The Victorian Artists Society, which can trace its establishment to 1856 in Melbourne, promotes artistic education, art classes and gallery hire exhibition in Australia. It was formed in March 1888 when the Victorian Academy of Arts and the Australian Artists' Association amalgamated.
Australian art is any art made in or about Australia, or by Australians overseas, from prehistoric times to the present. This includes Aboriginal, Colonial, Landscape, Atelier, early-twentieth-century painters, print makers, photographers, and sculptors influenced by European modernism, Contemporary art. The visual arts have a long history in Australia, with evidence of Aboriginal art dating back at least 30,000 years. Australia has produced many notable artists of both Western and Indigenous Australian schools, including the late-19th-century Heidelberg School plein air painters, the Antipodeans, the Central Australian Hermannsburg School watercolourists, the Western Desert Art Movement and coeval examples of well-known High modernism and Postmodern art.
The Heidelberg School was an Australian art movement of the late 19th century. It has been described as Australian impressionism.
Frederick McCubbin was an Australian artist, art teacher and prominent member of the Heidelberg School art movement, also known as Australian impressionism.
Thomas William Roberts was an English-born Australian artist and a key member of the Heidelberg School art movement, also known as Australian impressionism.
Arthur Merric Bloomfield Boyd was a leading Australian painter of the middle to late 20th century. Boyd's work ranges from impressionist renderings of Australian landscape to starkly expressionist figuration, and many canvases feature both. Several famous works set Biblical stories against the Australian landscape, such as The Expulsion (1947–48), now at the Art Gallery of New South Wales. Having a strong social conscience, Boyd's work deals with humanitarian issues and universal themes of love, loss and shame.
Sir Arthur Ernest Streeton was an Australian landscape painter and a leading member of the Heidelberg School, also known as Australian Impressionism.
The Art Gallery of New South Wales (AGNSW), founded as the New South Wales Academy of Art in 1872 and known as the National Art Gallery of New South Wales between 1883 and 1958, is located in The Domain, Sydney, Australia. It is the most important public gallery in Sydney and one of the largest in Australia.
Sydney Long was an Australian artist.
Walter Herbert Withers was an English-born Australian landscape artist and a member of the Heidelberg School of Australian impressionists.
Artists' camps flourished around Sydney Harbour in the 1880s and 1890s, mainly in the Mosman area making it "Australia's most painted suburb", but died out after the first decade of the twentieth century. They developed as a result of the enthusiasm for painting en plein air fostered by the Barbizon and Impressionist movements in France in the second half of the 19th century, and were modelled on the artists' colonies which grew up in France and parts of the British Isles. In them, free-spirited young men gathered to live cheaply together in the open air, trying to capture the beauty of their surroundings in paintings and drawings. Financial stringency during the depression of the 1890s made life in the camps even more attractive for Australian artists trying to establish themselves in a difficult market.
The 9 by 5 Impression Exhibition was an art exhibition in Melbourne, Australia. It opened on 17 August 1889 at Buxton's Rooms on Swanston Street and featured 183 works, the majority of which were painted by Charles Conder, Tom Roberts and Arthur Streeton of the Heidelberg School art movement, also known as Australian impressionism. The exhibition's name references the dimensions of most of the paintings—9 by 5 inches, the size of the cigar box lids upon which many of the works were painted—as well as the impressionist techniques employed by the artists.
David Davies was an Australian artist who was associated with the Heidelberg School, the first significant Western art movement in Australia.
A break away! is an 1891 painting by Australian artist Tom Roberts.
Golden Summer, Eaglemont is an 1889 landscape painting by Australian artist Arthur Streeton. Painted en plein air at the height of a summer drought, it is an idyllic depiction of sunlit, undulating plains that stretch from Streeton's Eaglemont "artists' camp" to the distant blue Dandenong Ranges, outside Melbourne. Naturalistic yet poetic, and a conscious effort by the 21-year-old Streeton to create his grandest work yet, it is a prime example of the artist's distinctive, high-keyed blue and gold palette, what he considered "nature's scheme of colour in Australia".
The Exhibition of Australian Art in London was a show organised by the trustees of the Art Gallery of New South Wales (AGNSW), notably Julian Ashton, and financially supported by the philanthropist Eadith Walker. Held at London's Grafton Galleries between April and September 1898, it featured 371 artworks made in Australia by 114 artists, and was the first major exhibition of Australian art to occur internationally.
The purple noon's transparent might is an 1896 oil on canvas landscape painting by Australian artist Arthur Streeton. The painting depicts the Hawkesbury River in New South Wales, looking toward the Blue Mountains. The work's title was taken from the poem Stanzas Written in Dejection, near Naples by Percy Bysshe Shelley.
Blue Pacific is an 1890 oil on canvas landscape painting by Australian artist Arthur Streeton. The painting depicts a headland on the northern end of the eastern Sydney suburb of Coogee.
Thomas Humphrey was a Scottish-born Australian artist and photographer who was associated with the Heidelberg School art movement, also known as Australian impressionism.
The Grand Canal is a 1908 painting by Australian artist Arthur Streeton. The work depicts the Grand Canal in Venice as seen from a viewpoint on Ca' Foscari.
To look anew though, and to appreciate Streeton's unique view of The Grand Canal, is to observe the stepped terracotta roofing, arranged in this picture euphoniously like a sequence of musical notes: the interconnected roofs of Venetian palaces, and other buildings. This sea of terracotta is given undeniable beauty: a key element of the vista, perfectly harmonised with the shimmering blue of both water and sky. Streeton's technical skill is shown in orchestrating this attractive palette, carefully dominated by two complementary colours, representing the Canale Grande and an optimistic sky counterpoised with palazzo rooftops
