Artist Leonard French said of this work:- "The centre panel suggests a tree of knowledge growing out of a jewelled fish (a spiritual accompaniment is intended), and from the tree birds rise, spreading out through the cloud shapes of the other panels. Hands and figures rise from the earth, reaching for the birds. The left hand panel depicts the journey of figures in a boat, the seeking after or journeying to the source of knowledge. The far right hand panel is the garden, figures in a primitive state, a sort of evolution of figures from a primitive garden (the first garden). Visualization, verbalization, music and dance are tools we have to express a concept. The analysis of an art work is a delicate and sensitive task and great harm can be done in an attempt to become verbal about a form which relies upon elements peculiar to itself for intrinsic meaning." Leonard FRENCH (OBE) (08 October 1928 - 10 January 2017) Born Brunswick, Victoria Died Heathcote, Victoria Known for his enormous dalle de verre (concrete and slab glass) ceiling in the Great Hall of the National Gallery of Victoria Leonard French produced a large body of work throughout his lifetime. French won the Sulman Prize in 1960, and the Blake Prize for Religious Art in 1963 and in 1980. He was also awarded a Harkness Fellowship in 1965. In the Queen's Birthday Honours of June 1968 he was appointed an Officer of the Order of the British Empire. In early 1959 Leonard French was commissioned by the Ballarat Teachers' College students to paint a mural. The students were responsible for the payment of the work. When unveiled artist George Bush remarked: "the 1959 students have left something not just to 'oooh' and 'ah' at, but something that is thought provoking, arresting and interesting. This work of art keeps something in reserve and draws you to search for deeper meaning behind the splendour of colour. This mural is not one which will not fade the interest of its beholders, but one which will provide intrigue for generations to come." Originally French intended the mural to be five panels, each entitled (left to right) 'the Journey', 'Man', 'The Tree', 'The Earth', 'The Garden'. The finished mural was reduced to four panels with the central tree incorporated into the panels 'Earth' and 'Man'. Ballarat Teachers' College Art lecturer Arch Cuthbertson explained that the artist:- "Aims at evoking emotional flashed, opening doors to simultaneous thinking and feeling. To accomplish this he juxtaposes the threads of conscious and unconscious images, thus effecting a tapestry that allows many points of reference to converge upon his singular images. Whether the colours offer metaphysical sensations or convey a literal meaning will depend upon the breadth and depth of the viewer's experience. Similarly with the bird - we might well ask is it a defiance of gravity, a metaphysical ascension or the elusive winged knowledge? Again the answer could well be that these three associations have a singular purpose. " This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.A four panel mural by Leonard French, commissioned and gifted by the Ballarat Teachers' College Student in 1959. Art lecturer Arch Cuthbertson was highly involved in this commission. Artist Charles Bush unveiled the mural at the Ballarat Teachers' College in Gillies Street, Ballarat. At that time he said:- "You have left behind you on object which will be full of interest to a lot of people. A work of art, so long as it is in existence, is constantly under review. Most of the good things that keep on going are usually to the uninitiated a little worrying. Many of you will be worried by this, because it does not make its message immediately clear. But come back and assess it again and again." art, leonard french, french, artwork, mural, ballarat teachers' college, class of 1959

In 1964, Robin and Patricia Boyd spent several weeks on a world tour - Boyd took a leading role at the International Design Conference in Aspen and he also visited Chicago, Yale University, and New York’s World Fair. The Boyds then travelled on to England, Finland (especially to see Tapiola), Russia and India to see Le Corbusier's Chandigarh, and also Hong Kong and Thailand.Colour slide in a mount. Coventry Cathedral Tapestry (1952), Coventry, England. (Architect: Graham Sutherland.)Coventry Cathedral / The Tapestry- Graham Sutherland / Encircled 23 (Handwritten)uk, slide

The Bailiwick of Guernsey Millennium Tapestry. One in a collection of ten tapestries produced by Island volunteers. Each canvas represents 100 years of Guernsey history. 'First Edition' The Fourteenth Century.White Mug with handle and depiction of The Bailiwick of Guernsey Millennium Tapestry (No. 4 in a Series of 10).mugs

Digital scan of photograph - Original Source Copy: St Margaret's Parish Archives. church of england, churches, eltham, st margarets church, val rogers

Hard covered book of 80 pages with a yellow dust jacket. Many sketches including Armstrong Street, Lydiard Street, Montrose Cottage Eureka Street, Lauderdale, Ballarat Railway Station. Bailey's Mansion, Former Ballarat Gaol, Ballarat Town Hall, Camp Street Police Station. Ballarat East Post Office, Ballarat Synagogue, Lal Lal blast furnace, Sovereign Hill, Mount Buninyong, Dana Street Primary School. non-fictionballarat, buildings, architecture, edward heffernan

Parkville, Vic., Melbourne University Press, 1962 578 pages ; 22 cm. non-fictionBiographical work by Marnie Bassett on the history of the Henty familyhenty family, the hentys, marnie bassett, victoria -- histories

Bequest of Lady Maie Casey, 1985Wool and cottongippsland, artwork, permanent collection

Bequest of Lady Maie Casey, 1985Wool and cottongippsland, artwork, permanent collection

stawell

Index, bib, ill, maps, p.578.non-fictionA history of the Henty family, early settlers in Western Victoria.victoria - history - 1834-1851, henty family - history

Tapestry made for the School's 75th Anniversary celebrating four locations of significance on the campus of Mentone Grammar

This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.art, artwork, tapestry, hattersly loom, hattersley, loom, machine tapestry

The Bendigo cenotaph is a scaled down version of the Cenotaph in London England.Framed tapestry showing the Cenotaph and fountain in Central Bendigo Victoria.brsl, smirsl, cenotaph, tapestry

Tapestry is a form of weaving and is most commonly made on a loom, but traditionally, from 11th to the 19th centuries, made by hand. When used as a table cover, items such as this one were often covered and protected by a lighter weight, easily washable tablecloth. This tapestry tablecloth has a soft velvet feel. It has seen many days and has been lovingly repaired in several places with dark patches on the underside. This tapestry tablecloth represents heavy duty table coverings used to protect furniture and as a form of decoration. It is an example of what was used in the Colonial and Early Settler days in Australia.Tablecloth or table cover, rectangular tapestry in burgundy and red tones. A burgundy is around all sides with a floral inner border, framing a decorative oval centrepiece of floral design on a red background. the short sides are reinforced with tape on the underside. The cloth has been carefully repaired on the underside. There are pin marks on the tape in one corner.flagstaff hill, warrnambool, shipwreck coast, flagstaff hill maritime museum and village, maritime museum, tablecloth, tapestry, table cover, table linen, manchester, vintage, arts and crafts

I draw inspiration from the world around me and from particular aspects of life. Previously my work dealt with my experience as a Scottish migrant – looking back and forward, north and south, here and there, between two countries. This ‘in-between-ness’ of the migratory experience, while not unique to me or other Australians, contributes to my sense of being made up of many parts, a kind of fragmentation where certain components come into play at different times. There is an eternal mismatch or sense of being out of place in my world as I am recognized as Scottish in Australia when people hear me speak but in Scotland people comment on my Australian accent. In a wider sense Australia’s history and culture is made up of many examples of people and things brought together without a good likeness or fit. Woven tapestry allows me to combine my interests in textiles and visual art using the tactile qualities of materials in the highly complex woven form. It allows be to create realistic images, but change format, composition and placement to create images which invite the viewer to question. The intricate nature of multiple wefts twined between warps parallels the complexities of life and tapestry’s building /constructed process embodies the advancement of time.Wangaratta Art Gallery CollectionA small tapestry of roots and leaves handwoven using a colour palette of black, grey, and white.valerie kirk, textile, tapestry

Middle Distance is part of an ongoing project that uses the visual language of architecture and tapestry processes to create jarring spatial experiences. Contrary to its dense materiality and clear-cut linear construction this work appears unstable and in flux. The focus of the viewers’ eye is bucked from point to point and forced to soften in much the same way that one stares into space, disengaged with one’s immediate surroundings. In the end, as Mark Wigley says, “What is experienced is the atmosphere, not the object as such.”1 1. Mark Wigley, The Atmosphere of ArchitectureWangaratta Art Gallery Collection. Donated by Isabel Dunstan.A small black and white cotton tapestry that depicts various styled lines to form a spatial design.britt salt, tapestry, textile

Wangaratta Art Gallery Collection. Acquired with the assistance of The Robert Salzer Foundation.A small hand-woven tapestry featuring a jagged line pattern in shades of blue on a ochre coloured background.tim gresham, tapestry, weaving

I draw inspiration from the world around me and from particular aspects of life. Previously my work dealt with my experience as a Scottish migrant – looking back and forward, north and south, here and there, between two countries. This ‘in-between-ness’ of the migratory experience, while not unique to me or other Australians, contributes to my sense of being made up of many parts, a kind of fragmentation where certain components come into play at different times. There is an eternal mismatch or sense of being out of place in my world as I am recognized as Scottish in Australia when people hear me speak but in Scotland people comment on my Australian accent. In a wider sense Australia’s history and culture is made up of many examples of people and things brought together without a good likeness or fit. Woven tapestry allows me to combine my interests in textiles and visual art using the tactile qualities of materials in the highly complex woven form. It allows be to create realistic images, but change format, composition and placement to create images which invite the viewer to question. The intricate nature of multiple wefts twined between warps parallels the complexities of life and tapestry’s building /constructed process embodies the advancement of time.Wangaratta Art Gallery CollectionA small tapestry of a gum leaf and a singe root system handwoven in a colour palette of black, grey, and white.valerie kirk, tapestry, textile