from the beginning. Finding a niche is
important, however Sharon states that she, as do
many artists, struggles with what to paint. She
says that as she sees the world around her, the
shades of colour and light, it sometimes becomes
overwhelming to choose a subject. From the haze
of morning light to the brightness of the sunlight
as the sunsets, the world around me has my eyes
darting from one subject to another, leading to
indecision as to what I want to paint. This can cause
frustration and lack of confidence on direction. >>
artist 37
 PROFILE THE POWER OF FLOWERS

Sharon learned a valuable lesson about

the importance of planning early on. She
describes the experience of planning her first
solo exhibition and how after eight months of
painting, she almost ended up not having enough
work to exhibit. With still two months to go until
the exhibition, I cleared some space and lined up
the paintings I had been working tirelessly on to
complete. To my horror, some of the paintings
clashed badly beside each other. Colours clashed
Sharon La den

and subjects were facing the wrong way. It all

just looked like a jumbled collection of paintings
with no meaning or purpose. So with eight
weeks until the exhibition, Sharon had to cut
three paintings and find three new subjects that
would suit better. She is happy to say that the
exhibition was a success and received wonderful
reviews. At the official opening I was delighted
that three paintings sold and those that attended
said how vibrant and colourful the whole gallery
looked.
Sharon intends to continue to paint and define
her own style, and is always looking for the next
subject that takes her interest. From our property
in Boorool I am fortunate enough to have a

38 artist
 Sharon Lagden
seperate wing of the house devoted to art and have
introduced overnight accommodation packages for
those wishing to experience a country stay and
painting classes.
On a last note, a friend from work finally
convinced Sharon to go horse riding with her this
year. Although I would never profess to say I have
learnt to ride a horse, I can now say that I have
been on one!

Exhibitions
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Australia invited exhibitor
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Solo Exhibitions

Contact details
Sharon Lagden:
Ph: 0438 176 072
Email: sharon.lagden@gmail.com
Web: sharonlagdenart.blogspot.com
Facebook: Sharon Lagden art I

artist 39
 WORKSHOP ACRYLICS

Weekend Project
If you are looking for a weekend project why not take a small section of a photo and
complete it. I like to work with black and white as it gives quick results and is on trend
for industrial styled homes.

Materials List
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Sharon Lagden

Reference p
hotograph

40 artist Final Step

 Materials Step 1
Step One
I use charcoal to draw in the shapes of petals
using full lines to indicate the shape of the
petal and a dotted line to help me identify the
lighter areas.
Step Two
Begin by painting the background. Using the
number 4 brush, dip the brush into water and dry
off the excess. Pick up a small amount of Liquitex
medium and black paint and cover the outside of
the flower, not forgetting the edges of the canvas.
Step 2
Step Three
Place a small amount of white and black paint on
the pallet at a distance apart so that they do not
touch. Using the number 2 brush, begin to fill in
the petals of the flower. Wet the brush and wipe
off excess water. Use a little medium and working
from the edge of the paint, pick up a little black
and white paint.
Fill each petal individually, right up to the black
charcoal line. Dont worry if black charcoal mixes
with the white paint, we will come back to that in the
next step and correct it. >>
Step 3a Step 3b
WORKSHOP ACRYLICS

Artists Hints &

Tips
r

,FFQ
ZPVS
IBOET

clean. There is
nothing worse
than resting your
hand on a part of
the painting only
to lift it off and
find old paint has
transferred from
your hand and is
stuck to a finished
area.
r

.BLF
TVSF
ZPV

clean your brushes
well during painting
and wipe off all
excess water. Too Step 3c Step 4a
much water on
your brush will Use more black paint in the shaded areas adding Step Five and Final Step
dilute the quality white to lighten towards the outer edge of the petal. Paint back over the background of the flower,
of the paint your .BLF TVSF ZPV XBTI BOE ESZ ZPVS CSVTI UIPSPVHIMZ covering any little spots of white canvas that have
about to pick up every time when changing from black to white or come through and ensuring that the edges of the
and make it smear white to black. PXFS BSF TIBSQ
BOE
EFOFE
.BLF
TVSF
UIF
FEHF
PG

across the canvas. the canvas has good coverage also. Once completely
r

#F
B
MJUUMF
IBSE PO Step Four dry, spray with varnish to seal.
UIF
DBOWBT

.BLF *O UIJT TUFQ XF EFOF UIF BDUVBM TIBQFT .BLF TVSF
sure you push you really concentrate on the shapes in the photo Contact details
the paint into the reference. Add more darks where needed and Sharon Lagden
canvas to really get lighten the edges towards the outer edge of the Ph: 0438 176 072
the paint into the shapes. If you have missed any petals, correct this Email: sharon.lagden@gmail.com
small indentations. and add them in. The more shapes you have the Web: sharonlagdenart.blogspot.com
If not you will end more interesting the painting will be. Facebook: Sharon Lagden art I
up with little white
dots everywhere,
as those
indentations are
showing the white
canvas through.
%POU
CF
BGSBJE UP
throw out some
paint. If your paint
becomes dirty and
mixed on the pallet,
get rid of it. Trying
to save money on
paint will only cost
you additional time
trying to fix an area
affected by using
the incorrect paint- Step 4b Step 5 Close up
colour ratio.

42 artist
PHOTOGRAPHY

Vintage Photographic
Processes
Going forward to the past. By Phil Ingram

T
he story of photography and photographic
processes owes as much to entrepreneurial
endeavours and artistic expression as it
does to technological development. Precursor
technologies included the principles of optics,
the camera obscura and the chemistry with
light sensitive substances. For example, Thomas
Wedgewood showed in 1800 that silver nitrate was
light sensitive but there was an issue with sensitivity
and permanency, as others such as Niepce had
discovered decades later. Niepces collaborator,
Louis Daguerre shifted his efforts to silver halides,
resulting in the Daguerreotype process which he
presented to the French Academe de Sciences in
Paris in January 1839. This is considered to be the
birth of photography that changed the nature of
visual representation forever.
Credit for coining the word photography has
traditionally gone to Sir John Herschel in 1839.
It has derivations from two Greek words, phos
meaning light and graphe for drawing. Combining
them gives light drawing.
The mid to late 1800s saw the development
of many different processes, each of which
had different artistic and technical advantages
and disadvantages with photographers having
preferences for the artistic merits and/or licensing
arrangements of a particular process. This
resulted in images varying greatly in quality and
characteristics, even for the same process. Variability
was due to a number of factors such as camera
quality, medium quality, handling of chemicals and
the chemicals used, as well as the photographers
ability and style. Couple this with the aging process
of old photos due to tarnishing and corrosion,
scratching, chemical damage and fading and this all
adds to the remarkable variety we see today in mid
Dageurreotype
to late nineteenth century photographs.

44 artist
Calotype

The first commercial photographic process was

the daguerreotype where a silver-plated copper
surface was sensitised by iodine vapour, developed
with mercury vapour and fixed with hot, saturated
salt water. Resulting images were noted for their
sharpness. Long exposure times, originally of
about 30 minutes and longer down to two to three
minutes, meant portraits may have had some motion
blur in the limbs and for landscapes, skies would be
blown out. Aging was usually oxidation of the silver
plate resulting in uneven and often locally intense
orange and blue staining on the edges. Green
copper corrosion and blistering may also be present,
as would be other chemical damage and scratches.
Many daguerreotypes exhibited slight vignetting.
Daguerreotypes were popular throughout Europe
and America, but as each was a unique, one-off
positive image its lifespan was limited as negative/
positive processes evolved. William Henry Fox
Talbot had been experimenting with light sensitive
papers and announced a negative/positive process
in March 1839. The negative process he called
calotype and the paper positives were known
as salted paper prints. Unlike the daguerreotype,
Foxs process permitted numerous prints from the
same image. Unfortunately for Fox, his patents and
restrictive licensing arrangements severely limited its
commercial appeal. The salted paper process often
produced images of a reddish-brown colour. Fading
of the images resulted in a yellow colour, which
TinType
could occur just on the edges or the entire photo. >>

artists 45
PHOTOGRAPHY

As they were Although lacking the sharpness of detail of the Sometimes the paper positives were often toned
inexpensive daguerreotype, salt prints from calotype negatives with gold or platinum salts, producing brownish-
to produce, exhibited a softness that many photographers black, blue-blacks or neutral grey-blacks. This tonal
tintypes made preferred. range is not possible in silver-based prints.
portraitures
An advancement to the salted paper positive Platinum based prints were not susceptible
available to
the general was the albumen print (albumen is merely egg to various aging processes such as fading and
public white). This process lasted from about 1860 to discolouration. These are known as the platinotypes
and ended 1895. These were on a super thin paper so the and tended to be low contrast but with a high
up being prints needed to be mounted, usually in something dynamic or tonal range. The blacks were warm and
available decorative. They tended to have reddish-brown to even to a reddish brown and with expanded mid-
in county a grey tone with yellowed highlights. Aging is to a tone greys. As platinum was expensive, the cheaper
fairs and sepia or yellowish tone but sometimes with a slight palladium was sometimes used in its place.
carnivals. silver appearance. Cartes de visite were basically Although the calotype was the first negative/
ambrotypes of a specific size, mounted on a thick positive process, it was relatively short lived, being
paper card and were popular as visiting cards. superseded by the wet plate collodion process.
Frederick Scott Archer announced the process of
creating a glass plate negative in 1851. Collodion
Wet plate
was a viscous liquid used to coat glass plates with
light sensitive salts which needed to be wet when
the picture was exposed in order to produce a glass
negative. These were then contact printed onto
albumen-impregnated paper to produce the positive.
The albumen impregnated paper was sometimes
toned with gold chloride which gave a purplish-
brown colour. They tended to be high resolution
and with a creamy or milky appearance. The liquid
coatings were manually applied so there were
variations and imperfections such as irregular edges,
black or darkened edges, or corners. Portraits are
characterised by very sharp facial features but
Cartes de visite with a shallow depth of field. Tones were generally
grey scale with no pure whites. Some chemicals
used could produce a photo with red, yellow or
blue undertones. Other imperfections resulted from
debris, scratches and changes in chemical reactions
that made each image unique. Longer exposure
times may have resulted in some motion blur.
An ambrotype is a variant of the wet plate
collodion process and is a positive photograph
on glass, viewed in reflected light against a black
background. The image colour was variable and
maybe sepia toned or grey toned, as they appear to
lack white and usually with a dark background.
Developed shortly after the wet collodion process,
tintypes or ferrotypes were popular for many
decades as they were cheap to produce and the
whole process would take only 10 minutes. They
were the instant photograph of the late 1800s
where a very underexposed negative image was
produced on a thin iron plate. Their toning was
generally subdued and contained dark greys rather
than blacks. They had a very narrow depth of field,
low tonal range and a non-uniform exposure across
Platinotype
the frame. As they were inexpensive to produce,

46 artist
 Platinotype
Wet plate
tintypes made portraitures available to the general
public and ended up being available in county fairs
and carnivals. Image quality was generally poor.
Aging included rust spots and blistering.
There was a transformation of amateur
photography in 1900 as it was made available to a
wider public. Kodak, later called Eastman Kodak, had
the foresight of producing the Brownie box camera,
the first cheap and user friendly camera that was
coupled with a photo processing service. Its ironic
that the same company failed with the opportunity
to lead the way in the digital revolution when one
of its engineers, Steve Sasson, invented the first
digital camera in 1975. They were content to stay
with their business model that revolved around film
and film processing. It was not until the late 1990s
that the swing to digital started, a technology that
allowed for the emulation of the photographic
process of the mid to late 1800s.
The advent of digital technology in the 1990s
has seen a resurgence in the interest of vintage
processes and photos. Devotees fall in two camps,
the first the very few that build cameras and follow
one of the processes of the period. The second
group are those that use digital technologies,
particularly Photoshop, to simulate aged photo from
the period.
Most people nowadays shoot in colour and one
of the early digital steps is to convert the image to
black and white. There are two main methods that
can be used depending on the process and aging
TinType
you wish to emulate; one using the channel mixer Kodak,
and the other being a simple desaturation. Other later called
methods may be preferred depending on your Eastman
Photoshop skills and workflow. Kodak, had
An early step in any digital emulation of a the foresight
vintage process is to determine the RGB values of producing
of the shadows, mid-tones and highlights from the Brownie
box camera,
a known image, and this is done with the colour
the rst
sampler tool. In many instances, especially if you cheap and
are emulating one of the processes that used user friendly
either glass or metal plates, you may wish to add camera that
a texture and often more than one texture can be was coupled
added. There are plenty of sites available where with a photo
high resolution textures are freely available, one processing
of the better ones being from Caleb Kimbrough, service
available through LostandTaken on Flickr:
www.flickr.com/photos/calebkimbrough/
collections. These are copyright free and freely
available even for commercial use, but it is more
satisfying to create your own textures. I
artist 47
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GALLERY INTERNATIONAL

NOW SHOWING
Until 8 October 2017

Giovanni da Rimini:
A 14th-Century Masterpiece Unveiled

V
isitors to the National Gallery of London can
discover Giovanni da Riminis exquisite late
Medieval painting, Scenes from the Lives of
the Virgin and Other Saints.. Giovannis panel, which
is more than seven hundred years old, beautifully
unites the tradition of late Byzantine icons with a
new, more sophisticated style of painting, rich in
narrative detail.

Images
Left: Francesco da Rimini (Master of Verucchio)
The Crucifixion, Noli me tangere 1330s
Tempera and gold leaf on wood panel. 25 15 cm
National Gallery of Ireland, Dublin
National Gallery of Ireland
Right: The Nativity and washing of the Infant Jesus
Tenth century (Middle Byzantine)
Ivory panel. 11.6 11.1 cm
The British Museum, London
The Trustees of The British Museum

50 artist
 The exhibition brings together, for the first time in the
UK, the three easel paintings unanimously attributed
to Giovanni da Rimini: Scenes from the Lives of the
Virgin and Other Saints with the very closely related
Scenes from the Life of Christ from the Galleria
Nazionale dArte Antica, Palazzo Barberini, Rome;
and The Virgin and Child with Five Saints from the
Pinacoteca Comunale, Faenza, Italy. The exhibition
consists of 10 objects in total: seven panel paintings,
including loans from the National Gallery of Ireland,
Dublin and the Courtauld Gallery, London; two ivory
panels from Londons Victoria and Albert Museum and
British Museum; and one fragment from an illuminated
leaf from a private collection. The exhibition will include
other works by the leading artists of early 14th-century
Rimini: Neri da Rimini; Francesco da Rimini/Master
of Verucchio; Giovanni Baronzio; as well as the great
Florentine painter and architect, Giotto, who worked in
Rimini for a brief period.
Giovanni da Rimini was one of a small group of
painters active in the 14th century who made Rimini,
Italy a centre for some of the most innovative painting
in Europe. Initiated by Giotto, one of the greatest
artists of the late Medieval period, and in response to
new trends in Christian devotion, these artists were
beginning to work in a more naturalistic manner. The
art of this period, characterised by its combination
of emotional intensity, iconographic originality, and
painterly innovation corresponds with a key moment in
Western European art when the emphasis on realism
and observation in painting began.
This focused exhibition presents an opportunity to
rediscover this important artist and to view his work
in the historical context of early 14th-century Western
European painting. Visitors will learn about the meaning
of the picture, its probable patron, and its function as
a personal devotional object. The assumption that the
National Gallery panel and the Rome panel are two
wings of one diptych will also be reconsidered.

14 June 8 October2017
National Gallery London
www.nationalgallery.org.uk

Images
Gallery

Top right: Francesco da Rimini Right: Giovanni da Rimini

(Master of the Blessed Clare)
The Vision of the Blessed Clare
of Rimini c1333-40
Egg tempera on wood, transferred
from the original support.
55 x 60cm.The National Gallery,
London. Bought, 1985
The National Gallery, London
Scenes from the Life of Christ
c 1300-05. Egg tempera on panel.
52.5 34.5cm
Galleria Nazionale dArte Antica di
Palazzo Barberini, Rome
Gallerie Nazionali di Arte Antica
di Roma, Palazzo Barberini.
Photography by Mauro Coen

artist 51
GALLERY
Portraits by Czanne
Images
Below left: Gustave Geffroy,
1895-1896
Oil on canvas, 117 89.5cm
Paris, muse dOrsay, don
de la petite-fille dAuguste
Pellerin, 1969, RF 1969-29
RMN-Grand Palais
(muse d'Orsay) / Herv
Lewandowski
Bottom right: LAvocat
(LOncle Dominique), 1866
Oil on canvas, 65 54.5 cm
Paris, muse dOrsay, accept inflected the characteristics and development of
par ltat titre de dation
en paiement de droits de
mutation, 1991, RF 1991-21
RMN-Grand Palais (muse
d'Orsay) / Herv Lewandowski
52 artist
INTERNATIONAL
P
aul Czanne (1839-1906) painted almost
200 portraits during his career, including 26 of
himself and 29 of his wife, Hortense Fiquet.
The exhibition will explore the special pictorial and
thematic characteristics of Czannes portraiture,
including his creation of complementary pairs and
multiple versions of the same subject.
The chronological development of Czannes
portraiture will be considered, with an examination
of the changes that occurred with respect to
his style and method, and his understanding of
resemblance and identity. The exhibition will also
discuss the extent to which particular sitters
his practise.
Works included in the exhibition will range
from Cezannes remarkable portraits of his Uncle
Dominique, dating from the 1860s, through to his
NOW SHOWING
Until 24 September
2017
final portraits of Vallier, who helped Czanne in his
garden and studio at Les Lauves, Aix-en-Provence,
made shortly before the artists death in 1906.
Czanne is widely understood to be one of the
most influential artists of the nineteenth century.
Generally categorised as a Post-Impressionist, his
unique method of building form with colour, and
his analytical approach to nature influenced the art
of Cubists, Fauvists, and successive generations of
avant-garde artists. Both Matisse and Picasso called
Czanne the father of us all. Studying his portraits,
we are certainly dealing with the most personal, and
therefore most human, aspect of Czannes art.
13 June 24 September 2017
Muse dOrsay
Paris, France
www.musee-orsay.fr/en/home
 Matthias Mansen: Congurations
Images
M
atthias Mansen is a contemporary Berlin-
Right: Matthias Mansen based artist (1958) whose work advances
German, born 1958 the long tradition of woodblock printing.
Badende, vor dem Mansen masterfully layers printings from multiple
Gewitter, 1991 blocks, sometimes employing ghost prints to
woodcut on wove paper achieve delicate modulations of tonal intensity
sheet: 120.02 88.9
and texture. Concerned with process nearly as
cm (47 1/4 35 in.)
much as final product, Mansen works on numerous
National Gallery of Art,
Washington prints simultaneously and progressively carves and
Gift of Daniel Bell recarves his blocks. His projects are best exhibited
in an ensemble, which allows the grammar and
rhythms of his repeated cognate arrangements and

Gallery
consonant forms to become tangible.
The installation is curated by John A. Tyson,
Andrew W. Mellon postdoctoral curatorial fellow in
modern prints and drawings, National Gallery of Art.

EXHIBITION 23 July 13 December 2017

23 July to National Gallery of Art Washington USA
13 December 2017 www.nga.gov

artist 53
 GALLERY
Vermeer and the Masters of Genre
Painting: Inspiration and Rivalry
Images
Below left: Gerard ter Borch
(1617-1681)
Woman Writing a Letter,
c.16556
Royal Picture Gallery,
Mauritshuis, The Hague
Photography by Margareta
Svensson
Below right: Johannes
Vermeer (1632-1675)
Lady Writing, c.1665-7
National Gallery of Art,
Washington
Gift of Harry Waldron
Havemeyer and Horace
Havemeyer, Jr., in memory
of their father, Horace
Havemeyer. Courtesy National
Gallery of Art, Washington
Gallery
54 artist
INTERNATIONAL
C
onceived by the National Gallery of Ireland,
this revelatory exhibition celebrates the
work of Johannes Vermeer (1632-1675)
and will give new insights into the relationships the
artist maintained with other great painters of the
Dutch Golden Age. It will bring together some 60
paintings from major public and private collections
around the world. Ten masterpieces by Vermeer will
be included, representing nearly a third of the artists
surviving works and the third highest number of
works by Vermeer ever assembled.
The National Gallery of Irelands own Vermeer,
Woman Writing a Letter, with her Maid c.1670,
which is regarded as one of the artists finest
works, will be shown alongside other exquisite
compositions including Woman with a Balance,
c.16634 (National Gallery of Art, Washington);
Woman with a Pearl Necklace, 16634 (Staatliche
NOW SHOWING
Until 17 September
2017
Museen zu Berlin); The Astronomer, 1668 (Muse
du Louvre, Paris) and The Geographer, 1669
(Stdel Museum, Frankfurt). Paintings of daily life
by contemporaries of Vermeer, including Gerrit Dou,
Gerard ter Borch, Jan Steen, Gabriel Metsu, Pieter de
Hooch and Frans van Mieris, will also feature.
The exhibition brings together groups of paintings
of domestic scenes letter writing, in front of a
mirror, musical scenes and the obvious similarity of
the compositions shows the interplay between artists
nonetheless Vermeers brilliance and originality
brings new heights to the subjects and his work
takes genre painting to a yet higher level.
17 June 17 September 2017
National Gallery of Ireland
Dublin, Ireland
www.nationalgallery.ie
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PROFILE
A Life Long Love of Colour
J
an Matsons love of painting developed in her
earliest years. Her best memories are of her
great-aunt, who was an artist living in a rambling
old house in Adelaide. The house was full of
paintings, tapestries and fascinating old books. It
was always a favourite place to visit and inspired
her painting career from a very early age. She recalls
her father bringing home powder paints and an
easel set up on the back verandah. Her first subject
56 artist
attempts were toys and animals. Jans mother and
grandmother had also loved painting, so it was only
natural for her to follow this passion.
Jan studied portrait and figure painting at the
Canberra School of Art, but is mostly self-taught.
She states that portraiture and figure lessons are
a great way to begin, however a love of colour
and texture attracted me to the lusciousness of
oil painting.
 This artists passion for colour and texture has lead
Jan Matson
to a lifetime of creative painting

With her medium established, Jan began her
painting career with palette knife landscapes.
My very early attempts were copies of the
French Impressionist Pissarros work. I also
drew inspiration from Monet, Van Gogh, Renoir,
Sisley, and the Australian impressionists from the
Heidelberg School art movement including Tom
Roberts, Arthur Streeton, Frederick McCubbin and
Charles Condor.
Jans style ranges from traditional realist work Paintings
through to impressionistic work using a palette knife Above left: Vineyard
for very thick, textured paintings. Up close you can near Murumbateman
see the thick applications of paint, sometimes coarse Top right: White hen on
in texture. At a distance, the paintings look much poppy background
softer and sometimes more like a photograph. Above: Hereford Cow on
Blue Background
The fact that oil paints take longer to dry is not
a drawback for Jan. She loves the way that oils
dry slowly because she can work on a painting for >>

artist 57
PROFILE A LIFE LONG LOVE OF COLOUR

58 artist
 Jan Matson
a day or two and make changes, even major
ones, easily. She likes to paint wet on wet
and appreciates not having to wait for paint to
dry before continuing. She also appreciates the
rich and luxurious texture I can achieve with the
palette knife method.
Jan especially enjoys painting beach and
ocean scenes. She has a passion for the
beach, the bright and colourful umbrellas,
people relaxing and enjoying themselves. I am
attracted to the vibrant, ever-changing colours
of the beach, the evening skies over the ocean,
the early sunrises and the calming effect of
the rolling waves at dusk. Jan hopes that her
whimsical and fun beach paintings bring happy
and colourful memories of summer holidays.
Her other passion is painting animals for
kitchen decor or nurseries. My animal paintings
start with just a few lines loosely painted on
canvas or board, then thick, luscious oil paint is
added, molded and sculpted with a palette knife
until my animal raises off the board and comes
to life! Jan explains that the palette knife is a >>

Paintings
This page Opposite page
Top left: Florence windows, Top: Dusk on the
Italy architecture Molonglo River
Top right: Robin in field of Below left: Pig on pink
poppies background
Middle left: Sheep Below rignt: Life on
Left: Bemboka Valley the beach

artist 59
PROFILE A LIFE LONG LOVE OF COLOUR

wonderful tool for giving the appearance of

feathers, wool or fur.
Recently she has ventured into patterns
including painting ferns and greenery with oil
paints, while using Photoshop to make a pleasing
repeat pattern for tropical decor prints.
Now living in a rambling old house in Yass,
New South Wales, Jan has a spacious workroom
for packaging and storing paintings, as well as a
separate brightly lit studio space.
These days Jan is selling more from her
online galleries than physical galleries.
Previously, Jan travelled overseas collecting
images for her annual exhibitions. Now more

Paintings
This page
Above: Braidwood Cottage
Right: Charolais Cow

Opposite page
Top: Crowded Beach
Bottom: Spring, Yass Valley, New South Wales

60 artist
Jan Matson
time is invested in promoting her work on social
networking sites. Jan adds that there is always a
shortage of time for painting these days, due to
the promotion of her work. It is very rewarding,
though, to be able to have my artwork viewed all
over the world by hundreds of people before the
painting is even dry!

Jans work is sought after by investors and

collectors all over the world.
Her original oil paintings are sold through
Etsy www.etsy.com/shop/JanMatsonArt
and the Australian online gallery Bluethumb
www.bluethumb.com.au/jan-matson.
Jan also sells prints of her original oil paintings
on Pixels.com www.jan-matson.pixels.com

Contact Details
Jan Matson
Ph: 0400 899 954
Web: www.janmatson.com
Email: jan@janmatson.com I

artist 61
WORKSHOP OILS

Pastoral Scene
The landscape Ive chosen is a local scene from Yass, country New South Wales.

Final Step
62 artist
 Jan Matson

Step 1

Materials List Step One: I usually give

t

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Choose your board or stretched canvas and the primed
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start a rough outline. First I decide whether the board three
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sanded between
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subject needs a less formal look and can be
coats. If using
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painted on a stretched canvas. For this painting
a stretched
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demonstration I have a beautifully carved white canvas, I
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wooden frame which I think will suit the soft usually give
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pastel colours of this subject. I use a light pencil it 2-3 coats
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distance and place the cottages to the right. Ill textured
canvas when
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draw a rough path (to lead the eye in) to the
working with
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a palette knife.
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composition and accuracy. The group of four layers and
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sheep add a point of interest to my painting then apply 1-2
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detail. When Im happy that I have a pleasing, well with a nal
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balanced picture, I wash over the lines with very sanding.
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thin paint so that it doesnt smudge the pencil
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line as Im painting. >>

artist 63
WORKSHOP OILS

Step Two
Now the part I love! Im always impatient to see
thick luscious paint added to a new board or canvas.
I use a fairly limited palette of favourite colours like
Ultramarine Blue, Cerulean Blue, Spectrum Yellow,
Titanium White and Spectrum Deep Red. I will be
starting from the top and working my way down the
board. After the sky I commence the distant trees
working from the left so that I dont run my hand into
the paint.

Step Three
The painting will be almost entirely completed with
a palette knife to keep it loose and thickly textured.
I like to paint wet in wet, so I will add the cottages
as I go along. There is a nice strip of bright sun-lit
grass in the middle distance which contrasts with
the pink tones of the trees in the background. I add
the foreground grass, the winding path and finally
the four sheep to the left.
Step 2

Artists Hints and Tips

r

*
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from my computer to
my iPad as it has a grid
and can be set up on
a stand to view while
painting.
r

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JNBHFT
XJUI

nice contrasts, shapes,
pleasing colours,
composition and
originality.
r

4UVEZ
PUIFS
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which appeals to you
such as the Australian or
French Impressionists.
r

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your drawing before
commencing.
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paint!
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paints.
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light if possible.
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Paint often!

Step 3
64 artist
 Jan Matson
Step 4(A)

Step Four
I now cast my eye over the almost completed
painting and add the final detail to the cottage, the
bare branches and twigs of the trees in the middle
distance and finally, the sheep and my signature
(not too large as I dont want it to dominate the
painting). As I like to work wet in wet Im hoping
there arent too many changes to make after the
paint dries.

Final Step
I like to let the painting sit a day or two and come
back to it with a fresh eye and make any final
adjustments. In this case Ive decided to add a little
more light beneath the sheep.

Contact Details
Jan Matson
Ph: 0400 899 954
Web: www.janmatson.com
Email: jan@janmatson.com I

Step 4(B)
artist 65
FEATURE
The Life of Norman Lindsay
Celebrating the life of one of Australias greatest artists
Image
N
orman Alfred William Lindsay (1879 1969)
Below: The Seahorse was born one of ten children to Dr and
fountain at the Norman Mrs Charles Lindsay of Creswick, Victoria.
Lindsay Gallery Remarkably, five of their progeny became artists of
distinction, including Norman who is widely regarded
as one of Australias best.
From an early age Lindsay demonstrated an
outstanding ability to draw. He became the principal
cartoonist for the Bulletin magazine, fought many
controversies against wowsers, particularly defending
his right to paint the nude, wrote novels and childrens
books including The Magic Pudding and also made
ship models and garden sculptures. His best-known
work, however, was the torrent of pen drawings,
etchings, watercolours and oil paintings, all of which
are represented at the Norman Lindsay Gallery and
Museum in Springwood, New South Wales. His art
is widely collected and many works reside within
66 artist
private and corporate collections. In fact, his art
continues to climb in value today. In 2002, a record
price was attained for one of his oil paintings Springs
Innocence, which sold to the National Gallery of
Victoria for $333,900.
Norman Lindsays life
Lindsay left his hometown of Creswick at the age
of 17 to work with his brother, Lionel as a freelance
black and white artist in Melbourne. In 1901, as
the result of an invititation by J.F. Archibald of the
Bulletin, Norman came to live in Sydney. His move
to the Blue Mountains with his second wife, Rose,
came in 1911 after a trip to Europe and a subsequent
illness in which Lindsay was thought to be threatened
by tuberculosis. They rented cottages in Leura and
Faulconbridge until one day, when Lindsay was riding
his horse along a wood-cutters track through the
bush, he came upon a stone cottage. He and Rose
decided to make it their own and purchased it for
500. Considerably transformed over the years, it is
now the Norman Lindsay Gallery and Museum.
Except for a few years in the 1930s and early
1940s when he lived at his studio at No 12 Bridge
Street, Sydney, Lindsay had lived and worked at
Springwood, spending nearly 60 years at the property.
In the grounds, he built and set up his garden statues
and fountains. In the lower studio, which was later
converted to a small home for his daughter Jane,
Lindsay worked at the copper plates for his etchings
and etched book illustrations. Rose would then print the
etchings on the etching press. His etching studio was
sold in the late 1960s and was not part of the estate
when Lindsay died. It was subsequently repurchased
by the NSW National Trust with a Federation Fund
grant and opened to the public in 2001.
For many years, his principal habitat was the main
studio, from which he emerged only at brief intervals
for meals and conversations in the house. Sometimes
models came up from Sydney to pose for a major
oil painting. He maintained a practically incessant
flow of pen and pencil drawings, watercolours and
smaller oils. Most of the ship models were also made
in the studio. Jane Lindsays Portrait of Pa and
Rose Lindsays Model Wife give a picture of the
domestic life of the family, when Rose would stroll
about the grounds perhaps accompanied by her
favourite dogs, current cats, cow or even pigs, and
of Norman taking a break from work to rig up fairies Image
dancing on the lawn in the moonlight for his two Above: The Oil Room
small daughters. Norman Lindsay Gallery
Oil paintings
Norman Lindsay experimented with paintings in oil
in the early 1900s and continued to paint in this
medium in intervals throughout his life. The early
paintings are often soft and elusive and have great
charm whilst undoubtedly his most impressive oils are
those from the 1930s and 1940s. Needing, as he
said, a fresh approach to art, he seriously set out to
conquer the difficulties of the medium and embarked
on his most ambitious series of large gallery
paintings. The oils of this period may be divided
into three categories. There are the small paintings,
sometimes of harem subjects and the like, where
Lindsay was chiefly aiming at rich contrast of colour,
sometimes of plain air nudes with the emphasis on
light effects. Then there are the larger portraits based
on studies of models such as Phyllis Silverwood, Pearl
Zweig, and the famous Rita Lee, or Rita Young, as she
became after her marriage. Finally, there are the big
gallery paintings on subjects from history, literature or
mythology. Very few of his major oil paintings were
ever offered for sale. Several are in private hands, six
fine examples are in the collection of the University
of Melbourne and Lindsay gave two to the Ballarat
Art Gallery. Springwood is fortunate to possess an
unmatched collection of his major oil paintings. >>
artist 67
FEATURE
Image Watercolours
Below: Visitants from Painting in watercolour requires quickness of mind,
the Moon, dexterity of hand, and perfect control. The length
Norman Lindsay, of time allowed for decisions to be taken and acted
Watercolour, 1947, upon is only as long as it takes for water to dry on
Copyright H. C & A. Glad paper. Few artists had greater technical control of the
medium than Lindsay, who, nevertheless, wrote that he
discarded more work than he ever completed.
It was Blamire Young who first interested the young
Lindsay in the possibilities of watercolour, but it was
not until after the First World War that Lindsay began
his series of brilliant works in the medium. In the
watercolours, as with so much of the artists work, the
emphasis is on the human figure. Landscape, as such,
had small interest for Lindsay except as a setting for
68 artist
action, although he could wash in a sun-dappled glade
or moon-drenched sea with the best of them.
The early watercolours seem often to be inspired
by the theatre, especially the ballet. A favourite
theme of the artist was the Confrontation. In the
Court of Venus, Don Juan pays homage to the
goddess of love. In From Crete to Yesterday, a
cavalcade of humanity mindless on a mountain
top. In Visitants from the Moon some thirty naked
women tumble out of the moonlight to the shocked
amazement of a group of Victorians, a subject that
gave Lindsay full scope for his antic humour.
Original prints
Lindsay had not kept any etchings so there were
no examples of this type of work included in the
bequest. Because of the importance of his work in
this medium one of the first concerns of the Trusts
management committee at Springwood was to
purchase an adequate collection of them.
His etchings were first exhibited in Melbourne in
1918 followed by major etching exhibitions in 1919
in both Sydney and Melbourne. His last exhibition
of new work in this medium was in 1937. Besides
etchings, Lindsay occasionally experimented with
other printing techniques. In Melbourne he produced
wood cut bookplates, posters and illustrations for his
brother Lionels book A Consideration of the Art of
Ernest Moffit. In the 1920s he created woodcuts as
book illustrations for "Fauns and Ladiesand Thief
of the Moon. He also made a few lithographs
around 1908 - one of which is in the Springwood
collection. In 1919 Lindsay said, Etching is a fine
medium for the element of mystery... one is able to
command such a unity in the masses... the selection
of light and tone is wholly the individual property
of the etcher... we may achieve the most delicate of
greys or the richest of blacks.
Pen drawings
Norman Lindsay left nine original pen drawings in
his bequest to the National Trust, all of which were
reproduced in his Selected Pen Drawings (Sydney,
1968). Also included in the bequest was a print of one
of his major drawings, In Vain the Christian, the original
of which was destroyed by the train fire in the United
States in 1941. It survives only in a small edition of
engravings, of which the Trusts print is one, that had
been made some years earlier. Comparable with other
pen drawings which occasioned great controversy
when they were first exhibited, it is a striking example
of Lindsays ability to combine fierce polemical
argument with the most restrained and pellucid effects
of technique.
The Magic Pudding
Norman Lindsays best-known childrens book is The
Magic Pudding. He wrote it in 1917, partly to settle
an argument with his friend Bertram Stevens of The
Bulletin and Art in Australia, who maintained that
children liked to read about fairies, whereas Lindsay
said they liked to read about food. First published
in 1918, it is still in print and has been translated
into Japanese, German, French and Spanish as well
as having been published in Britain and the United
States. It is regarded as a classic of childrens literature.
Next year marks the 100th anniversary of the Magic
Pudding which will be celebrated with a special
exhibition and family 'Puddin' Day' at the Norman
Lindsay Gallery.

Sculptures
Norman Lindsays interest in sculpture was mostly
confined to the period between 1920 and 1940. The
gallery is fortunate to possess a fine collection of small-
scale works in plaster. Apart from those intended as
studies for larger work, the smaller pieces appear to
have been conceived for the artists pleasure and his
desire to experiment with the composition of single
figures and group of figures.
Ship models
In his preface to Norman Lindsays Ship Models
(1966), Lindsay says that his passion for ships dates
back to the age of three or four years, when the
father of his familys hefty ginger-haired housemaid
made him a model of a full-rigged ship. Later, he says,
when he was an art student in Melbourne, he often
frequented the Yarra wharves with a sketch-book;
but, it was not until I came to Sydney, with its glorious
harbour, that the perfection of the full-rigged ship was
revealed to me. Soon after his return to Sydney he set
about making his first model, that of the Endeavour. He
made the rest of his models at irregular intervals over
the years, whenever he felt in need of relaxation.
The bequest
In his Will, dated 7th March 1969, Lindsay left a
bequest to the National Trust of Australia (NSW) of 16
watercolours, 17 oil paintings, 9 original pen drawings
together with pencil drawings, ship models, sculptures
and statuary. He also left all my paints, painting table
and other materials dealing with my craft and all book
cases and other pieces of furniture decorated by me,
together with all books which may be therein at the
date of my death to the Trust.
It was a condition of the Will that the Trust should
acquire Lindsays house at Springwood in which to
display the bequest.A public appeal was launched
in February 1970, supported by The Australian Image
newspaper, to raise funds to buy and restore the Above: Revel, Norman
property. General contributions and a magnificent final Lindsay, Watercolour,
donation by Mr S H Ervin, a connoisseur of paintings 1928.
and lifelong friend of Lindsays, brought the amount Copyright H. C & A. Glad
raised to sufficiently meet the Trust's needs. The Gallery
was officially opened by the then Governor-General, the
Rt Hon. Sir Paul Hasluck in February 1974.
Controversy
Although cementing himself as one of the greatest,
Lindsays work was met with controversy. His
sumptuous nudes were highly controversial. In 1939
several were burned by irate wowsers in the United
States, who discovered the artworks when the train in
which they travelled caught fire. Interestingly enough,
Norman had actually sent them to the United States
to protect them from the impending war. Lindsay also
created a scandal when his novel Redheap was
banned due to censorship laws. Many of his novels
have a frankness and vitality that matches his art.
Popular culture
In 1994, Sam Neill played a fictionalised version of
Norman Lindsay in John Duigans movie, Sirens. The
movie was set and filmed primarily within the Gallery
grounds. James Mason and Helen Mirren starred in
Age of Consent (1969, Michael Powells adaptation of
Lindsays 1935 novel. I

artist 69
FEATURE BY PATRICK HEDGES

The International Society

of Scratchboard Artists
In this issue of Creative Artist I want to introduce you to the people who make this society work
and the diversity of their own scratchboard art. Its an extraordinary society run by extraordinary
people, born out of the need to elevate scratchboard to the ranks of Fine Art mediums.

S
cratchboard already is a fine art
medium but in the past it hasnt
been recognised as such by
everyone so we created the society to
rectify this. We also created it to give
scratchboard artists their own place
to belong. In the following words and
pictures we will meet the movers and
shakers behind the society with their
achievements and art.

Patrick Hedges, MSA, SSA, founding

member of International Society of
Scratchboard Artists (ISSA)
Obviously theres me (not that I consider
myself extraordinary but the others are).
Ive been involved right from the inception,
making certain the society got off the ground
and worked, to the point where it keeps

70 artists Bonobo 'Pan' Finished

working with momentum. I am recognised
by the Society as a Master Scratchboard
Artist (MSA), which is a huge privilege
but also comes with responsibilities. As an
MSA I need to voluntarily provide mentoring
services (our webmaster rotates mentoring
requests around the different MSAs so
we all have to take on that responsibility).
MSAs also have to be judges and jury, again
on a rotation basis. This involves jurying
applicants into the society and to the higher
levels too. It also involves jurying art into
our annual exhibitions and then judging the
awards in the open section (obviously us
MSAs dont judge the masters section that
is always done by independent judges).
ISSA came into existence because
scratchboard artists were becoming
increasingly frustrated by having no real
place for their art to go into exhibitions.
We would often be lumped in with the
drawing section, or works on paper, or
mixed media, and on occasion, even the
craft section. Now I never criticise these
categories we do draw, we are often
mixed media and it is, like all artists art,
our craft, but we wanted scratchboard
itself to be recognised in its own right. By
establishing the society, and the ensuing
rise in popularity in the medium, we now
have artists recognised at the highest
level in some fabulous organisations and
shows are now starting to have their own
scratchboard category that we can enter.
I already know of two major Australian
shows that have scratchboard categories
and dedicated scratchboard prizes and this
is down to the work some MSAs have been
doing over the past few years.
For me it has been a huge honour and
delight to be part of starting something
that has snowballed to the point that we
now have members from countries all over
the world. I have served the board of ISSA
as Vice President (2011-2014 and 2017
current), Member-at-Large for other years
and 2017 Exhibition Director.
Ive also been juried into the iconic
Society of Animal Artists at signature
member level (SSA) and have had
scratchboards accepted into their annual
exhibition and also the David Shepherd
Wildlife Artist of the Year exhibition in
England, both huge honours. Ive been
fortunate enough to win the Wildlife Artist
of the Year in the Wildlife Art Society of
Australasia with a scratchboard and three
different awards at ISSAs annual exhibitions.
Scratchboard
Diana Lee MSA, founding member
of ISSA
The late Diana Lee, founding member
and Master Scratchboard Artist, was one
of the driving forces behind popularising
scratchboard for many years. She was >>
Images
This page
Above: Diana Lee montage
Left: Diana Lees portrait of Patrick
Opposite page
Left: Patrick Hedges Meerkat Montage
Right: Patrick Hedges and Zebras
artists 71
FEATURE BY PATRICK HEDGES
literally one of the finest artists, not just
in this medium, but in the world and has
unfortunately recently become one of our
greatest losses. Her book Starting from
Scratch has been responsible for bringing
many people to this medium and helping
the rest of us improve our work.
I will tell a personal story here.
Apparently she was really wanting to meet
me since we had only known each other
online through the art site WetCanvas,
72 artists
and even when we formed the society
together, we did it via online tools such as
forums and Skype. It was a massive thrill
for me to finally meet her at the inaugural
ISSA show in California in 2012 and it was
a huge surprise to me to find out later that
she was just as thrilled to meet me. Who?
Moi? She then colluded with my lovely wife
Gaynor who sent her some photographs
and she produced this portrait of me (see
page 71). A package arrived from her and I
Images
Left: Lorna Hannett, Tea and Strawberries
Above: Lorna Hannett
thought that shed sent me some blank
Ampersand boards like she had kindly done
in the past. Imagine my surprise when I
opened it and I stared at a scratchboard
of myself, a masterpiece which hangs on
the wall in my studio and is a source of
inspiration on a daily basis.
There are no real words that would
adequately describe Diana Lees contribution
so Ill let her art speak for itself.
Lorna Hannett MSA, SFCA, founding
member of ISSA
Lorna is one of the Founders of ISSA. She
served as President of ISSA for five years
and is a MSA. She is also a senior Signature
member of the Federation of Canadian
Images
Above: Cathy Sheeter
Left: Cathy Sheeter Attention to detail
Artists (SFCA). Lorna is self-taught and
works primarily with her favourite medium,
scratchboard. She has experimented and
pushed boundaries with it and in doing so,
has garnered recognition and won many
awards both nationally and internationally.
Her work has been featured in several
magazines, including International Artists
Magazine. Lorna lives in Burns Lake, BC,
Canada and works in her home studio, in a
large garden that has black bears visit her.
Cathy Sheeter MSA, SSA, founding
member of ISSA
Cathy Sheeter, an artist from the
United States, has always enjoyed
drawing animals but her introduction to
scratchboard in a high school art class
ended up being pivotal to her future and
career. Although Cathy majored in animal
sciences in college, she continued to
create art and hone her skills. In 2001
she started posting to online forum
WetCanvas, where she received valuable
feedback and encouragement, helping her
to continue to progress her skills. She
eventually helped get Scratchboard its own
forum on WetCanvas and served as the
administrator there.
When the idea of an international
organisation was raised in 2010, she
was one of the first to volunteer to help
get it going. Over the course of a year,
Cathy Sheeter and Lorna Hannett wrote
the by-laws of the organisation, as well as
working out many of the concepts of how
the organisation would operate. In 2011
ISSA was launched and members started
joining. Cathy submitted to the initial jury
panel for the highest level of membership,
Master Scratchboard Artist, and was
accepted at that level. Cathy was also
active on the ISSA Board of Directors from
the start, serving as Exhibition Director for
the first two annual exhibitions in California,
USA (2011) and British Columbia, Canada
(2012) and again in Arizona, USA (2016).
In the interim years, Cathy served as Board
Member at Large, helping to refine the
organisations jury system for membership
and administrating a private ISSA members-
only Facebook page. In late 2016, Lorna
Hannett requested to step down as
President and Cathy took over the reins.
She is president of the organisation at the
time of writing.
Since Cathy first stepped into the
professional art world in 2008, her work
has continually been juried into top national
and international shows, often winning
awards. Beyond her status as a MSA in
ISSA she is also a Signature Member of the
Society of Animal Artists. Her scratchboard
works can be found in four museum
collections and many private collections
across the United States and beyond.
Lori Dunn, MSA, SSA
Wildlife artist Lori Dunn is one of Canadas
foremost scratchboard artists. After earning
a degree in zoology, she spent many years
as a zoo keeper and naturalist. These years
Images
Top: Lori Dunn On a Grand Scale
Above: Lori Dunn
of experience gave her a deep appreciation
for the need to protect habitat and
endangered species.
Lori resumed the artistic endeavours
she started as a child, finding a way to
combine her artistic ability and her desire
Scratchboard
to conserve nature. Most of her artworks
are accompanied by a narrative, serving to
educate others on the conservation status
of the species and its importance to our
environment.
Lori Dunns scratchboard artworks
have garnered national and international
recognition. She is a signature member
of the Society of Animal Artists, and has
achieved her Master title from the ISSA,
where she is now the Marketing Director.
Many of her works have been exhibited
in museums and galleries across North
America. She works from her home studio
in Norwood, Ontario, Canada. You can view
Loris work at www.loridunnart.com >>
artists 73
FEATURE BY PATRICK HEDGES
Ann Ranlett, MSA
Ann Ranlett has been a member of the
ISSA since its inception. She first met
the members of what would become
the ISSA in the scratchboard forum on
WetCanvas. Ann was awarded Signature
status in 2012 and MSA status in 2016.
Her work has received awards at four of
the six ISSA exhibitions to date, including
a Silver Award in the Masters Division
at the 2017 exhibition and three Awards
of Excellence in the Open Division at
previous exhibitions.
Ann says, Scratchboard is a perfect fit
for my love of animals, science and detail. I
couldnt ask for a better medium. Although
the bulk of her drawings are of animal
subjects, including many commissioned
pet portraits, she has tackled a tractor,
motorcycles and chrome auto parts.
At Open Studio and other art-related
events, Ann offers demonstrations of her
techniques and discusses her work. Ann
also teaches scratchboard workshops and
was one of the presenters at the 2012 to
2014 ISSA workshops.
Ann and her husband (also a biologist),
live in rural Newcastle, California, USA,
where theyve landscaped with an
emphasis on native plants and wildlife
74 artists
Images
Above: Ann Ranlett
Right: Ann Ranlett - K9 Ronin
habitat. They share their lives with
Arrow the Chihuahua mix, an agility
dog. See Anns work at www.
scratchboardartbyann.com
Rich Schafermeyer, SSA
Rich Schafermeyer got his start in
scratchboard in 1988 after buying a kit
an artist was selling at a local art show.
He rediscovered it in 2009 when he
came across the Scratchboard Forum
on WetCanvas. This was just at the time
of the first scratchboard gathering in
Indianapolis, which he attended. As most
scratchboard artists know, its seldom you
get to meet another one in person and
here was a whole group of them, sharing
Images
Left: Rich Schafermeyer Waiting
Below: Rich Schafermeyer
new techniques and tools. The willingness
to share is a hallmark of scratchboard
artists, as there are few books or other
resources available. Rich filmed this first set
of workshop presentations and posted the
results on YouTube. Based on the positive
response, he did it again in 2010 and then
became the unofficial videographer of ISSA
workshops, filming the 2012 to 2015
workshops. In addition to his work filming
presentations, he also teaches scratchboard
classes, helping to spread the word to
other artists. He is now ISSAs Exhibition
Director for the exhibition and workshops,
to be held in Ohio in 2018, which will help
spread the word to the general public.
Richs own art covers a range of subject
matter. He has got the greatest attention
for his series of night images, such as the
one featured. Rich was recently selected to
be a Signature member of ISSA, an honour
he attributes to all that he has learned from
his fellow scratchboard artists. Rich lives in
Cincinnati, Ohio.
Ginger Gehres, MSA
Ginger discovered the world of
scratchboard a few years ago and a whole
new way of exploring the world opened up
o her with this medium. Saying that I am
an artist is not about what I do so much
as about who I am. I cant imagine being
anything else. I like to push the limits of it
while still holding true to its core discipline.
Images
Above: Ginger Gehres
Left: Ginger Gehres Feeling Crabby
Start with black or a colour and take layers
off to make an image. How I go about that
by adding, subtracting, and experimenting
with different tools and techniques is what
makes me smile. Its a new challenge and
discovery with each piece I create, Ginger
says. Her most successful work to date is
Feeling Crabby. Other highlights include:
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Andrea Schouten, SSA, President of ISSA
board from Bryn Mawr Art Ability 2016-
2017
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2016 Gala, Exhibition and Sale
Images
Below: Andrea Schouten
Right: Andrea Schouten Portal
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exhibition in Cary North, Carolina 2014
tirelessly to make this happen. For
from 2013 to 2015
Andrea has been working in scratchboard
since 2007 and is now a full-fledged
scratchboard addict. She says, What would
it be like to explore mystical ruins, or a
forest that glows with something magical,
or stumble across a woodland faerie?
Come explore my dream worlds, stay a
while, and have a little rest. Andrea lives in
Los Angeles, California. Visit Andreas art at
www.widgetartstudios.com.
As you can see, a diverse bunch
of artists had a vision to elevate the
name of scratchboard and have worked
more information, check out www.
scratchboardsociety.org and get to know
the many scratchboard artists who
regularly post their work. I
Scratchboard
artists 75
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