A holiday at Mentone

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A holiday at Mentone
Charles Conder - A holiday at Mentone - Google Art Project.jpg
Artist Charles Conder
Year 1888
Mediumoil on canvas
Dimensions46.2 cm× 60.8 cm(18.2 in× 23.9 in)
Location Art Gallery of South Australia, Adelaide

A holiday at Mentone is an 1888 painting by Charles Conder, a leading member of the Heidelberg School movement, also known as Australian impressionism. It depicts people engaged in seaside activities on a sunny day at Mentone Beach, in the Melbourne suburb of Mentone.

Contents

The painting is celebrated for capturing the heat and brilliant noonday sunshine that is characteristic of Australia. Noted also for its jokes and visual puns, A holiday at Mentone has been described as "a witty comment on the transformation of nature into artifice through fashion, decorum, and painting". [1]

Background

In October 1888, Conder, aged 20, moved to Melbourne from Sydney. Conder had met the Melbourne-based painter Tom Roberts in Sydney the previous year and again at Easter 1888, where the pair had painted en plein air together at Coogee Beach. In Melbourne, Conder initially based himself at Roberts' Grosvenor Chambers studio and A Holiday at Mentone was his first painting in the new city, completed within a few weeks of arriving there. [2]

During the summer of 1886–87 at Mentone, Roberts and Frederick McCubbin established an "artists' camp" and, as legend has it, encountered for the first time the young Arthur Streeton, painting en plein air on the beach. These three artists, along with Conder, formed the core membership of what became known as the Heidelberg School movement, also known as Australian impressionism.

Composition

At least some of the work was painted en plein air, as evidenced by beach sand embedded within the paint, discovered later by conservators. Its composition and bridge show the influence of Japanese art; a similar bridge motif was commonly used by the American painter James McNeill Whistler, a major influence on Conder and other members of the Heidelberg School. [3] Roberts' 1885 painting Winter morning after rain, Gardiner's Creek , with its high horizon line and bisecting bridge, may have also been a reference point. [4] The strands of seaweed on the shore cleverly indicate spatial depth and are treated "almost caligraphically", drawing further comparisons to Japanese decorative elements. [5]

The painting is a social comedy containing several visual puns. While at first it seems a depiction of decorous behaviour, the three figures in the foreground are rigid and disunited in their arrangement. The fashionably dressed woman is seated with her back to the scene, including Mentone Baths, a gender-segregated bathhouse. She has ignored her wind-blown Japanese umbrella, now upturned on the sand and appearing like an imitation of a red ukiyo-e seal. Instead, she reads a copy of the pink-covered periodical The Bulletin , known for its larrikin humour and radical, literary nationalism. Standing on the right, the flaneur (leisurely observer of urban life) gazes out at "nowhere in particular". [6] It has also been suggested that he and the "New Woman" are actually watching each other from the corner of their eye, feigning disinterest. The third figure, a man, situated between the other two, lies prostrate on the beach with his arm raised in an awkward pose. Facing the viewer and with a copy of the The Bulletin between his legs, he looks comical, if not surreal, and his behaviour "underlines the sense of self-conscious display in the painting". [5] In the background, an elderly couple dressed conservatively in black observe the three young beachgoers—progressive members of Melbourne's rising middle class.

One of Streeton's descendants suggested that Roberts is the figure in the grey suit on the pier and Streeton is the man lying down on the beach. [7]

Reception and legacy

A 1907 photograph showing the portion of Mentone Beach depicted in the painting. Mentone Baths 1907.jpg
A 1907 photograph showing the portion of Mentone Beach depicted in the painting.

The painting was first exhibited at the Victorian Artists' Society's Spring exhibition in November 1888, one month after Conder arrived in Melbourne. Reviewing the show, The Argus noted: "Charles Conder is another young artist who has fallen under the spell of the French impressionists." [8]

Perhaps Conder's best known painting, A holiday at Mentone has been described as a "critically acclaimed masterpiece of the Australian Impressionist style of painting" and a "singularly Australian work". [3] [9] Terence Lane, senior curator of Australian Art at the National Gallery of Victoria described the painting's staging as "stilted, almost surreal" but the composition as "splendidly abstract and the sunshine brilliantly Australian". [2]

The painting was formerly owned by John Atwill, president of the Liberal Party of Australia. The Art Gallery of South Australia purchased the painting off Atwill for A$250,000 in 1981. [10]

In 1984, Australia Post issued a stamp featuring A holiday at Mentone. [11]

Related Research Articles

<i>En plein air</i> Act of painting outdoors

En plein air, or plein-air painting, is the act of painting outdoors.

<span class="mw-page-title-main">Victorian Artists Society</span> Artists collective in Melbourne, Victoria, Australia

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.

<span class="mw-page-title-main">Australian art</span> Art made by Australians or in Australia

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.

<span class="mw-page-title-main">Heidelberg School</span> 19th-century Australian art movement

The Heidelberg School was an Australian art movement of the late 19th century. It has been described as Australian impressionism.

<span class="mw-page-title-main">Frederick McCubbin</span> Australian artist (1855-1917)

Frederick McCubbin was an Australian artist, art teacher and prominent member of the Heidelberg School art movement, also known as Australian impressionism.

<span class="mw-page-title-main">Tom Roberts</span> Australian artist (1856–1931)

Thomas William Roberts was an English-born Australian artist and a key member of the Heidelberg School art movement, also known as Australian impressionism.

<span class="mw-page-title-main">Charles Conder</span> Australian artist (1868-1909)

Charles Edward Conder was an English-born painter, lithographer and designer. He emigrated to Australia and was a key figure in the Heidelberg School, arguably the beginning of a distinctively Australian tradition in Western art.

<span class="mw-page-title-main">Arthur Streeton</span> Australian painter

Sir Arthur Ernest Streeton was an Australian landscape painter and a leading member of the Heidelberg School, also known as Australian Impressionism.

<span class="mw-page-title-main">E. Phillips Fox</span> Australian painter

Emanuel Phillips Fox was an Australian impressionist painter. After studying at the National Gallery of Victoria Art School in Melbourne, Fox travelled to Paris to study in 1886. He remained in Europe until 1892, when he returned to Melbourne and led what is considered the second phase of the Heidelberg School, an impressionist art movement which had grown in the city during his absence. He spent over a decade in Europe in the early 20th century before finally settling in Melbourne, where he died.

<span class="mw-page-title-main">Box Hill artists' camp</span> Artists camp in Box Hill, Victoria, Australia

The Box Hill artists' camp was a site in Box Hill, Victoria, Australia favoured by a group of plein air painters in the mid to late 1880s who later became associated with the Heidelberg School art movement, also known as Australian impressionism.

Girolamo Pieri Pecci Ballati Nerli, was an Italian-born painter who worked in Australia and New Zealand in the late 19th century, influencing the art scenes of both countries. In Australia, he is noted for influencing Charles Conder of the Heidelberg School movement, and in New Zealand, as an early teacher of Frances Hodgkins. His portrait of Robert Louis Stevenson in the Scottish National Portrait Gallery is usually considered the most searching portrayal of the writer.

<span class="mw-page-title-main">Jane Sutherland</span> Australian landscape painter

Jane Sutherland was an Australian landscape painter who was part of the pioneering plein-air movement in Australia, and a member of the Heidelberg School. Her advocacy to advance the professional standing of female artists during the late nineteenth century was also a notable achievement.

<i>Shearing the Rams</i> Painting by Tom Roberts

Shearing the Rams is an 1890 painting by Australian artist Tom Roberts. It depicts sheep shearers plying their trade in a timber shearing shed. Distinctly Australian in character, the painting is a celebration of pastoral life and work, especially "strong, masculine labour", and recognises the role that the wool industry played in the development of the country.

<span class="mw-page-title-main">9 by 5 Impression Exhibition</span> Art exhibition in Melbourne, Australia

The 9 by 5 Impression Exhibition was an art exhibition held in Melbourne, Victoria, Australia. It opened on 17 August 1889 at Buxton's Rooms on Swanston Street and featured 183 "impressions", the majority of which were painted by Charles Conder, Tom Roberts and Arthur Streeton, three leading members of the Heidelberg School art movement, also known as Australian impressionism. Two other members, Frederick McCubbin and Charles Douglas Richardson, made smaller contributions.

<i>Golden Summer, Eaglemont</i> Painting by Arthur Streeton

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".

<span class="mw-page-title-main">Mentone Beach</span> Beach in Victoria, Australia

Mentone Beach is a beach located in Mentone, on Port Phillip Bay, Victoria, Australia, 21 kilometres south from the Melbourne City Centre. Mentone beach is the northern section of a beach that extends alongside Beaumaris Bay from the cliffs at Rickett's Point in Beaumaris to Frankston in the south on the eastern shoreline of Port Phillip Bay.

<span class="mw-page-title-main">Leon Pole</span> Australian artist

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<span class="mw-page-title-main">Louis Abrahams (art patron)</span> British-born Australian tobacconist, art patron, painter and etcher

Louis Abrahams was a British-born Australian tobacconist, art patron, painter and etcher associated with the Heidelberg School art movement, also known as Australian Impressionism.

<span class="mw-page-title-main">John Llewellyn Jones</span>

John Llewellyn Jones, often referred to as Llewellyn or J. Llewellyn Jones, was an Australian artist and photographer who was associated with the Heidelberg School art movement, also known as Australian impressionism.

<span class="mw-page-title-main">Tom Humphrey (artist)</span>

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References

  1. Broude, Norma (1994). World Impressionism. Harry N. Abrams, ISBN 9780810981157. p. 47.
  2. 1 2 Lane, Terence (6 September 2003). "A legacy of Marvellous Melbourne". The Age. Retrieved 23 March 2011.
  3. 1 2 "'A holiday at Mentone'". The Learning Foundation. Retrieved 4 March 2011.
  4. Thomas, Daniel (2007). "The Sunny South: Bayside Melbourne Life and Landscape". In Lane, Terrence (ed.). Australian Impressionism. National Gallery of Victoria, p. 91.
  5. 1 2 Cole, Georgina (2021). "The Heidelberg School". In Allen, Christopher; Arnold, Dana (ed.). A Companion to Australian Art. Wiley, ISBN 9781118767580, p. 236.
  6. Pearce, Barry (2003). "Between Worlds: Conder in Australia". In Galbally, Ann; Pearce, Barry (ed.). Charles Conder Retrospective. Art Gallery of New South Wales, p. 23.
  7. Peers, Juliette (2012). "Two tenants of Number 9 Collins Street: Tom Roberts and Kate Keziah Eeles". Craft + Design Enquiry. Australia: ANU E Press (4): 31–48. doi: 10.22459/CDE.04.2012.02 . ISSN   1837-445X.
  8. 16 November 1888, "Victorian Artists' Society. Spring Exhibition.", The Argus, p. 4. Retrieved 11 March 2024.
  9. "At leisure". Queensland Art Gallery. Archived from the original on 3 March 2011. Retrieved 4 March 2011.
  10. 30 April 1981, "In Brief", The Canberra Times, p. 3. Retrieved 1 March 2024.
  11. 6 April 1984, "New Stamp Features Painting", Port Lincoln Times, p. 7. Retrieved 11 March 2024.