Australian Art Association

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Australian Art Association, catalogue of exhibition, Athenaeum, Collins Street, Oct. 1920, image courtesy State Library of Victoria AAA catalogue 1920.jpg
Australian Art Association, catalogue of exhibition, Athenaeum, Collins Street, Oct. 1920, image courtesy State Library of Victoria

The Australian Art Association, known as 'The Three A's' [1] [2] or 'AArtA', was a national body founded in Melbourne, Victoria, in 1912 by Edward Officer (inaugural president) [3] John Mather, Frederick McCubbin, Max Meldrum and Walter Withers. [4] [5]

Contents

Establishment

Previous organisations

Smith notes that an earlier 'Australian Art Association' was formed when Tom Roberts, returning from overseas in 1885, found the Victorian Artists Society dominated by amateur artists. Leading a group of professional artists Arthur Streeton, Charles Conder, John Mather, Ford Paterson, W. B. Spong, Percival Ball, Artur Loureiro and Ugo Catani, he formed the a break-away academy, the first 'Australian Art Association'. In 1888 it rejoined and merged with the Victorian Artists Society. [6]

Registered under the Companies Act at 395 Collins Street (the National Mutual Building) on 27 May 1901, [7] [8] a second Association funded Tom Roberts' travel to England [9] to complete portraits for his history painting The Opening of the First Parliament of the Commonwealth of Australia, [10] [11] [12] and issued photogravure prints of it; artist's proofs sold for thirty guineas on parchment and fifteen guineas on Japanese paper, while prints on India paper cost three and a half guineas. [13]

1912 Association

Not connected to the first or second so named, another, which is the subject of this article, was established eleven years later as a national organisation exclusively for Australian professional artists (Tom Roberts was not involved). As TheArgus newspaper article announcing it explains in 1912:  [14]

For some time past an endeavour has been on foot amongst the artists of the community to form a society which could fitly represent the highest attainments of the professional painters of Melbourne. The present Victorian Artists Society, it is claimed, fails to do this, as the professional element is a small minority amongst several hundred members, and the principle of one man one vote, it is said, renders them powerless to control the affairs of the society.

Proceedings culminated in a meeting held on Friday night in the Cafe Francais, attended by Messrs Mather, McCubbin, Withers, Innes, McClintock, Patterson, Meldrum and Officer. Amongst other resolutions it was decided unanimously to hold a first exhibition in May next, for which the Athenaeum is already secured. These names should guarantee the quality of the new body. Almost all have pictures in one or more of the National Galleries of Melbourne, Sydney and Adelaide, and two are trustees of the Felton Bequest.

The name chosen for the new organisation is "The Australian Art Association". They will incur no expenses beyond those of exhibition, and thereby avoid the necessity for the large membership roll with they claim hampers the Victorian Artists' Society.

Members and office holders

Members included Norman Macgeorge (second president), [15] Rupert Bunny, James Ranalph Jackson, Leslie Wilkie, [5] and William Dunn Knox whose first exhibition was in 1918 with the Association in Melbourne before he was elected to it in 1919 and later served as its Treasurer in 1924 with Edith Lucy Antoinette Hobbs (wife of George Bell and the subject of his 1926 The Green Turban). [16]

Other council members included Louis McCubbin, elected as President in 1912, [17] [18] Norman Macgeorge, Alexander Colquhoun, Napier Waller, Charles Wheeler, Harry (Henry Broomilow) Harrison, and Charles Web Gilbert, under President W. B. McInnes, with Leslie Wilkie secretary. [5] Edward Officer was Secretary in 1914, [19] when Clara Southern became the first woman to join the Association and the first to serve on its committee. [20] [21] George Bell joined the committee in 1922. [22]

Ethos

The Argus, after the Association had recently formed with members expressing "complete sympathy with the Federal art movement", [23] reported that its aim was to reject "conventional, precise, and mechanical reproductions of nature" in preference for "a personal message, musical quality of line and colour." [24] The writer was likely to have been the cartoonist and Max Meldrum disciple, Henry Bromilow Harrison who was freelance critic for that Melbourne paper for the lifetime of the Association [25]

In 1920, Edward Officer, President of the Association, in a letter to The Argus, represented its opposition to the import duty then being imposed on imported art, remarking that "This year it happens that many of the Australian artists who have made names for themselves in England and Europe will come to us with exhibitions of their work, and will be, as Mr [Arthur] Streeton was, confronted with this ridiculous duty." [26] Their deputation in June to the Customs Minister discovered that he conceded, and that works of Australian artists and art students residing less than five years abroad would be free of import duty. [27]

Exhibitions

George W Lambert (1910) Chesham Street, shown in the 1913 exhibition. National Gallery of Australia Chesham Street (1910) George W Lambert.jpg
George W Lambert (1910) Chesham Street, shown in the 1913 exhibition. National Gallery of Australia

Starting in May 1913, [28] [29] the Association held annual exhibitions of its members' work, usually in the Athenaeum gallery,

1913

The first, opened by Lady Denman, [30] included works by Clewin Harcourt, Norman Macgeorge, Frederick McCubbin, Charles Webb Gilbert, John Shirlow, W. Lister Lister, Norman Carter, Howard Ashton, Hans Heysen, John Mather, Ambrose Patterson, George Washington Lambert, [31] Janet Cumbrae Stewart, Walter Withers, and Josephine Muntz Adams [23] [24] and those exhibiting with the AArtA on other occasions included these significant women artists:

1914

The second exhibition, described (again probably by Henry B. Harrison) as "a sincere and very earnest endeavour to grapple with the problem of raising Australian painting from the despondency into which it has fallen," [33] and more "widely representative of the best Art of Australia", [34] was opened by Lady Helen Munro Ferguson in June 1914. [35] She remarked that in leaving Australia, artists acquire the styles and character of other countries, but that the exhibitors, "who had stayed behind", appeared to her to be "purely Australian in character," and "should be regarded as benefactors." [36] Joining with the founding group were Arthur Streeton, Penleigh Boyd, Percy Leason, Rupert Bunny, Harold Herbert, Herbert McClintock, George Coates, James Quinn, Clara Southern, David Davies, Ruth Sutherland, the American F. C. Frieske, Walter Withers, who died following a stroke that year, [37] and E. Phillips Fox, who died in the following year. [34] [38]

1915

An 'art union' sale of work by one guinea subscriptions was held at the Athenaeum on 23 March 1915 to raise 500 guineas for the support of the Red Cross, with expenses borne by the AArtA, [39] was fully subscribed, [40] with a cheque for £665/12/00 (2025 value: A$84,380.00) presented to Lady Ferguson. [41] [42] Hans Heysen was one who contributed a painting, however, such was the intensity of anti-German sentiment that the National Gallery declined his work and he felt obliged to quit the Association due to similar attitudes he encountered there, [43] declaring that “if a man’s feeling for Australia cannot be judged by the work he has done then no explanation on his part would dispel the mistrust ." [44]

The annual exhibiton was held that year on 7 October, opened by the Governor Sir Arthur Stanley, [45] [46] who remarked that the association should offer no apology exhibiting in war time because it was essential to keep art alive in such times of turmoil; "in fact, they should especially exert themselves at such a period. When the mind of the world was diverted towards destruction it was well that there were people who continued to devote themselves to a creative work." Twenty percent of profits—£19/12/8 (2025 value: A$2,484.00) [47] —was reserved to fund the Red Cross. [48] [49] Later that year the AArtA joined the Women's Art Club, the Arts and Crafts Society, and the National Gallery School students in a 17 December 'Remembrance Day' effort to sell works to provide a special ambulance for use in the war. [50]

1916

The fourth AArtA annual exhibition, again at the Athenaeum and opened by the Governor and his A.D.C. the screenwriter Capt. Conant, [51] [52] was held in October 1916, [53] in which was "the most beautiful portrait study she has ever accomplished" by Janet Cumbrae Stewart, with her Red Cross Worker, and "vibrating light" in Leslie Wilkie's study of an interior, were praised in an upbeat Argus review written by another journalist, since HB Harrison, the usual commentator, was showing works, "realising...textures, and play of light." [54] In America, The Christian Science Monitor published a report on the show by a Melbourne-based 'special correspondent' in its December issue. [55]

1917

On 12 September 1917 the fifth AArtA exhibition, opened again by Governor Stanley at the Athenaeum, [56] included works by Clara Southern, James Jackson, Florence Rodway, Janet Cumbrae Stewart, Leslie Wilkie, H. B. Harrison, Edward Officer, Frederick McCubbin, Clewin Harcourt, Norman Carter, Alexander Colquhoun, Jo Sweatman (whose first solo show, of 150 works opened next at the Athenaeum), [57] Herbert McClintock, Ruth Sutherland, John Shirlow, Louis McCubbin, Albert E. Newbury, and Norman MacGeorge. [58] On 17 September The Australasian published reproductions of selections from the show. [59]

1918

In the last months of WWI, funds from the sixth exhibition, held in June 1918, were donated to the Red Cross. [60] Penleigh Boyd, A. E. Newbury, Leslie Wilkie, Clewin Harcourt, Norman McGeorge, Edward Officer, W. Beckwith McInnes, William Dunn Knox, L. Bernard Hall, Frederick George Reynolds, Ruth Sutherland, Jo Sweatman, Marion Jones, Dora Wilson, Clara Southern, Janet Cumbrae Stewart, Alexander C. McClintock, Harold Herbert, J. R .Jackson, William Frater, Alexander Colquhoun, W. Nicholls Anderson, Charles Wheeler, and (the late) Frederick McCubbin exhibited. [61] [62]

1919

The Art Association's annual exhibition in October 1919 was preceded in August-September by that of its rival organisation, the Victorian Artists Society. [63] Penleigh Boyd, W. B. McInnes, Edward Officer, Norman McGeorge, William Dunn Knox, R. H. Harrison, Edwin Harcourt, Leslie Wilkie, Bernard Hall, Jo Sweatman, Ruth Sutherland, J. McNally, Harold Herbert, Dora Wilson, Janet Cumbrae Stewart, Will Ashton, Florence Rodway, Norman Carter, and Constance Jenkins were among the exhibitors. [1] During the exhibition, the members dined at J. Richardson's 'Café Francais' at 257 Little Collins St. [64] to honour their President, Edward Officer and to toast soldier artists. [65]

1920

Opening on 1 October 1920, The Argus made special mention of works by work by Arthur Streeton, Penleigh Boyd, Louis McCubbin, Edward Officer, Alexander Colquhoun, Norman Macgeorge, William Dunn Knox, Clewin Harcourt, James Jackson, Charles Wheeler, Bernard Hall, Leslie Wilkie, W. H. Mcinnes, H. B. Harrison, Jo Sweatman, Will Ashton, Janet Cumbrae Stewart, Dora Wilson, Harold Herbert, Alexander C. McClintock C. Webb Gilbert, and newcomers Napier Waller, James Ranalph Jackson, Frank R. Crozier, David Alison, George Clausen, Christian Hampel, and George Bell. [66]

1921

After the death that year of President, Edward Officer, and his replacement by Norman Macgeorge on an unanimous vote, a new venue, the Fine Art Society's Gallery, 100 Exhibition Street, Melbourne, was chosen for the Association's annual exhibition opening 15 September 1921, [67] and was hailed in the press as "one of the strongest yet held by that body, the work throughout being of a uniformly high standard." Those showing included H. B Mcinnes, Clewin Harcourt, George Coates, Leslie Wllkie, Charles Wheeler, George Bell, Bernard Hall, Alexander Colquhoun, Harry B Harrison, George Washington Lambert, Harold Septimus Power, Arthur Streeton, Louis McCubbin, Penleigh Boyd, W. B. McInnes, Norman Macgeorge, William Dunn Knox, Harold Herbert, John Eldershaw, Matthew MacNally, Napier Waller, Janet Cumbrae Stewart, Dora Wilson, and sculptor C Web Gilbert. [68] The Governor, with his A.D.C. Capt. Keppel-Palmer and the Countess of Stradbroke attended on 20 September. [69] Purchases of several works, including one by W. D. Knox were made by Lord Northcliffe during the world tour that preceded his death the following year. [70]

1922

Treasurer Alexander McClintock had died early in 1922, [71] the year a Camille Corot painting previously unseen in Melbourne was an attraction in the July annual exhibition, the tenth, held again at the Fine Art Society's Gallery. [72] Artists from New South FWales, Tasmania, and Queensland were exhibitors, including John Longstaff, who showed a full length portrait of Dame Nellie Melba. Other interstate artists included George Lambert, Septimus Power, Will Ashton, J Jackson, Elioth Gruner, Collins, Thea Proctor, Vida Lahey, J R. Eldershaw. Canvases by Britons Sir William Orpen and Augustus John invited further interest. Among Victorians exhibiting were W. B. McInnes, Norman Macgeorge, Alexander Colquhoun, Leslie Wilkie, A. E. Newbury. Webb Gilbert, W. D. Knox, George Bell, Penleigh Boyd, H. B. Harrison, Louis McCubbin, Napier Waller, Charles Wheeler, Jo Sweatman, and others. [73]

International exposure

Albert J. Hanson (1911) Fair Droving Weather, watercolour, 62 x 90cm. QAGOMA Fair Droving Weather.jpg
Albert J. Hanson (1911) Fair Droving Weather, watercolour, 62 x 90cm. QAGOMA

The English publication The Studio in a 1914 article 'Australian Landscape Painters' mentions that McCubbin was "one time president of the Victorian Artists Society, but he now belongs to the new Australian Art Association which was started a few months ago by certain members of the older society who were not satisfied with the policy it was pursuing. Mr Withers is also among those who have joined the new body." [74] Sydney artst Albert J. Hanson's 1911 watercolour Fair Droving Weather, was an illustration, and was exhibited in the Association's second, 1914 exhibition; the year of his death.

The 1928 American Christian Science Monitor included an uncredited Melbourne writer's report on 'Art in Australia' in the annual show by the Association, [75]

the chief of its kind in this country, probably represents as fairly as can be the condition of the painting art in this Commonwealth. As an indication of the esteem in which the work of this association is held in England, King George has recently knighted its president, Sir John Longstaff...Far from Montparnasse, Utrillo, Van Dongen and Matisse, painters in the Antipodes probably miss the influences that have acquired vogue and value in the northern hemisphere. Still, to us, most of the current work that at present finds favor abroad seems to be the result of premeditation which Australians, at the risk of being branded as conservative, avoid in favor of the development of the traditions bequeathed us by their artistic ancestors. These beliefs are steadfastly held and are manifested in the bulk of the work of Australia's more accomplished practitioners.

The efforts of Australian entrepreneur Herbert Brookes, [76] who promoted his country in America, persuaded the International Art Center of the Roerich Museum, to accept an exhibition of about a hundred paintings by members of the Australian Art Association for a tour starting in New York early in 1931 and Washington in March, then through American galleries. Included was work by prominent figures; the Association's then president Sir John Longstaff, W. Lister Lister of the Royal Art Society of New South Wales, and Director of the National Gallery of Victoria, Bernard Hall. The American Magazine of Art reported that: [77]

from it one learns that the majority of painters in this far-off land are still working along academic lines, though there are included a few examples of modernistic expression.

Demise

McCulloch does not explain the Association's 1933 demise other than to say that "interest in the association waned as the original members died", [5] but the Great Depression, very severe in Australia, was in progress which especially affected younger artists, who might otherwise have joined. [78] [79]

Addressing the AartA's ambition to be a national body, as early as 1914 The Argus was commenting that "it is devoutly hoped that the Federal-ness of its aim will assume greater force and definiteness," [80] an aim more nearly achieved in 1937 by the more conservative Australian Academy of Art with government support, though with members not as notable; and independently by the modernist, but factionalised, Contemporary Art Society in 1938.

With regard to organisation's position within the rise of modernism, Gino NIbbi critcised the parochialism of Australian art being 'stilted and half-dead,' [81] in his Herald review of the 1931 annual exhibition of the Association in which he wrote, as quoted by the Brisbane Courier critic William Moore: [82]

"the artists give the impression that they have matured on easy glories tributed to them by the Australian public, which is in its nature enthusiastic. These works, so generical in quality, are almost totally devoid of personality. We note, for instance, in Mr. L. Bernard Hall's pictures ability irreparably constricted by academic influences, lifeless realities against dead backgrounds. Charles Wheeler appears as an intelligent illustrator, but his manner belongs to our childhood, and is already forgotten. A conventionally treated portrait of a charming lady by W. Beckwith McInnes is only a pale reflection of vitality"

Moore notes Nibbi's observation of Australia artists who were 'studying new problems', and were 'discerning citizens' with genuine appreciation of modern art, but also summarised the way Nibbi's views, decried vehemently by many, had supporters like Rah Fizelle and others including Daryl Lindsay and Arnold Shore who at least conceded that the new art had 'been accepted by the majority', or 'could not be denied.' Protesting the 'incontestable' authority of conventional realism most strongly, Moore wrote, was A.M.E. Bale, whom Cézanne could teach 'nothing about the reality of representation', while Jo Sweatman, regarding modernism was a fad of the times, called for its suppression as an evil. [82]

The Herald gave Nibbi a column of over 1,000 words in its 10 December 1931 issue, [6] in which he responded that the 'moderns', subject to 'intense critical passion of the last 10 years', were no longer a 'vogue' but were 'more than ever the centre of universal interest'. Cézanne, Gauguin, Van Gogh, De Chirico, Utrillo, Derain, Dufy, Segonzac, Braque, Rouault, Gromaire, Kisling and Lurcat, were visionary inheritors of the 'unique intuitions,' 'faithful to their times' of Giotto, El Greco, Tintoretto, and Rembrandt, in their 'painting, for instance, a face, not as we believe we see it, but painting the emotion that gives us that particular face. Avoiding on one hand the platitude of colour photography, and on the other the deceitful reproduction of objects which results in the cold and conventional appearance of a fictitious entity.' [83]

Bibiography

References

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  5. 1 2 3 4 McCulloch, Alan; McCulloch, Susan; McCulloch Childs, Emily (2006). The new McCulloch's encyclopedia of Australian art (Fourth ed.). Fitzroy BC, Vic. p. 227. ISBN   0-522-85317-X. OCLC   80568976.{{cite book}}: CS1 maint: location missing publisher (link)
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  68. ↑ "Art Association". The Argus (Melbourne) . No. 23, 437. Victoria, Australia. 15 September 1921. p. 11. Retrieved 14 February 2026– via National Library of Australia.
  69. ↑ "Vice-Regal". The Argus (Melbourne) . No. 23, 441. Victoria, Australia. 20 September 1921. p. 8. Retrieved 14 February 2026– via National Library of Australia.
  70. ↑ ""Australia To-Day. 1922."". The Argus (Melbourne) . No. 23, 499. Victoria, Australia. 26 November 1921. p. 25. Retrieved 14 February 2026– via National Library of Australia.
  71. ↑ "PERSONAL". The Argus (Melbourne) . No. 23, 547. Victoria, Australia. 23 January 1922. p. 6. Retrieved 14 February 2026– via National Library of Australia.
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  74. ↑ Ashton, James (1914). "Australian Landscape Painters". The Studio: An Illustrated Magazine Of Fine And Applied Art. 61.
  75. ↑ "Art in Australia". The Christian Science Monitor. 20 (67): 8. 13 February 1928.
  76. ↑ Rivett, Rohan D. (1965). Australian citizen: Herbert Brookes, 1867-1963. Melbourne: Melbourne University Press. p. 132.
  77. ↑ Mechlin, Leila (May 1931). "Field notes: Australian Art in the United States". The American Magazine of Art 1931-05: Vol 22 Iss 5. 22 (5): 408.
  78. ↑ "The Great Depression's Impact On The Art World". Printed Editions. Retrieved 14 February 2026.
  79. ↑ Bennett, Tony; Stevenson, Deborah; Myers, Fred R.; Winikoff, Tamara, eds. (2020). The Australian art field: practices, policies, institutions. Routledge research in art history. New York, NY: Routledge. pp. np. ISBN   978-0-429-59000-9.
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  81. ↑ Nibbi, Gino (7 November 1931). "Is Australian Art Failing?". The Herald . p. 25.
  82. 1 2 Moore, William (9 January 1932). "Art and Artists". The Brisbane Courier . No. 23072. Queensland, Australia. p. 16. Retrieved 31 January 2025– via National Library of Australia.
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