Margaret Forrest: Wildflowers of Western Australia : the Art Gallery of Western Australia, 5 June-3 July 1984

Gooding, Janda

The Gallery

<p>The beauty of river scenes, paperbarks, reeds and sands at Crawley or Dalkieth, faint wooded points of land jutting into the river as well as stronger scenes of Karri trunks, and granite boulders and open plains in the south-west feature in this catalogue. A beautiful collection of both watercolours and prints, by a leading West Australian artist.</p>

Sunshine and Shadow: A. B. Webb and the Poetics of Place

Art Gallery of Western Australia

The landing at Gallipoli has long been described as the moment that Australia proved itself as a nation; in the years since the ill fated battle, the world Gallipoli has become synonymous with bravery, courage, and the Australian spirit. But how is it that we know so much about this famous battle, and how is it that so many artifacts survive today, telling their story in museums all over Australia? For the main part, it's thanks to famous Australian war correspondent and historian Charles Bean. C. E. W. Bean's correspondence from WWI made him a household name amongst Australians. Less known is the role he played the establishment of Australian War Memorial. Even while working as the official war correspondent during the 1915 Gallipoli campaign, he began collecting records, artifacts and soldiers' stories, with the aim of someday establishing Australia's first national war museum. In 1919 Bean had the opportunity to return to Gallipoli to fill in the missing pieces of what happened during the campaign. He brought together a team of artists to accompany him on what he called the Australian Historical Mission. Their aim was to collect battlefield relics and create new artworks to convey the full story of the power, trauma, and tragedy of that terrible conflict. This book shares the story of the Australian Historical Mission for the first time, tracing the steps from its formation through to their work in Gallipoli and the journey home again. Interwoven throughout is a thought-provoking exploration of the connections between art, landscape and history, and their lasting impact on the way Australians remember the 1915 ANZAC campaign as well as the beginnings of the Australian War Museum and the ANZAC legend itself.

Gallipoli Revisited: In The Footsteps Of Charles Bean And The Australian Historical Mission

History

Australia & Oceania

Hardie Grant

<p>Seven leading botanical artists are brought together for the first time in this beautifully illustrated collection of wildlife art indigenous to Western Australia. Sharing the stories behind each artist's illustrations and revealing a rich and diverse record of the territory's unique flora, fauna and fungi, this stunning collaboration is a vivid and intriguing visual documentation of Australia's remarkable natural beauty.</p>

Brush with Gondwana: Botanical Artists Group of Western Australia

Arts & Photography

History & Criticism

Fremantle Press

Brush with Gondwana: The Botanical Artists Group, Western Australia

Fremantle Press Australia

Kathleen O'Connor (1876-1968) was born in New Zealand, brought up in Perth, Western Australia, and established her professional career in Paris where she settled in 1908, embracing the bohemian lifestyle of the intellectuals and creative people who gravitated to the city from all corners of the world. She lived in the artists' quarter on the Left Bank, breakfasted at the Cafe du Dome, went to artists' balls and exhibited successfully at the Autumn Salon and the Union des Femmes Peintres. Although she made infrequent visits to her family in Australia and two World Wars forced her to flee France, Paris remained her home until she was almost eighty when she returned to live in Perth. Nevertheless her influence in Australia was considerable, particularly in the 1920s when she wrote a regular column about Parisian fashion and society for a Western Australian magazine. In the early years in Paris she embraced an impressionistic style and her paintings of Parisians at leisure in the Luxembourg Gardens charmingly capture the flavour of the period. During the First World War she lived in Bloomsbury, London, where the art world was dominated by Post-Impressionism. Her palette and style changed dramatically and the rich colours and varied textures demonstrated her commitment to the new aesthetic. At the conclusion of the war she quickly re-immersed herself in Parisian life. Still-life, often incorporating autobiographical aspects, became her favoured subject and the site for her explorations of modernism. She became involved in the decorative arts and fashion world, providing designs for leading fashion designers Paul Poiret and Maurice Dufrene. The influence of Art Deco can be seen in some of her major tempera paintings and hand-painted textiles from this period. During the thirties her work was constantly mentioned in Parisian reviews and in 1936 she exhibited alongside Bonnard, de Chirico and Dufy. However, the Second World War put an end to her aspirations and Paris after the war was no longer the exciting city of her youth. She continued to paint and to struggle for recognition but old age forced her to return to Perth. To commemorate her ninetieth year seventy-two major works were exhibited at the Art Gallery of Western Australia.

Chasing Shadows: The Art of Kathleen O'Connor

Individual Artists

Craftsman House

Chasing shadows: The art of Kathleen O'Connor (An art & Australia book)

G + B Arts International [distributor]

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