Nora Heysen - Carrick Hill · Nora Heysen is regarded as one of Australia’s premier portrait and...
Transcript of Nora Heysen - Carrick Hill · Nora Heysen is regarded as one of Australia’s premier portrait and...
Education Resource
Nora Heysen Light and life
Contents1 AboutthisEducationResource 1
2 Meettheartist 2 Ataglance(biographicaloutline) 2
Creativejourney(keydevelopments) 4
Influences 8
Incontext 9
3 Explore(subjectsandthemes) 10 Stilllife 10
Flowers 12
Selfportraits 14
Australiansatwar 16
Figures 18
4 Keysforlooking 20
5 Forteachers/students 22 Learningconnections 22
Getstarted(intheexhibition) 24
6 Researchandfurtherresources 25
ThisEducationResourceisproducedinassociationwiththetouringexhibitionNora Heysen: Light and life,curatedbyJaneHyltonandcoordinatedbyCarrickHill,Adelaide.TheexhibitionexploresNoraHeysen’sworldandworkandhighlightsthestrengthsanddiversityofherstudiopracticeinanotablecareerspanningsevendecades.
Cover image: Self Portrait(detail),1953,oiloncanvas,89.0x66.5cm;CollectionoftheArtGalleryofSouthAustralia,Adelaide;SouthAustralianGovernmentGrant,1994
Acknowledgments
Writer:JohnNeylonConsultant:JaneHyltonProduction:CarrickHill,Adelaide,withparticularassistancefromRichardHeathcoteandCateParkinsonDesign:SandraElmsDesign
TheNoraHeysenFoundationIncorporated
Nora Heysen: Light and life Education Resource: John Neylon
About this Education Resource TheResourceisdesignedtosupportlearningoutcomesandteachingprogramsassociatedwithviewingtheNora Heysen: Light and lifeexhibitionby:
• providinginformationabouttheartistandherpractice
• exploringexhibitionsubjectsandthemes
• locatingtheartist’sworkwithinart-historicalcontexts
• challengingstudentstoengagewiththeworksandtheexhibition’sthemes
• identifyingwaysinwhichtheexhibitioncanbeusedasacurriculumresource.
Itmaybeusedinconjunctionwithavisittotheexhibitionandasapre-visitorpost-visitresource.
YearLevelThisResourceisdesignedtobeusedbyprimary,secondary–seniorsecondaryvisualartteachersandstudents.
LearningAreasVisualArt:theexhibitionoffersinsightsinto:
• theartisticdevelopmentandcontributionofasignificantAustralianwomanartist
• studio-basedstylesandtechniques
• arthistoricalcontextsofthemodernistperiod
Society/AustralianStudies• therolesandcontributionofwomenartistswithinAustraliansociety
• Australiansatwar
English/Literacy• Analysingworksorreportinganddebatingfindingsrelatedtoviewingworkswill
requirestudentstomakeeffectiveuseoflanguageandwritingskills.
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Meet the artist: At a glance At a glanceAt a glance
Self Portrait,1953oiloncanvas,89.0x66.5cm;CollectionoftheArtGalleryofSouthAustralia,Adelaide;SouthAustralianGovernmentGrant,1994
NoraHeysenisregardedasoneofAustralia’spremierportraitandstill-lifeartists.Bornin1911,thefourthofHansandSelma(Sallie)Heysen’seightchildren,shegrewupinthefamilyhome,TheCedars,atHahndorfintheAdelaideHills.FromanearlyageNorawasdeterminedtobeanartist.ThroughstudyandapplicationsheachievedcriticalsuccessandinherearlytwentieswasabletorealiseadreamoflivingandstudyinginLondon.
BythetimeshereturnedtoAustraliainlate1937herartistichorizonshadbeenexpandedbyexposuretothediversityoftraditionalandmodernEuropeanart.TheartistmovedtoSydneyin1938,perhapstorestoreasenseofindependenceasanartistwhichshehadenjoyedwhileoverseas.ThishadtheeffectofextendingHeysen’sreputationbeyondSouthAustraliaandconsolidatinghercredentialsasacommissionedportraitpainter.WinningtheArchibaldPrizeinthesameyear(thefirstfemaleartisttowinthisprestigiousaward)confirmedhergrowingreputationasoneofAustralia’sforemostwomanartists.
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Heysenwasanofficialwarartist(thenation’sfirstfemalewarartist)andservedasacaptainintheAustralianWomen’sArmyService1943 – 46.
Fromthelate1940stothetimeofherdeathin2003herworkingbasewasSydneyandfrom1954herhome,TheChalet,inHuntersHill.FrequenttravelwithherhusbandRobertBlacktoPacificdestinations,includingNewGuineaandtheSolomonIslands(1954 – 65),offeredopportunitiestoextendherpracticeandtodrawandpaintlocalpeople,subjectswhichfiguredprominentlyinheroutputatthistime.
Theartofhersenioryearsreflectedinitsflowerstudies,gardensubjects,interiorsandfigurestudieshowspecialtheintimatemomentsandsubjectsassociatedwithherdomesticworldandstudiopracticewerefortheartist.AcrossthisperiodsheexhibitedrarelybutsufficientlyfortheAustralianartcommunitytoappreciatethefullfloweringofhertalentsandimaginationasanartist.
Awardsandhonoursreflectedthisappreciation.In1993HeysenreceivedtheAustraliaCouncil’sAwardforAchievementintheArts.In1998shewasawardedtheOrderofAustralia(AM).In2000amajorretrospectiveexhibitionNora HeysenwaspresentedbytheNationalLibraryofAustralia,Canberra.In2004theNoraHeysenFoundationIncwasestablishedinSouthAustralia,basedattheHeysenfamilyhome,TheCedars,Hahndorf,SouthAustralia.
Insights“NoraHeysenremainsoneofthemostsignificantoftheAustralianfemaleartistsofthelastcentury.Shewasaremarkablewomanwhoseartisticachievementsspannedaperiodofsome75years,andwhogainedcontinuedrespectforheracknowledgedpassionandgenuinededicationtoherart.NoraHeysenwasabeautifulcolourist,formidabledrawer,superbdraughtsmanandskilfulexponentofoilonbrush;anartistwhoplacedherselfinthehistorybooksbybecomingthefirstwomantowintheprestigiousArchibaldPrizeandthefirstappointedfemalewarartistinWorldWarII.”
AllanCampbellCurator,TheCedars,theHansHeysenEstateChairman,theNoraHeysenFoundationIncorporated
“UltimatelytheessenceofNoraHeysen’sartreflectshercontinualpursuitofandloveforlightandlife.”
JaneHyltonCurator,Nora Heysen: Light and life
Meet the artist: Creative journey Naturaltalentandwork:EarlyyearsinAdelaide1920s –1933Nora,ofalltheHeysenchildren,demonstratedthemostartisticinterestandtalent.Encouragedbyherfathershelearnttodrawandpaint.AgedfifteenshebeganformalartstudiesattheSchoolofFineArtsinNorthAdelaide.Fromthelate1920stotheearly1930sshecontinuedtodevelopskillsindrawingandpaintingacrossavarietyofsubjects,principallystilllife,portraiture(includingselfportraits)andlandscape.EarlyworkcarriestheimprintoftheformalandconservativetrainingshereceivedprimarilyattheSchoolofFineArtsunderFrederickMillwardGray.FromGrayshelearnttoanalyseandillustrateobjectsintermsofessentialvolumes;cylinders,spheresandcubes.Thissystemgaveherthebasisonwhichtoexplorethepossibilitiesofformandcomposition.
Still life with cheese and bread,1931oiloncanvas,50.0x60.0cm;CourtesyofKensingtonGalleries,Adelaide;PhotographbyMickBradley
Anemergingindividual:LifeinLondon1934 –37Fromtheearly1930sandacrosstheperiodspentinLondon(1934 –37),itispossibletoidentifyanoticeableshiftinstyleandmethodology.Theearthcolourspalettewhichhadservedhersofaithfullywasreplacedbyaricherpaletteofbrightluminouscoloursandbrushhandlingbecamemoregesturalandtextured.WhileinLondonNorastudiedattheCentralSchool.Thisstudywassupplementedbyvisitstogalleries.WhilethesubjectmatterofHeysen’sworkcontinuedtobeprimarilystilllifesubjects,studiointeriors,afewlandscapesandportraits(includingselfportraits)herworkreflectedanincreasedawarenessofthepossibilitiesofcolourtoenliventheimageandcreatemood.Changewasalsoevidentinanincreasingcomplexityandsophisticationofcompositionalarrangementswithinstilllifesandinteriors.
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London breakfast,1935oiloncanvas,47.0x53.5cm;CollectionoftheNationalGalleryofAustralia,Canberra,purchased1996
Awealthofexperience:Sydneylate1930s –early1940sNorareturnedtoAustralia,initiallytoAdelaideandTheCedarsinlater1937beforemovingtoSydneyin1938.Distinctivefeaturesofworkmadeonherreturnwereamorehigh-keypalette(asopposedtoanearlierrelianceondarksandlights)andalooserpaintingstyle.Thishadtheeffectofestablishinglightandcolourascentralconcernsofherpractice.Duringthisearly1940speriodtheartistcontinuedtoexplorepainterlyexpressionthroughmoregesturalbrushworkwithoutabandoningsounddraughtmanshipandcompositionalstructure.Atthistimeshecompletedanumberofsignificantpaintingsrelatedtothesubjectofmotherhood.
Tomatoes,1939oilonboard,44.2x55.6cm;CollectionoftheArtGalleryofSouthAustralia,Adelaide;SouthAustralianGovernmentGrant1998
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Atwar1943–46InOctober1943HeysentookupanappointmentascaptainintheAustralianWomen’sArmyService.ShewasthefirstwomaninAustraliatobeappointedasawarartist.Duringthistimesheproducedover170worksofart.Thisbodyofworkconsistsofarangeofsubjectsfromformalportraitsoffemaleofficebearerstomoreinformalportraitsandviewsofwomenengagedinarangeofduties.TropicalconditionsmadeoilpaintingverydifficultandHeysenchoseattimestoworkinchalk.Workingin situandspeedrequiredachangeintechnique;moredirectandrapidbrushwork.
Private Gwynneth Patterson, Australian Army Medical Women’s Service,1944,oiloncanvas,56.0x41.0cm;CollectionoftheAustralianWarMemorial,Canberra;AcquiredundertheOfficialWarArtScheme1945
Pacificregionwork:1954 –64HeysenmarriedRobertBlackinearly1953andoverthenextdecadeaccompaniedhimonresearchexpeditionsthattookthembothtoPapuaNewGuinea,TheSolomonandTrobriandIslandsandtheNewHebrides(nowknownasVanuatu).OnseveralPacificregionjourneystheartistmadenumerousdrawingsandsomeoilpaintingsoflocal,indigenouspeople.Workingmainlyinchalks(amoremanageablemediuminthedifficultclimateandworkingconditions)Heysenhonedherfigurativedrawingskills.JaneHyltoncommentsthat,“TheworkssheproducedduringthesejourneysareexceptionalinHeysen’soeuvre.Herknowledgeofthehumanformtranslatedreadilyintobeautifullyfreshportraitsoftheindigenouswomenandmen.”
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King Mitakaka, New Guinea,c.1962sanguine,pastellaidonpaper,63.5x48.5cm;CollectionoftheArtGalleryofNewSouthWales,Sydney;Giftoftheartist2003;PhotographbyDianaPanuccio
Ahomeofherown:Sydney1950s –2003FollowingwarserviceHeysenquicklyre-establishedherartisticcareer.By1951shewasverybusyacceptingcommissionsforbothportraitsandflowerstilllifes.In1954NoraandRobertpurchasedTheChaletatHuntersHill,Sydney.OverthefollowingdecadesNoraHeysen’sworkbecamemoreintrospectiveandreliantonsubjectsdrawnfromherdomesticsettingatTheChalet,includinghergardenanditsflowers,localchildren,hercatsandstudioscenes.Heysenjoinedalocallife-drawinggroupandovertimeproducedalargeandsignificantbodyofdrawingsofthenudemodel.AsHeysenworkedintoherseventiesherpaintingstylebecamebolderandpaintapplicationdryerandmorerapid.
Morning sun,1965oiloncanvas,63.5x47.0cm;Privatecollection
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Meet the artist: Influences HansHeysenThemostsignificantformativeinfluenceonNoraHeysen’spracticewasthatofherfather,thenationallyacclaimedlandscapeartist,HansHeysen.HanshadundergonehisowninitiationintotheworldofartwhenasayoungmanhestudiedandtravelledinEuropeattheturnofnineteenthcentury(1899 –1904).Itwasatimeofradicalchange.TheinfluenceofpleinairismandamodifiedformofImpressionismspreadinthefinaltwentyyearsofthecentury.ManyartistsfoundwaystocombinesomeofImpressionism’sinnovativefeatures,suchasitsfreerbrushwork,apreoccupationwithlightandatmosphereandaninterestinmodern-lifesubjects,withelementsofamoreconservative,academickind.ThiscomplexitywasapparentinHeysen’sworkwhereanumberofsubjectsandsettingsindicateabroaddebttohumanistartistsincludingRembrandtandMillet.Heysen’s‘capture’oflight,oftenwithinruralsubjectworks,reflectshisclosestudyofthe‘atmospheric’artists,particularlyClaudeLorraine,J.M.W.Turner,JohnConstableandJean-BaptisteCorot.
HeysenhadencounteredModernisttrendsintheformofartbyPaulCézanne,VincentVanGoghandothers.HeadmiredaspectsoftheirworkbutfeltthatModernismingeneralplacedundueemphasisonpersonalexpressionattheexpenseofformandstructure.TheseprioritiesareclearlyexpressedinaletterhewrotetoNorawhileshewasstudyinginLondon.
At your present stage of development, colour after all is not of such importance as form and structure – never relinquish your hold on your search for structure – it is indispensable to help you build your foundations: first form and structure then colour
HansHeysentoNoraHeysen22March,1930s
Nora’searlytrainingindrawing,compositionandtonalrealismandher‘apprenticeship’underthewatchfulandencouragingeyeofherfatherinhisstudioensuredthatthisemphasisonstructureemergedasakeyorganisingprincipleforherwork.Althoughthestyleofhermatureworkchangedassheallowedcolouramorecentralroleitisstillpossibletoidentifyasenseof‘visualscaffolding’createdbytheformsofindividualobjectsandtheirrelationshipswithinacomposition.
ImpressionismThefirstImpressionistexhibitionwasheldinParisin1874.Bythelate1880sithadbecomelessaspecificartmovementassociatedwithasmallgroupofradicalartists(includingClaudeMonet,CamillePissarro,MaryCassattandothers)andmoreagenericstylewithmanyvariations.Butcharacteristicelementssuchaspaintingen plein air,dividedor‘broken’brushwork,useofpureandcomplementarycolours,andemphasisonlightremainedincommon.Australianartists(unlesstheytravelledoverseas)inthefirsthalfofthetwentiethcentury(includingNoraHeysen)hadlittleornocontactwithoriginalImpressionist(orModernist)works.HeysenwasinspiredbyamajorexhibitionofMonet’sworkseeninLondonin1936.Thishadagreatinfluenceonherstyleparticularlyintheuseofbrightercolourandthetreatmentoflight.
Post-ImpressionismThistermwasderivedfromthetitleofanexhibitionheldinLondonin1910.Theparticipatingartists,includingCézanne,HenriMatisse,PabloPicasso,GeorgesSeuratandVanGogh,representedaphaseofartisticexperimentwhichreplacedImpressionism(thusthetitle).WhilePost-Impressionismwasaverybroadtermtodescribeadiversityofstylesandapproaches,thereweresimilaritiesintheworkofartistsassociatedinsomewaywiththePost-Impressioniststyle.Theimagerytendedtoaflatteningofpictorialspaceandsimplificationofform.Colourwasarbitraryanddeterminedbyimaginativeorexpressiveimperativesratherthantruthtooriginalsources.TheappealofthisapproachforanumberofyoungerBritishartists(andforNoraHeysen)wasthatitretainedastronglinkwiththeworldofappearances–unlikeformsofCubism,Surrealismandabstraction.
NoraHeysen’sexposuretoawiderangeofImpressionistandPost-Impressionistartwasextensive.TheartistrecalledbeingparticularlydrawntotheworkofAugusteRenoir,Monet,PierreBonnard,AlfredSisley,Cézanne,andVanGogh.ThisexperienceinspiredHeysentoexpressasenseof‘lightandair’inherwork.
ThePissarroconnectionIn1935HeysenwasinvitedtomeettheartistOrovidaPissarro,thedaughterofLucienPissarrowhoseworkbothNoraandHansHeysenadmired.OrovidaconfrontedNorawithobservationsthatherpainingwas“muddyandfiftyyearsbehindthetime”and“toolowintone”andsuggestedanewrangeofcolourstouseincludingcadmiums,ultramarine,cobaltandcrimson.InresponseNoradeliberatelybrightenedherpaletteandnotedwithsatisfactionthatitcreatedmore“vibrationandbrilliancethanbefore”.Thisintroductionofmorehigh-keynotesintoherworkmarksasignificantshiftinLondon-periodwork.Theconsequencescanbeseeninworksubsequentlymadeovertheremainderofherlife,expressedinconfidenthandlingofrichandbrightlycolouredcompositions.
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Meet the artist: In context Theturnofthecentury–atimeofchangeThelatenineteenthcenturymarkedtheendofthepioneeringerainAustralia.SomeAustralianImpressionists,TomRoberts,ArthurStreetonandFredMcCubbininparticular,commemoratedthiserainanumberofpaintingswhichbecamenationalicons(includingArthurStreeton,Fire’s on,1891,TomRoberts,Shearing the rams,1890andA break away!,1891,FredMcCubbin,The Pioneer,1904).Intheearlytwentiethcentury,pastorallandscapeswerevaluedasexpressionsofnationalidentity.HansHeysenwascelebratedastheinheritorandforemostexponentofthistradition.
ExpatriateandEuropeantravelexperience:latenineteenthcenturyBytheearlytwentiethcenturythestrategyofleavingAustraliatostudyandtravelinEnglandandEuropebecameapriorityforsomeAustralianartists.ThemovementofartistsandartstudentstoEurope(mainlytoLondonandParis)beganinthe1880sandcontinuedintothe1930s.Thefirstwave(1880 –1900)includedTomRobertsandJohnRussellwholeftin1881,BertramMackennal1883,RupertBunny1884,CharlesConder1890,ArthurStreeton1898,HughRamsay,MaxMeldrumandGeorgeLambert1899.
ModernismAfterWorldWarI(1914 –18),theyoungnationofAustraliaunderwentgreateconomicandsocialchange.Thischangewasreflectedinartoftheperiod.Anewgenerationofartistslookedforsubjectsandstyleswhichbetterexpressed(thanpastorallandscapepainting)theideaofAustralianasamodern,urbanisednation.ThisgenerationwasattractedtostylesandideasassociatedwithEuropeanModernism.Modernismisageneraltermwhichappliedtoawiderangeofartstylesandphilosophiesassociatedwithearlytwentiethcenturyart.Artstylesassociatedwithitinclude;Cubism,Surrealism,Abstraction,Constructivism,FuturismandVorticism.WhileelementsofPost-ImpressioniststylefilteredbacktoAustraliathroughthetravelandstudyexperiencesofafewartists,familiaritywithawiderrangeofmodernstyleswasrestrictedtoreproductionsinartpublications.Encounteringmodernartmeantoverseastravel.WorldtravelbecamemoreaccessibleduringthelatenineteenthtoearlytwentiethcenturyandanumberofyoungerAustralianartists,particularlywomenartists,seizedtheopportunitytobroadentheirhorizons.
AustralianwomenartistsandModernismFromthe1920sopportunitiesopenedforwomentotakemoreindependentandlessconventionalrolesinsociety.WorldWar1hadamajorimpactonlifeinAustralia.Familieslostmenfolkandmanysoldierswereseverelywounded.Asaresult,intheperiodfollowingthewarmanywomentookmoreresponsibilitywithinthehome.AperiodofeconomicprosperitybeforetheGreatDepression(1929 –1931)gavepeopleandsomewomeninparticular,agreaterdegreeofsocialfreedom.ForsomewomenthistranslatedasopportunitiestofollowanartisticcareerinAustraliaoroverseas.
ThefirstwaveofoverseastraveloccurredintheyearsleadingtotheFirstWorldWar.Thisgroupincluded;BessieDavidson,HildaRixNicholas,StellaBowen,MargaretPreston,TheaProctor,GladysReynell,JessieTraill,KathleenO’Connor,AgnesGoodsirandGraceCossingtonSmith.
TheimagesproducedbyAustralia’swomenartistsfromthe1920stothelater1930sexpressedacreativeandpositiveresponsetothechallengesofbecomingatwentiethcentury,modernnation.Theseartistsexplorednewideasaboutwhatartcouldbeandportray.TheybroughtnewmovementssuchasCubismbackfromEurope.TheyexploredandextendedpaintingandprintmakinginwaysthatchallengedotherartistsandAustralianaudiences.
Thewomenwhodominatedthetwodecadesfromthe1920stothe1940schallengedtheconservativemoodofartandsocietyduringthisperiod.IncludedinthisgenerationofwomenartistsventuringoutsideofAustraliawere;JeanAppleton,DorritBlack,GraceCrowley,AnneDangar,LisetteKolhagen,KathleenSauerbier,EthelSpowersandEvelineSyme.Afeatureoftheworkofthisgroupofartistswasthewillingnesstoseekoutanduseurbanandindustrialsubjects(suchascities,trainsandbridges)andtreatingtheminastylisticmannerwhichemphasised,technologicalchange,speedandmodernity.
NoraHeysen’smodernityNoraHeysen,untilshetravelledoverseas,wasisolatedfromtherevolutionarychangestakingplaceintheartworldinthefirstpartofthetwentiethcentury.HerarttrainingwasconservativeaswastheartsceneinAdelaideatthistime.HerfatherHanshadmadeaconsciousdecisiontoturnhisbackonmuchoftheModernistexperimentationheobservedwhileoverseasthirtyyearsearlier.Norawascautiousbutcuriousaboutaspectsofmodernart.HereventualadoptionofabroadlyPost-Impressionistapproachwhichusedcolourandameasureofexpressivepainterlystyle–ameasureofhowfarshefeltshecouldembracethespiritofModernismwithoutabandoningprinciplesofsounddraughtsmanshipandcompositionalstructure.
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Explore: Still life
Still life with cheese and bread,1931oiloncanvas,50.0x60.0cm;CourtesyofKensingtonGalleries,Adelaide;PhotographbyMickBradley
ConsiderThisearlyexampleshowstheartistapplyingheremergingskillsintonalrealism.Thismeansthatshadesofcolours(lightertodarker)basicallydefinesolidforms.Thisisclearlyevidentintheloafofbreadandtheeggs.
Thesinglesourceoflight(fromviewer’srighttoleft)hasmadeiteasyfortheartisttoorganisethehighlightsandshadows.WithinthisworkingarrangementHeysenhasalsohadtodealwithreflectedlight.Lookatthelowersurfacesofthetwoeggslowerrighttoseehowthelightfromthetableclothis‘bouncingup’ontotheeggs.
Achallengeforrealistartistsistocreateconvincingsimulationsofsurfacesandtexturesacrossawiderangeofobjects.ConsiderhowsuccessfulNorahasbeeninrenderingthesurfacequalitiesofthebread,eggsandbottle.Lookalsoatthewaytheartisthasworkedto‘capture’thetranslucencyofliquidintheglassandthecrinkledqualityofthepaperwrappedaroundtheblockofcheese.
Consideralsohowinthisverytonalimagehowtheredunitsonthebottle(corkandseal)areusedto‘lift’themoodofthisimageandactaspointsoffocus.
Thecompositionisbasedonatraditionalformulaofthetriangle.Thetopofthebottleactsastheapexandthefrontedgeofthetablecloththebase.Noticehowtheknifeisangledtoleadtheeyeinwardsanduptowardsthebottle.
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Apples on a chair,1995oiloncanvas,40.5x51.0cm;CollectionoftheNoraHeysenFoundation,TheCedars,Hahndorf;PhotographbyMickBradley
Thispicturecanbelookedatintwodifferentways.Halfcloseyoureyesandtheapplesmightsuddenlybegintolooksolid.Openthemandtheymightbegintofloatordissolve.ThiseffectiscommonlyfoundinmanyofNoraHeysen’slaterworks.Itisanindicationofhowdeterminedshewastofuseelementsoflightandlifewithinherwork.
Thetreatmentoflightismuchdifferenttoearlytonalrealistwork(asseeninStill life with cheese and bread)whereasinglesourceoflightcreatedapredictablerangeofhighlightsandshadows.InApplesthelightseemstobeeverywherealmosttothepointofshiningfromwithinsolidforms.Thisislargelyduetothedominanceofyellowwithinthetotalcompositionandtheloose,openbrushworkwhichhasleftsectionsofthewhiteunderpaintingvisible.
Thecompositionislessformalthaninearlywork.Thebackrungsofthechairpositionedontherightcreateanasymmetrywhichhasbeencounterbalancedbythetworedapplesclosesttotheviewer.Theclosefocusonthesubject(whichhasresultedinthetightcroppingofthechair)andtheslightdegreeoftiltingtowardstheviewerarelegaciesoftheartist’sgraspofModernistprinciplesofcompositionandviewerengagement.
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Explore: Flowers
Summer flowers,1933oiloncanvas,76.1x61.2cm;CollectionoftheCarrickHillTrust,Adelaide;TheHaywardBequest;PhotographbyMickBradley
ConsiderThispaintingisanexcellentexampleofthehighlevelofskillNoraHeysenhadachieved,bytheearly1930s,inrenderingcomplexarrangementsofflowers.Theflowersdepictedhadbeenfreshlycutandtheartistneededtoworkquicklytocaptureasenseoffreshnessandbeautybeforethebloomsfadedandwilted.
Comparethisworktoanearlierflower-subjectpaintingintheexhibitionsuchasScabiouspaintedin1930.Thereareanumberofdifferencesinapproach.InStill lifethereisfarlessrelianceontransitionsfromlighttodarkwithinindividualbloomstocreateillusionsofform.
Thecoloursarebrighterandtheplacementofcolours(theredsandbluesforexample)isstrategicintermsofinvitingtheeyetotrackacrosstheimagetoexplorelikeandunlikecolourrelationships.
Thecompositionmakesastrongvisualstatement.Noticehowthebloomsarepushedouttotheedgesoftheimage.Thishastheeffectofbreakingupthebackgroundor‘negative’spacebehindthesubjectintoareasofinterest.
Thebrushwork(seenbestintheoriginal)isdecisiveandbold.
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Freesias,1985oiloncanvas,50.0x61.0cm;Privatecollection;PhotographbyGregWeight
ConsiderThisstilllifeischaracteristicoflaterworkbytheartistinwhichpainterlyexpressiondominates.Theartisthasworkeddirectlyandwithspeedindefiningtheprincipalfeaturesandobjectswithinthecomposition.Thisisa‘drawingstyle’ofpainting.Mostitemssuchasthevaseofflowers,theapplesinthebasketandtheplatehavebeendepictedbymultiplesweepsanddashesofarelativelythinbrush.Thebroaderareas,particularlythetabletop,windowandwallhavealsobeen‘builtup’withsweepingbrushmarks.
Thecolourrelationshipsofyellowandpinkdominatethecomposition.Thebunchofflowersreliesonpassagesofwhiteandtheradiatingextensionsofgreentoestablishitspresenceinthemiddleofsuchahighenergycomposition.
Tomaintainfreshnesstheartisthasleftsomeareasofunderpaintingexposed.Ontheleftoftheflowersitispossibletoseewheretheartisthasscrapedbackthroughthepigmenttothecanvas.
AswithmostofNoraHeysen’swork,nomatterhowenergisedorexpressiveinstyle,itispossibletoseehowcontrolwasmaintainedbyweighingtonalvalues.Toappreciatethispeerattheimagethroughhalf-closedeyesandtrytoseetheimageintermsoflightanddark(andshadesbetween).Youmaynoticehowthedarkpassagesinthebunchofflowers,theforegroundbasketofapplesandtoalesserextent,therectangularunitfarrighttendto‘anchor’theimageandpreventitfromdissolvingintoamassofshapes,linesandcolours.
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Explore: Self portraits
Self-portrait,1932oiloncanvas,76.2x61.2cm;CollectionoftheArtGalleryofNewSouthWales,Sydney;GiftofHowardHinton1932;PhotographbyJenniCarter
ConsiderNoraHeysenpaintedanumberofselfportraits,oftenatcriticalpointsinherprofessionalandprivatelife.Assuchtheyarerevealingexpressionsofselfscrutiny.
This1932selfportraitwaspaintedwhentheartistwasbarelyinhertwenties.Itwaspaintedinherfather’sstudio,beforeshehasherownstudiospace.Theworkbenchinthebackground,withitscollectionofpaintingmaterialsandboards,emphasizestheideaofanartistatwork.TheposethatNorastrikesisoneusedconventionallybytraditionalartiststoprojectanddefinetheirprofessionalidentity.ThepaletteisonegiventotheartistbytheacclaimedsingerDameNellieMelba.
Thereisaframedpicturebehindherhead.ItisareproductionofapaintingbytheDutchseventeenthcenturyartistJanVermeer,anartistbothNoraandHansHeysenadmired.Thecontrolledtonalrealismofthisworkandlow-keyrangeofcolours,particularlythedarkbrownoftheartist’sclothingandthewhiteofthecollar,echothestyle,tonalvaluesandeventheperiodcostumingtobefoundwithinVermeer’spainting.
Technically,HeysenbuiltherpaintingonherstrongdrawingskillsThisisparticularlyevidentinthefacewherethedramaticmodellingofvolumesbearsastrongsimilaritytoportraitdrawingsmadebytheartistaroundthistime.
Thecompositionreliesheavilyontheextremecontrastofthedarksilhouetteofthetorsoandtherectangularframedpicturesonthewallandthelightareasofthewallandstackedpaintingboards.
Thepurple-blueofthefabriconthebackofthechairandtheredpigmentonthepalettehavebeengiventhetaskofenliveningorliftingthemoodoftheimage.
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Down and out in London,1937oiloncanvas,55.0x40.0cm;CollectionoftheArtGalleryofSouthAustralia,Adelaide;SouthAustralianGovernmentGrant1994
Thisisarevealingself-portrait,madeinLondon,atacrisispointinNoraHeysen’slife.ItwasthelastpaintingtheartistmadebeforereturningtoAustralia.Londonwasahard,coldandlonelyplace.Recentnegativecriticalopinionofherworkhadcrushedherspirits.Havingcreatedthiswork,theartistabandonedit.Perhapsthemooditconveyswastoodifficulttoconfront.
Thesubjectistheartistinhersmallstudio-flat.It’sacrampedspace.Theartistisinfactsittingpartlyonherpalettewithalineofwashingrunningjustbehindherheadandacookingstoveimmediatelytooneside.
Comparetheposeofthefiguretothatinthe1932self-portrait(illustratedthisResource).IntheearlierworkNorahastheuprightmannerandself-assuredlookofsomeonepurposefulandincontrol.Inthe1937selfportraitthebodyisslumped,thefaceexpressionlessexceptfortheeyeswhichlookawayfromtheviewer.Theoverallimpressionisthatofweariness.Perhapsthewashinghasasymbolicroletoplaybysuggestingthattheartistherselfhasemotionallybeen‘hungouttodry’.Thinkaboutthe‘downandout’referenceinthetitle.
Thelow-keymoodconveyedbythefigureisincontrasttotheup-beatstyleofpainting.ThisworkisanexcellentexampleoftherangeofModernistinfluencesNoraHeysenabsorbedwhileinLondon.ThedirectinfluencemaywellbethePost-Impressioniststylesofrepresentationpromotedthroughtheartist’scontactwithLucienandOrovidaPissarro.BythistimeNorahadlookedwithinitialcuriositythenenthusiasmatawiderangeofmodern-eraartistsincludingRenoir,Monet,Sisley,Cezanne,BonnardandVanGogh.
EvidenceofModernistinfluencescanbeseenintheuseof‘brokenbrushwork’(individual,squareheadedbrushmarkslaidsidebysidetobuildareas),complementarycolourtocreateshadows(asseeninthecoolcolourhighlightsonthefaceandthebrighter,pastel-huedcolourrange.
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Explore: Australians at war
Sister Minnie Goldstein working in the blood bank, Alexishafen,1944oiloncanvas,40.0x45.6cm;CollectionoftheAustralianWarMemorial,Canberra;AcquiredundertheOfficialWarArtScheme1945
ConsiderAsanofficialwarartistNoraHeysencreatedover170worksofart.152oftheseworkswereultimatelyacquiredbytheAustralianWarMemorialundertheOfficialWarArtScheme.Thisbodyofworkpresentsarangeofsubjects.Itincludedformalportraitsoffemaleofficebearersaswellaslessformalviewsofwomenengagedinawiderangeofwork.CollectivelytheyconstituteauniquerecordofAustralianwomen’scontributiontothewareffort.
Thisportraitofanurseworkinginamake-shiftbloodbankinPapuaNewGuineaistypicalofanumberofworksiteinteriorsmadeinvarioustheatresofwar.IncreatingsuchanimageHeysenneededtocalluponherdrawingandrenderingskills,particularlyindealingwithinteriorlighting.Theartist’sexperienceinpaintinginteriorsisparticularlyevidentintheboldmassingoflightsanddarkstoachievedramaticeffectandaddinteresttowhatanotherobservermightseeasacommonplacescene.
Thepaintingstyleofthisworkisdirect.Considerhow,forexample,theartisthascreatedtheimpressionofnumerousbottlesontheworkbenchusingdecisivebrushmarksandhighlights.
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Pathologist titrating sera (Captain Robert Black),1944oilonhardboard,45.9x39.6cm;CollectionoftheAustralianWarMemorial,Canberra;AcquiredundertheOfficialWarArtScheme1945
ConsiderThepersoninthispaintingisthepathologistCaptainRobertBlack,aspecialistintropicaldiseases.Heysenmethimduringthewar.Theycorresponded,maintainedcontactandlatermarriedin1953.
JaneHyltonhasobservedofsuchimagesthattheywerealmostlike“incidentalimagessuchasonemightcatchwhilewalkingdownthewardscorridorabusyhospital.Theseinteriorsreflecttheconcentratedintensitythatsurroundedtheentirewareffort–wedarenotdisturbSisterMinnieGoldsteinassheworksinthebloodbankinAlexishafeninPapuaNewGuinea,norinterruptRobertBlackashefocusesontitratingsera”.
Inthispicturetheartisthasmaintainedamiddle-distancefocustoensurethattheviewergetsarealsenseofthelaboratoryenvironmentinwhichthedoctorisworking.Herportraitandfigureskillsareevidentnotonlyintheconcentrationexpressedonthefacebutthedelicacyofhandgesturesinholdingadelicateitemoflaboratoryequipment.
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Explore: Figures
Ruth,1933oiloncanvas,81.5x64.2cm;CollectionoftheArtGalleryofSouthAustralia,Adelaide;SouthAustralianGovernmentGrant1934
ConsiderEarlyinhercareerNoramadeaconsciousdecisiontoexcelinportraiture.Onereasonforthiswasthefactthatherfather,Hans,had,assheonceput,‘takenoutcopyrightonthegumtree’andbyimplicationtree-studdedlandscapes.InportraitureNorafeltshecouldworkinherownspacewithoutinevitablecomparisonswithherfather.
Theartistmadeanumberofsketchesandpaintingsofthepersonrepresentedinthepainting.ShewasalocalHahndorfwomannamedRonda.Nora’smotherSalliehadarrangedforRondatomodelforNora.Theartistfoundinspirationinthesubject’sstrongfeaturesandhealthyappearance.HeysengavethefigureinherfinishedportraittheBiblicalnameof‘Ruth’.
Threepaintedversionsof‘Ruth’giveagoodideaofNora’sinterestatthetimeinfifteenthcenturyFlorentineRenaissancepainting.Thereare,forexample,strongvisualsimilaritiesbetweenthisworkandLeonardodaVinci’sMona Lisa.
Thesparse,hillycharacterofthebackgroundlandscapeisintendedtomatchthetough,robustappearanceofthewoman.
Technicallytheworkispaintedintwosections.Thefigureisdefinedincarefultonalrealismwithsmoothtransitionsbetweenhighlightsandshadows.Thebackgroundlandscapeontheotherhandhasbeenbuiltupbyfree-spiritedglazingovercoolgreyunderpainting.
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A boy with his cat,1972oiloncanvasboard,56.0x45.8cm;Privatecollection;PhotographbyMickBradley
ConsiderTheartofNoraHeysen’ssenioryearsreflectedinitsflowerstudies,gardensubjects,interiorsandfigurestudieshowspecialtheintimatemomentsandsubjectsassociatedwithherdomesticworldandstudiopracticeatHuntersHillwerefortheartist.Thisportraitofalocalboynursingacatcapturesasimplemomentintime.
Afeatureofthisworkistheopen,confidentbrushworkwhichmatchesthesubjectinitsinformality.Theimagehasbeenbuiltupfromalightochrebackgroundwash,somebrush-drawnlinestodefinethechairandthefigure,thensomewet-in-wetbuildupofareas(particularlythehandsandthecat)topulltheprimaryfeaturestogether.
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Keys for looking “To look. To see. To really see. That is the ultimate result. If you do it well enough and contribute something of the imagination and real knowledge to anything you do it must have an effect on the viewer. It opens your eyes. You just don’t look. You see. You feel.”
NoraHeysen,speakinginfilmproduction,Of art and men: Nora Heysen,Schlusser,Eugene, SevenSProductions,Sydney,2007
AsanartistworkinginthestudiotraditionNoraHeysenthoughtandactedvisually.Hertrainingtaughthertothinkofapictureasessentiallyacomposition.Thismeantthatnomatterwhatthesubjectmightbe(aface,figureorvaseofflowersforexample)ithadtoworkasavisualstatement.SopaintingforNoraHeysenwasalwaysmorethancopyingorcreatingalikeness.Ithadtocapturethevisualcharacterofthesubjectandithadtocapturetheviewer’simagination.ByfavouringacertainvisualstyleNoraHeysenprovidescluestoherintentionsasanartist.Recognisingthesecluescreatesanopportunitytosharetheartist’sfeelingsaboutthebeautyanduniquenessof,inherwords,“lifeandlife”.
TomakethishappenHeysenthoughtandactedasifshewasplayingagame.Inthisgametherewereanumberofkeyplayerssuchaslight,colourandcomposition.
TimetolookatoneofNora’spaintingstoseehowit’sbeenputtogetherandhowitworks.
London breakfast,1935oiloncanvas,47.0x53.5cm;CollectionoftheNationalGalleryofAustralia,Canberra,purchased1996
Generaldescription:Whatdoesthispicturelooklike?Whatisitabout?Whatdoesitshow?Thispaintingshowsawomansitingatatableinaroom.Sheisreading(abook?)whilehavingacupoftea(orcoffee?).
Isthereanymoreinformation?Thewomaniswearingadressinggownandhasslippersonherfeet.Alongsidethecupandsauceronthetableisacutloafofbreadonabreadboard,onatray,ateapot,abottleofmilk,acutpumpkinonasaucerandavasewithflowersinit.
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Thisisaninteriorsettingorsubject.Butwhatkindofinteriorspaceisthis?Thepaintingshowspartofaroom.Ithaslightcolouredwallsandexposedfloorboards.Thereisakindofmantelpieceimmediatelybehindthewoman.Belowthetopedgeofthismantelpieceisabookshelfrecesswithafewbooks.Ontopofthemantelpieceisabowlsetonanornatestand.Abovethisaframedpicturecanbepartlyseen.
Theotherprincipalitemsintheroomarethechairthewomanissittingon,thetableandapatternedrugsetbeneathboththeseitems.
Thistypeofdescriptionislikeanauditorchecklistofwhat’sinthepicture.Itprovidesaplatformonwhichadditionalinformationcanbeaddedasfollows:
Light:Whereisthelightcomingfrom?Isitnaturalorartificial?Howhastheartistdealtwithreflectedlight?
Colour:Whatkindofcolourshastheartistused?Dosomekindsofcoloursdominate?Doesitlookasiftheartisthasgivensomethoughttowheredifferentareasofcolourareplaced?Toanswerthisquestionfocusonallthe‘blues’inthepicture.Noticehowtheyarevariedshadesofblueandthattheyare‘scattered’withinthecomposition.Doyouthinktheartistintendedtodothis?Ifso,why?
Patterns:Patternsareoftenusedbyartiststobuildvisualenergy.Itemsinapicturemayhavedecorativepatternsaspartoftheirsurfaces(suchastherugonthefloorinthispicture).Ortheartistwillsometimesrepeatmarks,lines,shapes,coloursorbrushmarkstocreatepatterning.Seeifyoucanfindexamplesofbothinthispicture.
Composition:Howiseverythingarrangedorplacedwithinthepicture?Doesitlookasiftheartisthasgivensomethoughtaboutwheredifferentthingsareplaced?Doyouthinkforexamplethattheartistmeanttolineupthebowlonthemantelpiecewiththepaintingaboveandthetablelegsbelow?
Linesandshapes:ArtistslikeNoraHeysenunderstoodthepoweroflinesandshapestocreateinterestandtocontrolthewayapictureisviewed.Thetableandchairlegsforexamplehaveimportantworktodoinsubdividingthelowerpartofthepictureintointerestingsmallersections.Tofindtheimportantshapestrypeeringatthepicturethroughyoureyelashes.Whenyoudosoyoumightnoticethatmuchofthelowerpartofthepicture‘comestogether’tomakealargeshapeagainsttheupperpartwhichismainlythelightcolouredwall.Butwhenyoudothisyoumightalsonoticethatmanyoftheitemsonthetablesuchasthebottleofmilkandtheloafofbread‘cometogether’tomakesomeinterestinglight-tonedshapesinthemiddleofthepicture.
Spaceandspatialdepth:Theartisthasusedshadingtocreatetheillusionthatsuchthingsastheloafofbread,thecupandthepumpkinaresolidorthreedimensional.Canyoufindotherexamplesofshadingusedtocreateillusionsofreality?Theartisthasalsousedavisualsystemcalledperspectivetoincreasethespatialdepthofthepicture.Findoutwhatthistermmeansandseeifyoucanfindexamplesofthissystematworkinthispicture.
Mood:NoraHeysencreatedinterpretationsnotcopiesofreality.Inexpressingherfeelingsabouthersubjectssheintentionallyorotherwisecreatedmoodswhichspeakdirectlytotheviewer.Thewaytheartistchoosestointerprethersubjectsusuallydecidestheoverallmoodofthework.Itremainsapersonalthing.Youmaygetasenseofaparticularmoodtheartistneverintended.
Style:Artworksareoftenclassifiedaccordingtostyle.TosaythatNoraHeysen’sartisinarealistorPost-ImpressionistorModerniststyleisonlyusefultoadegree.Itdoesn’tsaywhatmakesherartspecialordistinctive.Howeverwhenanalysingordiscussingindividualworksitisveryusefultothinkaboutthestyleasbeingthesumofallthevariousfeaturesandvisualelementsworkingtogether.Thuswecantalkaboutearlypaintingsanddrawingsasbeinginatonalrealiststyle.Lateworks,ontheotherhand,maybedescribedasexpressive.WithNoraHeysenitisperhapsbesttotalkintermsofherworkhavingitsownordistinctivestyle.
Medium:Thewaythepaintisappliedinapainting(usuallybutnotexclusivelywithabrush)revealsmuchabouttheartist’sintentions.Alivelyor‘worked’paintingsurfaceorareascomposedofmultipleandvisiblebrush(orothermedium)markswillusuallybuildthevisualenergyofthepicture.Itmayalsohelptobuildordefinethemoodofawork.ReproductionswillnotalwaysconveythisinformationsowhenyouseetheoriginalLondon breakfastcheckitout.
Technique:Thisabroadtermthatcoversthedifferentmethodstheartistuseswhenworkingwithanartmediumsuchasoilpaintorpastel.Itmayincludethesupport,(stretchedcanvasorboard),ground(baseonwhichthepigmentisplaced),preliminarydrawingontheground,underpainting,washingorstaining,indirectpaintingmethodssuchasworkingfromthintothicklayersofpigmentorapplyingglazesoverpre-preparedsurfaces,directpaintingmethodssuchaswet-in-wetmanipulationofpigmentorworkingbacksuchaswiping,scrapingorinscribing.
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For teachers/students:: Learning connections Thefollowingactivitiescanbeadapted /adoptedforvisit /post-visituse:
VisualArts
Studio/Artspractice• Havingviewedtheexhibitioncheckitoutonemoretimetoseeifthere’sanideaortechnique
(inawork)thatyoucouldtrywhenyougetbacktoschooloryourstudio.
• NoraHeysenalwaysconsideredthewayherpicturesworkedascompositions.Tryproducingsomeimageswhichdeliberatelyuseormanipulatecompositionalelements.
• Heysenoftenusedcolourrelationshipsasameansoforganisingandaddinginteresttoherimages.Tryproducingsomeimageswhichdeliberatelyexplorerelationshipsbetweencolours.
• Trycompletingastilllifepaintingoffreshlycutorgatheredflowers(oraplant)whichcapturesthefreshnessofthesubjectbeforethebloomsfadeandwilt.
• TryproducingaworkwhichmakesdeliberateuseofPost-Impressionistideasandtechniques
• InlaterlifeNoraHeysenfoundinspirationandsubjectsinlifearoundheratHuntersHill.Seeifyoucanmakeaworkofartbasedonsubjectsdrawnfromyourownpersonalsurroundings.
• Inherworkasawarartist,NoraHeysenessentiallyfocusedonindividualsmakingtheircontribution.Considerusingthisasastartingpointforsomeofyourownworkusinglocaleventsorissuesasastartingpoint.
Personalresponse/analysisofworks• Selectoneworkthatappealsinsomewayandtellsomeoneelseyourreasonsforyourselection.
• Writeareviewoftheexhibitionwhichexploresthelinksorrelationshipsbetweentheworks.Youmightfindthe‘Explore’themesinthisResourceausefulstartingpointforthis.
• Theartisthassaidthatherartwasessentiallyabout‘lightandlife’.Howsuccessfuldoyouthinkshewasinachievingthis?
• Writeorpresentaformalanalysisofaselectedworkusingaspectslistedin‘Keysforlooking’inthisResourceasareference.
• CompareasmallselectionofHeysen’sworktodemonstratehowtheartist’sideasandstylechangedovertime.
Arthistory/Artincontext• StilllifeisasignificantgenreortraditionwithinartoftheEuropeantradition.Asastudentofthistradition
NoraHeysenadoptedmanyofitsconventionsandtechniques.Seeifyoucanidentifysomeofthem.
• HeysenwasanAustralianwarartist.Havetherebeenothers?HavetherebeenotherAustralianwomenwarartists?TheAustralianWarMemorialsitewww.awm.gov.auwillbeausefulstartingpoint.
• ThisResourceincludesthenamesofanumberofwomenartistswhomadeasignificantcontributiontoAustralia’sacceptanceofmodernartinthefirsthalfofthetwentiethcentury(see‘Meettheartist:Incontext’inthisResource).Considerresearchingoneoftheseartiststofindoutmoreaboutthekindofarttheyproduced.
• TheartisthadashockwhentoldbyOrovidaPissarrothatherworkwasfiftyyearsoutofdate.WhydoyouthinkOrovidasaidthis?
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Society• Australiansocietyofthefirsthalfofthetwentiethcenturyfoundmostformsofmodernarttobe
incomprehensible,confrontingandeven‘dangerous’.Whywasthisso?
• NoraHeysen,asadaughterandfemaleartist,wasconsciousofalways‘workinginherfather’sshadow’.Doyouthinkthesekindsofthingsremainanissueorchallengeforyoungwomenaspiringtodeveloptheirowncareerstoday?
Literacy/EnglishAnalysingworksorreportinganddebatingfindingsrelatedtoviewingworkswillrequirestudentstomakeeffectiveuseoflanguageandwritingskills.Analysingandrespondingwillalsoallowstudentstolearnmoreaboutartasapowerfulformofcommunication.
Listeningandspeaking• SelectoneofthesuggestedthemesinthisResource(e.g.Stilllife,Australiansatwar)andgiveashort
presentationwhichanalysessomeworkswithinthisthematiccontext.
• Canartreallycaptureorexpress‘artandlife’?Orisitjustinthemindoftheartistortheviewer?Organiseadebateabouttheideaofbeauty.Setthisdebatewithinthecontextofaquestion(e.g.shouldwereallybelievewhatartistssay?).
• SomepeoplecommissionedHeysentopaintflowerstilllifesonthebasisthattheywantedtoownsomethingbeautifultolookat.Whydosomepeoplebelieveflowerstobebeautiful?Wheredoesthisideacomefrom?Whyshouldflowersgetsingledoutforspecialtreatment?Isallnatureequallybeautiful?Considerorganisingadebatearoundthesequestions.
Writing• Writeawalllabeltextforoneormoreworksintheexhibitionusingyourpersonalresponse
asastartingpoint.
• Writeashortpiecewhichimaginesthethoughtsandfeelingsoccurringwithintheartist’smindassheworkedonapainting.
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For teachers/students: Get started (in the exhibition) Thefollowingtasksaredesignedtosupport/initiatestructuredviewingandengagementforstudentsintheexhibition.Theycanbeundertakeninanyorderandaresuitableforindividualandsmallgroupwork.Implicitinsometasksistheideathatstudentsorgroupswillreportfindingsanddiscussworkswithothers.Scribingisnotnecessarytoundertaketheseactivitiesbutsomeofthesetaskscouldinvolvescribingtosupporton-goingpost-visitwork.
Firstandlastimpressions• Whatdidyouthinkaboutwhenyoufirstcameintotheexhibitionandlookedaround?
• Wasthereanyworkinparticularyouwantedtolookatorreturntoandlookatagain?Whydoyouthinkthishappened?
• Isthereaworkinthisexhibitionthatyouthinkyouwillneverforgetorfindhardtoforget?
• Beforeleavingcheckouttheexhibitiononemoretimetoseeifthere’sanideaortechniqueinaworkthatyoucouldtrywhenyougetbacktoschool
Thinkabout• Whenyoufindyourselfwantingtolookatsomeworksinparticulardothinkitisbecausetheimage
orsubjectisinterestingorisitbecauseoftheartist’stechniqueorwayofinterpretingthesubject
• Ifdisasterstrikesyoucouldsaveoneworkfromthisexhibition,whichonewouldyousaveandwhy?
Easy?• Whichworkwastheeasiestandwhichworkwasthehardesttomake–andwhy?
Analysisandresponse(individualwork/s)Chooseanyworkthatattractsyourattentionandapplyanyorallofthefollowingquestions
• Arethevisualqualitiesofthisworkappealinginanyway?
• Canyouseeanykindofconnectionbetweenthiskindofartandothersyouknowabout?
• Whatdoyouthinkthisworkisaboutormightbesaying?
• Writeacaption(extendedwalllabel)foraselectedworkbasedonyourownpersonalresponse,feelingsorinterpretation.
• Hasthisgivenyouanideaforsomethingyoucouldmakeaspartofyourartstudies?
• Selectoneworkthatappealsinsomewayandtellsomeoneelseyourreasonsforyourselection.
Analysisandresponse(theexhibition)• Writeareviewoftheexhibitionwhichexploresthelinksorrelationshipsbetweentheworks.
• Chooseoneofthethemessuggestedinthe‘Explore’sectionofthisEducationResourceandreviewtheexhibitionfromthisperspective.
• Arethereotherthemes(notidentifiedinthisResource)whichcouldapplytothisselectionofwork.
• Writeapressreleaseforthisexhibition.
• Comparetwoormoreworkswhichappeartobeexploringsimilarideasindifferentways.
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Research and further resources ResearchforthisEducationResourceisdrawnprimarilyfromthefollowingpublicationproducedinassociationwiththeNora Heysen: Light and lifeexhibitionatCarrickHill,Adelaide2008 – 09.
Hylton,Jane,Nora Heysen: Art and life,WakefieldPress,Adelaide,2009
OtherrecommendedtextsEagle,Mary,Modern Australian painting between the wars,BayBooks,Sydney,1989
Gray,Anna,Send me more paint!,AustralianWarMemorial,Canberra,1989
Hylton,Jane,South Australian women artists: Paintings from the 1890s to 1940,ArtGalleryBoardofSouthAustralia,Adelaide,1994
Hylton,Jane,Modern Australian women: paintings and prints, 1925 – 1945,ArtGalleryBoardofSouthAustralia,Adelaide,2000
Klepac,Lou,Nora Heysen,NationalLibraryofAustralia,Canberra,2000
Klepac,Lou,Nora Heysen,TheBeaglePress,Sydney,1989
Recommendedwebsiteswww.nla.gov.au NationalLibraryofAustralia,Canberra
Searchunder‘NoraHeysen’.ThissitecontainsanextensiveNoraHeysenprofile(andlinkededucationmaterials)andresourcesrelatedtootherAustralianwarartists.
www.awm.gov.au AustralianWarMemorial,Canberra
www.artgallery.sa.gov.au ArtGalleryofSouthAustralia,AdelaideSearchunder‘Education’foreducationresourceslinkedtotheexhibitionsHans HeysenandModern Australian women: paintings and prints, 1925 – 1945.
www.artgallery.nsw.gov.au ArtGalleryofNewSouthWales,SydneyLookforthe‘SelfPortrait’on-lineeducationresource.
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