Showing 110 items
matching figure drawing
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Eltham District Historical Society Inc
Photograph, Figure study of boy with billy
Pencil drawing from a sketch book by Walter Withers. Photograph of pencil sketchwalter withers, walter withers sketch -
Federation University Art Collection
Oil, Jacqueline Slaymaker, Untitled Nude by Jacqueline Slaymaker, 1993
Jacqueline SLAYMAKER This work was undertaken in 1992 when Jacqueline Slaymaker was a 3rd Year student at Ballarat University College. The catalogue for the End of Year exhibition in 1992 states "The figures importance is purposeful. The strong sculptural form of the torso, tensions of the skin and volume are the aspects I focus on. Drawing is vital to my painting. The heavily layered works that I sand, scratch and rub back into eventually resolve some of the problems associated with painting. I believe this constant re-addressing creates a sense of history and building a texture creates a sense of history and build up of texture illustrates the concrete solid way I see the figure. I draw resource from ancient sculpture in particular Etruscan coffins and tomb wall painting. More recently I am interested in the draftsmanship of Jim Dine and monoprints of May Frank.' 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.Framed life painting of a female nude. art, artwork, jacqueline slaymaker, nude, life study, oil on canvas, alumni, end of year exhibition -
Federation University Art Collection
Painting - Portrait, "Ballarat University Student's Figure, 1996
... Painting "Ballarat University Student's Figure Framed Chinese ...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.Framed Chinese drawing/painting of a University of Ballarat Student. art, artwork, calligraphy, university of ballarat student, chinese school, alumni, available -
Federation University Art Collection
Drawing - Graphite on Paper, Armstrong Ross, "Dancing Figure 1" by Ross Armstrong, 1996
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.Can you assist with information on this artist or artwork? If so please post a message via the comment link below. art, artwork, ross armstrong, available, drawing -
The Dunmoochin Foundation
Charcoal Drawing, Figure Study (Female Reclining Torso), 1978
... Bridge melbourne Charcoal Drawing Figure Study (Female Reclining ...Red chalk and charcoal drawing of a female nude torso. Signed (L.l) 'D. Laycock 1970'donald laycock, drawing, charcoal, red chalk, female nude, torso -
Buda Historic Home & Garden Castlemaine
Drawing - Illustration - Design for Jewellery, Ernest Leviny - Britannia pendant jewellery design, c1851
Original jewellery design for 'Britannia' pendant by Ernest Leviny, designed when he was living in London c1851, before travelling to the Australian goldfields of Castlemaine in late 1852. Leviny and his partner, Frederick Boocke, supplied jewellery designs to Watherston and Brogden in London. This design was made into a pendant by another London company, S.H. & D. Gass and was awarded a prize medal at the Great Exhibition of 1851 at the Crystal Palace in London. Leviny brought many of his original jewellery designs with him when he came out to Australia from Britain. See Schofield, Anne & Fahy, Kevin (1991), 'Australian jewellery: 19th and early 20th century'; Woodbridge, Suffolk, Antique Collectors Club, p. 39; Gere, Charalotte & Rudoe, Judy (2010), 'Jewellery in the Age of Queen Victoria', Pub.The British Museum p.340.This original jewellery design for the 'Britannia' pendant by noted colonial silversmith and jewellery, Ernest Leviny, is significant due to its link with the 'Britannia Pendant' awarded a prize medal at Great Exhibition of 1851, held at the Crystal Palace in London.Original jewellery design for a pendant featuring a standing woman (Britannia) holding a trident in her left hand and possible oar in her right hand, with Gothic style ornate pillars on each side and an archway overhead. Beneath the figure are three pearl drops. Drawn in pencil on grey card with gold ink highlights and red watercolour tinting.ernest leviny, jewellery, design, illustration, brittania, 1851, great exhibition of 1851 -
Horsham Regional Art Gallery
Drawing, George COATES, Untitled (nude figure study), n.d
... grampians Drawing Untitled (nude figure study) crayon on paper ...Gift of Mr and Mrs Laurence Scott Pendlebury, 1982crayon on paper -
Horsham Regional Art Gallery
Drawing, George COATES, Untitled (nude figure study), n.d
... grampians Drawing Untitled (nude figure study) graphite on paper ...Gift of Mr and Mrs Laurence Scott Pendlebury, 1982graphite on paper -
Horsham Regional Art Gallery
Drawing, George COATES, Untitled (nude figure study), n.d
... grampians Drawing Untitled (nude figure study) graphite on paper ...Gift of Mr and Mrs Laurence Scott Pendlebury, 1982graphite on paper -
Horsham Regional Art Gallery
Drawing, George COATES, Untitled (nude figure study), n.d
... grampians Drawing Untitled (nude figure study) graphite on paper ...Gift of Mr and Mrs Laurence Scott Pendlebury, 1982graphite on paper -
Horsham Regional Art Gallery
Drawing, George COATES, Untitled (nude figure study), n.d
... grampians Drawing Untitled (nude figure study) crayon on paper ...Gift of Mr and Mrs Laurence Scott Pendlebury, 1982crayon on paper -
Horsham Regional Art Gallery
Drawing, George COATES, Untitled (nude figure study), n.d
... grampians Drawing Untitled (nude figure study) graphite on paper ...Gift of Mr and Mrs Laurence Scott Pendlebury, 1982graphite on paper -
National Wool Museum
Work on paper - Women's Official Occasions Uniform Design Drawings, Wendy Powitt, c. 1992
A set of laminated A3 sketchbook pages depicting designs for the 1992 Barcelona Olympic Women's Official Occasions Uniform designed by Wendy Powitt. On the 1992 Barcelona Olympic Games donor Doug Pleasance wrote- The 1992 Barcelona Olympic Games saw an evolutionary change in designer selection. A Declaration of Interest Form was communicated to over forty potential designers. The task and especially tight timelines that were involved deterred many aspirants, however, there remained eight designers with the potential we were seeking. These eight designers were paid $3,000 per submission and the winning designer, Wendy Powitt, was paid $15,000. For the first time the judging panel included two athletes, one male swimmer and one female basketballer, their influence was pivotal. The Official Uniform was used for both travel and official functions. This included a tailored blazer and trouser/skirt set (all water repellent) by Fletcher Jones in pure olive green faille fabric by Foster Valley, a cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, a printed wool tie by TD Noone, wool nylon socks by Holeproof and footwear by Hush Puppy.8116.1 - A laminated A3 sketchbook page depicting a design for the 1992 Barcelona Olympic Women's Official Occasions Uniform. The main drawing shows the design for a green skirt and green woollen vest over a yellow button up shirt with printed neck tie. Three smaller drawings on the left side of the page show the details of the vest, necktie and shirt. 8116.2 - A laminated A3 sketchbook page depicting a design for the 1992 Barcelona Olympic Women's Official Occasions Uniform. The main drawing shows the design for a black skirt and printed scoop neck, button up blouse, cinched at the waist with a black belt. Around the central drawing are smaller drawings showing the details of the skirt, belt and shoes. 8116.3 - A laminated A3 sketchbook page depicting a design for the 1992 Barcelona Olympic Women's Official Occasions Uniform. The main drawing shows the design for a black skirt and black blazer with detailed striping across the right front and right arm. There is a small detailed drawing of the blazer to the right of the main figure which includes the design of a scarf. 8116.4 - A laminated A3 sketchbook page depicting a design for the 1992 Barcelona Olympic Women's Official Occasions Uniform. The main drawing shows the design for a green skirt, a yellow printed, sleeveless shirt, yellow gloves, along with a matching headband and scarf.1992 barcelona olympics, sport, athletes, fashion, design, artwork, drawing, uniform -
Westbourne Grammar Heritage Collection
Book - Charles Steedman, 1867, Manual of Swimming, 1867
... nine illustration plates featuring line drawings of a human... line drawings of a human figure in the positions detailed ...Charles Steedman was headmaster of Williamstown Grammar School from 1870-76 and 1885-90. In 1870, under agreement with school trustees, Sir George Verdon and John Courtis, he leased the school under a seven-year lease, effectively saving it from closure. Steedman had previously been manager of Sandridge Baths and a champion swimmer of Victoria. His 1867 book, 'Manual of Swimming', was the first major technical contribution to the sport of speed swimming and water safety, for which Steedman was inducted into the Sport Australia Hall of Fame in 2006. As headmaster of Williamstown Grammar, Steedman initiated a student produced school paper called 'The Schoolboy' (surviving editions can be accessed at the State Library of Victoria), added swimming lessons to the curriculum and opened enrolment to girls in 1885. The book contains nine illustration plates featuring line drawings of a human figure in the positions detailed by Steedman in his text. These drawings are attributed to O.R. Campbell. Oswald Rose Campbell is best known for his appointment (1876-1886) as drawing master of the School of Design, a department of the Public Library, Museums and National Gallery of Victoria. He taught (and famously disagreed with) the likes of celebrated Australian artists, Tom Roberts and Frederick McCubbin. O.R Campbell taught drawing and painting at Williamstown Grammar in the early 1870s.The book holds historic significance for Westbourne Grammar School, having been written by a former headmaster and very important figure in the history of the school. It evokes our early history as an emerging grammar school with links to prominent athletes, artists and gentry of colonial Melbourne. Blue cloth covered case-bound book, with debossed decorative scrollwork in each corner and in the centre of front cover, and gilt lettering on the spine. 270 numbered pages, nine illustration plates (one adjacent to title page, eight as end pages).On title page, handwritten inscriptions in brown coloured ink. Possibly ‘Joshua Saggs Esq. / With the authors compliments’ and below, in different handwriting and darker ink, ‘To dear Flossie from Grandma 1901’. williamstown, sandridge baths, swimming, colonial melbourne, art, williamstown grammar -
Nillumbik Shire Council
Drawing (Pastel): Nicholas Nedelkopoulos (b.1955 Melb, AUS), Nicholas Nedelkopoulos, The Sneeze, 1995
Nicholas Nedelkopoulos is an established artist, his work is represented in the Metropolitan Museum of Art, New York, the National Gallery of Australia and in numerous International and Australian Public and Private Collections. His work has been included in major historic exhibitions: the National Gallery of Australia's Federation touring exhibition, The Australian Bicentennial Folio and Victoria's 150th Anniversary exhibition curated at The State Library of Victoria and National Gallery of Victoria. He has a Diploma of Fine Arts from Victorian College of the Arts, a Master of Fine Art from the University of Melbourne (Victorian College of the Arts) and has a Doctorate from Monash University. Nedelkopoulos' work is based strongly in graphic tradition which can be seen throughout all of his media.'The Sneeze' alludes to a feverish response, an irritation, a period of temporary discomfort, or a sign of sickness. On a visit to Eltham in 1995 Nedelkopoulos became aware of the disquiet felt by many residents because local government was not in the hands of elected representatives. 'The Sneeze' is an allegorical work, which serves as a reminder of this period in our municipal history. Nedelkopoulos has constructed an environment similar to a theatre set in which every element is a symbol to be deciphered. Whether you read the red-nosed figure as democracy being challenged by the political circumstance, as representing the unelected commissioners surrounded by the criticism of the community, or as another player in the story, to unravel the meaning of individual elements will provide direction and add weight to your interpretation. Without knowledge of the artist's intention the work can convey quite straightforward messages and responses. For example, the misery of hayfever in Spring, or how germs spread from a single sneeze. Such ideas are relevant and provide the metaphoric basis for a more in-depth analysis.Pastel drawing on paper. Image depicts a small black figure with a small monkey on a lead. The figure has a red nose to which he is holding a tissue. He is walking through what appears to be a flowering forest.nedelkopoulos, the sneeze -
Maldon Vintage Machinery Museum Inc
Statuette, 28 08 2014
.1) Heritage award,bronze male figure of a stonemason standing behind a slab of stone engraved, "Mt. Alexander Branch of National Trust Heritage Award for Excellence" presented to "Thompsons Foundry Drawing Office Interest Group". .2) Framed citation explaining the award. Black plastic frame, glass front, featuring an historic photo of Thompsons drawing office.award, heritage -
Swan Hill Regional Art Gallery
Drawing, SANTRY, John, Figure study with beret, unknown
... the-murray Drawing Figure study with beret SANTRY, John ... -
Duldig Studio museum + sculpture garden
Drawing, Karl Duldig, The Buddhist Monk, Guangqia by Karl Duldig 1940, 1940
The Buddhist monk Guangqia visited Karl Duldig’s studio on two consecutive days, in the company of the noted Chinese writer, Professor Yu Dafu, a friend of Karl’s. Karl made two portraits of the monk, the first depicting him sitting, and the second in a standing pose. The portraits were drawn using a Chinese brush and Indian ink. Surviving sketches in the Studio’s collection indicate that Karl thought about creating a life-size sculpture later on, but this was not realised. Guangqia added inscriptions in his own hand to both drawings and stamped them with a red seal. The seated drawing has an inscription in which he quoted from a Buddhist poem, ‘A Contented Mind’ by the scholar Lingfeng of Mt Tiantai. In the summer I went to visit the Austrian sculptor Duldig with Professor Yu Da Fu. My virtue is slight – I cannot accept your offerings and gifts; I am amply rewarded by the clouds and springs. Rather than a table laden with pearl-like rice, I prefer the wind and leaves falling on my bed. Sitting quietly on my meditation cushion Is sweeter than the wheat offered by a thousand families. The pity is that I am gradually growing old; My bitter journey is not worthy of your offerings. The second drawing has a quote from a Buddhist poem on the study of Chán (Zen) Buddhism, by the famed Chán master, Dàjiàn Huìnéng (638–713): The portrait, with its figure positioned on a scroll-like ground and inscription is reminiscent of traditional Zen Buddhist portraiture. In this school of portraiture, which stretched back to at least the thirteenth century, monks were depicted sitting or standing facing the viewer, and typically the monk added an autographic inscription to the portrait. The portraits were often passed from master to disciple, continuing the disciples’ journey of spiritual enlightenment and were revered for their association with remarkable or holy priests. The Buddhist monk, Guangqai who added his inscription and stamp to the drawings would most certainly have been aware of this tradition. It is likely that Karl was aware of this tradition, one of the points where the studio’s collections of art works from Singapore intersect with the earlier Viennese collections can be found in the Library where a catalogue of an exhibition, 'Ausstellung Ostasiatischer Malerie und Graphik' is held. The Viennese Friends of Asian Art and Culture and the Albertina Museum staged this exhibition of East Asian painting and graphic works in 1932. Such was the internationalism of Duldig’s education in Vienna, that adaption to a new environment and culture in the Straits Settlement was swift, and he was able to interpret the artistic traditions of the place, and make them his own. It is part of the strength of the collection, that in many cases contemporary supporting documentation for the works of art is available. In this case there is a photograph of the Monk with Yu Ta-fu, and Karl and Eva Duldig, outside the studio at the time the drawings were made. Ann Carew 2016The portraits of Guangqai have national and international aesthetic significance. The works of art demonstrate the artist’s skill in capturing the physical appearance and demeanour of his subject, and his ability to adapt his working methods to incorporate traditional Asian materials and cultural practices. The portrait is one of few examples in Melbourne of a central European modernist artists working in, and engaging with Asia, during this period and it is culturally and aesthetically significant for this reason. The portraits are also historically interesting in documenting the life and experiences of Karl Duldig in the Straits Settlement (Singapore). Ann Carew 2016Brush drawing in chinese ink on paper. Seated Buddhist Monk. Chinese calligraphy hand written in black ink. Two red stamps under calligraphy.Signed Karl Duldig in l.r. corner. Dated Singapore 1940 in l.l. corner. -
Latrobe Regional Gallery
Drawing, Unknown, Untitled
... Drawing of a figure in a boat in a landscape.... gippsland Drawing Untitled Drawing of a figure in a boat ...Drawing of a figure in a boat in a landscape. -
Wangaratta RSL Sub Branch
Envelope Art
Sent to Mrs McDonald "Monald" 32 Grey Street Wangaratta from a soldier during second world warVictoria's 2/24th Infantry Battalion was raised in Wangaratta in July 1940. They were welcomed with open arms by the local community as they rapidly built up their numbers. The people of Wangaratta adopted the Battalion and they became known as "Wangaratta's Own" because of the time the battalion spent in the town during its formative period prior to deployment overseas. Many of the soldiers maintained life long friendships with the people of Wangaratta. Even though the Battation was disbanded in 1946 members and their families return each year, in November, for a commemorative service at the 2/24th Battalion Memorial Wall at the Wangaratta Cemetery.Cream paper envelope with hand drawing of palm tree and thatched hut with stick figure in centre.Top left - AIR MAIL Top right - postage stamp Middle - AIF Censor stamp Right side Mrs M McDonald "Monald" 32 Grey Street Wangaratta Victoria Australiaww2, envelope art -
Federation University Art Collection
Painting - Original poster, 'My Choice Always - Molly Bushell Toffee' by Gilda Gude, c1935
Gilda Gude worked in various media throughout her career, favouring figure and flower studies. She attended the Ballarat Technical Art School during the early 1930s. This artwork was completed for a competition sponsored by a large art supply company. In 1952 Gude won the Royal Art Society Drawing Prize, and began lecturing at RMIT in 1861. In the 1936 Ballarat School of Mines Annual Report it was stated: "It is my pleasure to report a most successful year in the Technical Art School. I the Annual Poster Competition for Technical Schools, organised by Wiltshires Pty Limited, 16 prized valued at 33 pounds 8 shillings - out of 23 prizes valued at 56 pounds - were won by our students. 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.Framed original poster.art, artwork, poster, lollies, molly bushell, gude, gilda gude, alumni, ballarat technical art school -
Federation University Art Collection
Painting - Poster, Gilda Gude, 'It Pays To Read' by Gilda Gude, c1935
Gilda GUDE (1918-1996) Gilda Gude worked in various media throughout her career, favouring figure and flower studies. She attended the Ballarat Technical Art School during the early 1930s, and later the George Bell School. In 1938 Gilda Gude and Betty Brown, another Ballarat Technical Art School student, designed the flora carpet for the Ballarat Begonia Festival. This artwork was completed for a competition sponsored by the large art supply company Wiltshires. In 1952 Gude won the Royal Art Society Drawing Prize, and began lecturing at RMIT in 1861. 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, gude, gilda gude, journal, poster, agriculture, farmer, reading -
Federation University Art Collection
Painting - poster, Gude, Gilda, 'Nestle with Nestle's' 1935, by Gilda Gude, c1935
Gilda GUDE (1918 - 1996) Born Ballarat Died Melbourne Gilda Gude worked in various media throughout her career, favouring figure and flower studies. She attended the Ballarat Technical Art School in the early 1930s. This artwork was completed for a competition run by a large art supply company. In 1952 Gude won the Royal Art Society Drawing Prize. She started lecturing at RMIT in 1961. 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.Framed oiginal poster advertising Nestles. LR G Gudeart, artwork, gilda gude, poster, nestles, alumni, ballarat technical art school -
Federation University Art Collection
Painting - Original poster, 'Molly Bushell Toffees' by Gilda Gude, c1935
Gilda GUDE (1918- 1996) Born Ballarat Died Melbourne Gilda Gude worked in various media throughout her career, favouring figure and flower studies. She attended the Ballarat Technical Art School in the early 1930s. This artwork was completed for a competition run by a large art supply company. In 1952 Gude won the Royal Art Society Drawing Prize. She started lecturing at RMIT in 1961. 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, gude, gilda gude, ballarat technical art school, toffee, available, lollies -
Federation University Art Collection
Painting - Portrait, Graeme Drendel, Vice Chancellor Helen Bartlett, 2020
Graeme DRENDEL (02 July 1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who is known for his 'enigmatic works depicting figures of solitude and introspection.' (Gavin Fry) His works are often set in isolated landscapes and situations, and his powerful images most often relate to the human condition. Becoming the first member of his family to undertake tertiary studies Graeme Drendel received a studentship to study Secondary Art and Craft Teaching. Country students could undertake their first two years study at Ballarat or Bendigo Art Schools. Graham studied at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing the course at Melbourne State College in 1974 While studying in Ballarat Graeme lived in the student departmental hostel 'Beaufort House, and had many formational experiences during his first foray outside of the Mallee. At Ballarat Graeme Drendel became aware of the painter Gareth Sansom who lectured at Ballarat Teachers' College. Although not directly taught by Sansom Graeme was drawn to the immediacy of his work. At Melbourne Graeme chose Printmaking as his major working with Printmaking lecturers Stephen Spurrier and Jim Taylor, and drawing with John Neeson. After teaching for several years, Graeme undertook a life changing and extensive travelling tour throughout Italy, United Kingdom and United States at which time he decided he would always depict the human figure. Recognised for his intelligent observations of the human condition, Graeme’s art invites contemplation and reveals the humour of everyday life. As a prolific user of sketchbooks Graeme Drendel records close observations, which can inform his paintings. Graeme Drendel is a regular finalist in the Archibald Portrait Prize, Sulman Prize, Paul Guest Prize, and in 2022 he won the prestigious Doug Moran National Portrait Prize with his portrait of fellow artist Lewis Miller. In 2021 he received a Federation University Distinguished Alumni Award. An academic portrait of Federation University Australia Vice Chancellor Helen Bartlett.academic portrait, helen bartlett, graeme drendel, portrait, vice chancellor, academic regalia -
Federation University Art Collection
Work on paper - Etching, Graeme Drendel, Strong Girl by Graeme Drendel
Graeme DRENDEL (02 July 1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who is known for his 'enigmatic works depicting figures of solitude and introspection.' (Gavin Fry) His works are often set in isolated landscapes and situations, and his powerful images most often relate to the human condition. Becoming the first member of his family to undertake tertiary studies Graeme Drendel received a studentship to study Secondary Art and Craft Teaching. Country students could undertake their first two years study at Ballarat or Bendigo Art Schools. Graham studied at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing the course at Melbourne State College in 1974 While studying in Ballarat Graeme lived in the student departmental hostel 'Beaufort House, and had many formational experiences during his first foray outside of the Mallee. At Ballarat Graeme Drendel became aware of the painter Gareth Sansom who lectured at Ballarat Teachers' College. Although not directly taught by Sansom Graeme was drawn to the immediacy of his work. At Melbourne Graeme chose Printmaking as his major working with Printmaking lecturers Stephen Spurrier and Jim Taylor, and drawing with John Neeson. After teaching for several years, Graeme undertook a life changing and extensive travelling tour throughout Italy, United Kingdom and United States at which time he decided he would always depict the human figure. Recognised for his intelligent observations of the human condition, Graeme’s art invites contemplation and reveals the humour of everyday life. As a prolific user of sketchbooks Graeme Drendel records close observations, which often inform his paintings. Graeme Drendel is a regular finalist in the Archibald Portrait Prize, Sulman Prize, Paul Guest Prize, and in 2022 he won the prestigious Doug Moran National Portrait Prize with his portrait of fellow artist Lewis Miller. In 2021 he received a Federation University Distinguished Alumni Award. This work is one of a substantial body of limited edition prints donated by the artist to Federation University in 2022 covering work from Graeme Drendel's earliest years as a student, through to more recent etchings. A etching of a woman with hair braids.graeme drendel, printmaking -
Federation University Art Collection
Work on paper - Etching, Graeme Drendel, 'Carriers' by Graeme Drendel
Graeme DRENDEL (02 July 1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who is known for his 'enigmatic works depicting figures of solitude and introspection.' (Gavin Fry) His works are often set in isolated landscapes and situations, and his powerful images most often relate to the human condition. Becoming the first member of his family to undertake tertiary studies Graeme Drendel received a studentship to study Secondary Art and Craft Teaching. Country students could undertake their first two years study at Ballarat or Bendigo Art Schools. Graham studied at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing the course at Melbourne State College in 1974 While studying in Ballarat Graeme lived in the student departmental hostel 'Beaufort House, and had many formational experiences during his first foray outside of the Mallee. At Ballarat Graeme Drendel became aware of the painter Gareth Sanson who lectured at Ballarat Teachers' College. Although not directly taught by Sansom Graeme was drawn to the immediacy of his work. At Melbourne Graeme chose Printmaking as his major working with Printmaking lecturers Stephen Spurrier and Jim Taylor, and drawing with John Neeson. After teaching for several years, Graeme undertook a life changing and extensive travelling tour throughout Italy, United Kingdom and United States at which time he decided he would always depict the human figure. Recognised for his intelligent observations of the human condition, Graeme’s art invites contemplation and reveals the humour of everyday life. As a prolific user of sketchbooks Graeme Drendel records close observations, which often inform his paintings. Graeme Drendel is a regular finalist in the Archibald Portrait Prize, Sulman Prize, Paul Guest Prize, and in 2022 he won the prestigious Doug Moran National Portrait Prize with his portrait of fellow artist Lewis Miller. In 2021 he received a Federation University Distinguished Alumni Award. This work is one of a substantial body of limited edition prints donated by the artist to Federation University in 2022 covering work from Graeme Drendel's earliest years as a student, through to more recent etchings. A etching of two men carrying a mattress.graeme drendel, printmaking, mattress -
Federation University Art Collection
Work on paper - Etching, Graeme Drendel, 'Pool' by Graeme Drendel, 1974
Graeme DRENDEL (02 July 1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who is known for his 'enigmatic works depicting figures of solitude and introspection.' (Gavin Fry) His works are often set in isolated landscapes and situations, and his powerful images most often relate to the human condition. Becoming the first member of his family to undertake tertiary studies Graeme Drendel received a studentship to study Secondary Art and Craft Teaching. Country students could undertake their first two years study at Ballarat or Bendigo Art Schools. Graham studied at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing the course at Melbourne State College in 1974 While studying in Ballarat Graeme lived in the student departmental hostel 'Beaufort House, and had many formational experiences during his first foray outside of the Mallee. At Ballarat Graeme Drendel became aware of the painter Gareth Sanson who lectured at Ballarat Teachers' College. Although not directly taught by Sansom Graeme was drawn to the immediacy of his work. At Melbourne Graeme chose Printmaking as his major working with Printmaking lecturers Stephen Spurrier and Jim Taylor, and drawing with John Neeson. After teaching for several years, Graeme undertook a life changing and extensive travelling tour throughout Italy, United Kingdom and United States at which time he decided he would always depict the human figure. Recognised for his intelligent observations of the human condition, Graeme’s art invites contemplation and reveals the humour of everyday life. As a prolific user of sketchbooks Graeme Drendel records close observations, which often inform his paintings. Graeme Drendel is a regular finalist in the Archibald Portrait Prize, Sulman Prize, Paul Guest Prize, and in 2022 he won the prestigious Doug Moran National Portrait Prize with his portrait of fellow artist Lewis Miller. In 2021 he received a Federation University Distinguished Alumni Award. This work is one of a substantial body of limited edition prints donated by the artist to Federation University in 2022 covering work from Graeme Drendel's earliest years as a student, through to more recent etchings. An etching of a pool and surrounding objects such as chairs and towels. This work was completed during Graeme Drendel's final year at Melbourne State College where he was studying Secondary Art and Craft Teaching and majoring in Printmaking.graeme drendel, printmaking -
Federation University Art Collection
Artwork, 'Nude Figure' by Rupert Bunny
Rupert BUNNY (1864-1947) One of the most successful expatriate artists of his generation Rupert Bunny was superb colourist and fine draughtsman, with a strong interest in rhythmic composition. 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.Life drawing using line depicting a female figure turned away from the onlooker. Gift of William Ritchie, 1965Signed lower third with artist's initials.art, artwork, rupert bunny, life drawing, nude, available (in march 2018) -
Eltham District Historical Society Inc
Photograph, Percy Leason, Cartoon "Goliath and the Prodical David", Percy Leason, 1931
This political cartoon depicts a black and white drawing; “General Depression”, a large ugly man wearing a German pike helmut, representing the Great Depression which Australians suffered from 1929 through the 1930s with a period of high unemployment, poverty, low profits, deflation, plunging incomes, and lost opportunities for economic growth and personal advancement. This figure overshadows a small man, representing Prime Minster James Scullin with a suitcase labelled “Jim S, London to Australia”. This is a reference to the PM’s decision to travel to London to seek an emergency loan and to attend the Imperial Conference (a meeting of Prime Ministers of the British Empire) He is holding a sling shot. The image has a “David and Goliath theme” denoting Australia as the underdog, a contest where a smaller, weaker opponent faces a much bigger, stronger adversary. The artist Percy Leason (1889 - 1959) was a painter and cartoonist renowned for his depictions of Australian society in the 1920s and 1930s. He lived in Eltham at his property 'Landscape' which he built in New Street (present day Lavender Park Road) from about 1924 to 1938 when he moved to the USA. In 1931 his cartoons were published in the Melbourne magazine “Table Talk” (although it cannot be confirmed that this one was). The original source of this image for the SEPP collection was the Publisher Thomas Nelson based in Melbourne. This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book,"Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.Digital image and 4 x 5 inch B&W Negsepp, shire of eltham pioneers photograph collection, percy leason, depression, cartoon, comic, james scullin, david and goliath, drawing, political cartoon