Showing 1223 items
matching arts victoria
-
Eltham District Historical Society Inc
Photograph, Liz Pidgeon, Alan Marshall by Marcus Skipper (1995) outside Eltham Library, Panther Place, 21 May 2014
A sculpture of local author Alan Marshall welcomes visitors in the grounds of Eltham library. Alan loved telling stories and talking to children and his own story overcoming the legacy of polio has been an inspiration to generations of Australians. Marcus Skipper, the sculptor, knew Alan well and the sculpture is said to capture his spirit and appearance perfectly; the jumper was even cast from one of Alan’s own. A realistic depiction (almost life size) of Alan Marshall (1902-1984) cast in bronze with green patination. Dressed in a jumper and slacks, Marshall is shown perched on a crutch, holding a book to his heart, gesturing to his audience to come and listen to his words. It was scupluted by local artist Marcus Skipper (b.1950 Melb. died 2011). HISTORICAL INFORMATION Alan Marshall was an author of more than fifteen books, and lived much of his life in Eltham. He became a central figure in the area's arts community of writers, artists, sculptors, film makers, actors and musicians . He is shown stroking a book to his heart, perched on a crutch, which references his disability (contracted polio when he was young), and his status as one of Australia's most successful and loved authors. His most famous book, 'I Can Jump Puddles' is based on his life story and the obstacles he faced as a child in trying to overcome his disability. Marcus Skipper submitted the idea for the work to the first 'Art in Public Places' Awards in 1990. The selectors at the time recommended that the work would be more suitably placed near the Eltham Library. It was commissioned and installed for the new Eltham Library, which was designed by Greg Burgess in 1994. It was partially funded by the then Shire of Eltham's Art Development Fund (Eltham Arts Council) and the rest donated by the artist Marcus Skipper. - Highlights from the Nillumbik Public Art Collection. "The setting and location are ideal and Marcus has really captured the typical Marshall character. It has attracted much favourable comment since its completion. .. Alan Marshall, A.M., O.B.E., Hon.LL.D. (1902-1984) was born at Noorat, Victoria and became one of Australia's most famous authors. His association with the Eltham area began in 1920 when he started his first job as a junior clerk at the Eltham Shire Offices, Kangaroo Ground. In the 1940s he spent some time living at Research. From 1955 he lived in Eltham for nearly 20 years. Disabilities resulting from polio as a young child did not prevent a wide range of experiences. Alan's occupations have been listed as clerk, night watchman, fortune teller, freelance journalist and author. He has been patron of many disadvantaged Children's Societies. Alan's books are numerous and include novels, short stories, children's books, history and travel. Among the best known are his autobiographies "I Can Jump Puddles" and "This is the Grass". Others include "These are My People", "Ourselves Writ Strange", "People of the Dreamtime", "The Gay Provider" and "Wild Red Horses". In 1971 he wrote the Centenary History of the Shire of Eltham, "Pioneers and Painters". -EDHS Newsletter No. 104, September 1995This work has significance for its reference to two well known names associated with Eltham and its history. The sculpture is a realistic statue of the famous Australian author Alan Marshall who wrote "I Can Jump Puddles". He lived and worked in the Shire. The artist Marcus Skipper represents a highly recognised family of artists associated with Monsalvat . The sculpture 'Alan Marshall' has been classified as of regional significance by the National Trust of Australia. - Highlights from the Nillumbik Public Art Collection.Born Digitalart in public places, alan marshall, marcus skipper, sculptures, eltham library -
Eltham District Historical Society Inc
Journal - Newsletter, Nillumbik Shire Council, Nillumbik News, October 2000
Christmas 2001 articles include: Governor of Victoria re-dedicates KG War Memorial Tower Election details (2002) Summer at the Diamond Creek Pool Community Safety Expo Nillumbik Festival of the Arts: ‘art, caught in the act’ 22 Feb to 3 Mar 2002 Neighbourhood Character Study out for comment Plans to revive St Andrews Market site Integrated Transport Strategy seeks less car usage Eltham Festival Album Rural connector roads strategy Rural Collector Roads to be Sealed Roundabout funding for Diamond Creek Community Fireguard helps prepare for fire Planning for bush fire this summer Capital Works projects on track for 2001-2002 Eltham Town Square opens council newsletters, nillumbik news, nillumbik shire council -
Port Melbourne Historical & Preservation Society
Newspaper - Newspaper, The Australasian Centenary Number Newspaper, Victoria's 100th Anniversary, "The Australasian Centenary Number Newspaper", 18 Oct 1934
"The Australasian Centenary Number Newspaper" produced for Victoria's 100th anniversary in 1934. Large 72 page supplement. Full colour front and back covers plus 2 pages in text, one colour elsewhere including centre spread aerial photo "The Village, 1934". Contains comprehensive history dating from 1770, many ads. Lavishly illustratred.At top front page in ink "E.S McCallum, Graham St, Port Melbourne"arts and entertainment, religion, transport - shipping, transport - railways, industry, built environment, publishing, newspapers, the australasian, hrh prince henry, duke of gloucester, gold, celebrations fetes and exhibitions, e s mccallum, john batman -
Port Melbourne Historical & Preservation Society
Booklet, Robert Murphy, James Conder - A Maritime Life - 1872-1954, c. 2000
From a group of items re ártist, poet and four-navy veteran James Conder 1872-1954: 'James Conder - A Maritime Life - 1872-1954', A5 booklet 20 pp incl cover, 'developed by Robert Murphy for the many family members descended from James Conder'.armed services - navy, transport - shipping, police, arts and entertainment - visual arts, james bryance conder, royal australian navy, royal navy squadron, victorian navy, victoria police, hmvs cerberus, royal australian naval college, elizabeth cromb, robert murphy, painting -
Port Melbourne Historical & Preservation Society
Archive - Minutes, Port Mission Action Group, 1988
The Missions to Seamen building, designed by architect Harry Norris and built in 1937, was located on the site proposed 50 years later for development by the Sandridge Development Company. The building fell into disrepair after it was closed by the church in 1972, but enjoyed a brief and energetic period in 1987-90 when it was used as a community arts centre. These documents record the campaign waged to save the building from demolition. It was demolished in October 1995.Material relating to a campaign to save the Missions to Seamen building, 1987-88: minutes, correspondence and membership details of National Trust-auspiced Port Mission Action Groupmission to seamen, arts and entertainment, mission arts centre, national trust of victoria, harry a norris, pat grainger, barry merat, brian couldrey -
Port Melbourne Historical & Preservation Society
Letter - Correspondence from the Mission Arts Centre, 1987 - 1988
The Missions to Seamen building, designed by architect Harry Norris and built in 1937, was located on the site proposed 50 years later for development by the Sandridge Development Company. The building fell into disrepair after it was closed by the church in 1972, but enjoyed a brief and energetic period in 1987-90 when it was used as a community arts centre. These documents record the campaign waged to save the building from demolition. It was demolished in October 1995.Material relating to a campaign to save the Missions to Seamen building, 1987-88: correspondence from the Mission Arts Centremission to seamen, arts and entertainment, mission arts centre, national trust of victoria, harry a norris, pat grainger, barry merat, brian couldrey -
Port Melbourne Historical & Preservation Society
Flyer - Promotional material from Mission Arts Centre, 1987 - 1988
The Missions to Seamen building, designed by architect Harry Norris and built in 1937, was located on the site proposed 50 years later for development by the Sandridge Development Company. The building fell into disrepair after it was closed by the church in 1972, but enjoyed a brief and energetic period in 1987-90 when it was used as a community arts centre. These documents record the campaign waged to save the building from demolition. It was demolished in October 1995.Material relating to a campaign to save the Missions to Seamen building, 1987-88: flyers, campaign and promotional material from the Mission Arts Centremission to seamen, arts and entertainment, mission arts centre, national trust of victoria, harry a norris, pat grainger, barry merat, brian couldrey -
Port Melbourne Historical & Preservation Society
Flyer - Promotional material from Mission Arts Centre, 1988
The Missions to Seamen building, designed by architect Harry Norris and built in 1937, was located on the site proposed 50 years later for development by the Sandridge Development Company. The building fell into disrepair after it was closed by the church in 1972, but enjoyed a brief and energetic period in 1987-90 when it was used as a community arts centre. These documents record the campaign waged to save the building from demolition. It was demolished in October 1995.Material relating to a campaign to save the Missions to Seamen building, 1987-88: items relating to an open day at the Missions to Seamen building for Heritage Week, 22 to 25 April 1988, including notes for accompanying guided tourmission to seamen, arts and entertainment, mission arts centre, national trust of victoria, harry a norris, pat grainger, barry merat, brian couldrey, town planning, heritage -
Port Melbourne Historical & Preservation Society
Document - Papers, Correspondence and flyers, campaign to save Missions to Seamen building, 1987 - 1988
The Missions to Seamen building, designed by architect Harry Norris and built in 1937, was located on the site proposed 50 years later for development by the Sandridge Development Company. The building fell into disrepair after it was closed by the church in 1972, but enjoyed a brief and energetic period in 1987-90 when it was used as a community arts centre. These documents record the campaign waged to save the building from demolition. It was demolished in October 1995.Miscellaneous correspondence and flyers relating to a campaign to save the Missions to Seamen building, 1987-88: mission to seamen, arts and entertainment, mission arts centre, national trust of victoria, harry a norris, pat grainger, barry merat, brian couldrey -
Port Melbourne Historical & Preservation Society
Flyer - Gretz Gallery Summer Arts Festival, A Community Invitation, c. 1990
Gretz was located at Ingles/Bay/Garton Streets and run by the Stuart family (Helen, Gerry, Claire, Kristin?) in the late 1980s, later moving to Victoria Avenue, Albert Park, with the girls using the vacated St Josephs Primary as studios through the 1990s.Pale green, A6 invitation to a Gretz Gallery Summer Arts Festival, 1 December c1990 - letterboxed to Port residentsarts and entertainment - visual arts, celebrations fetes and exhibitions, gretz gallery -
Port Melbourne Historical & Preservation Society
Plan - Immigration sculpture, Beacon Cove, Orchard Design Studio, Mark Weichart, 1998
Mirvac, Beacon Cove developers, commissioned this sculpture. Orchard contacted PMH&PS for 19th Century migrant ship names, to be handcarved into jarrah portion of sculpture, and for approval of 20th century ship names for the steel section. In return we requested a copy of these plans.Presentation plans (two sheets) for sculpture at Beacon Cove, designed by Orchard Design Studio of Pakenham. One in full colour, one a photocopy only. Subject: immigration.Photocopy signed by the artist, Mark Weichart.piers and wharves - station pier, immigration, transport - shipping, arts and entertainment - visual arts, mark weichart, orchard design studios, mirvac victoria, sculpture -
Port Melbourne Historical & Preservation Society
Document - Exhibition catalogue, Sue Grieve, Museum of Victoria, 'Cheer Up Children, an exhibition of watercolours', 1986
... Gallery of the Museum of Victoria health - hospitals arts ...'Cheer Up Children', an exhibition of watercolours painted in 1910 for children in hospital: 12 page catalogue of paintings form the Prince Henry's Hospital Collection, exhibited 1986 at the Thorpe Gallery of the Museum of Victoriahealth - hospitals, arts and entertainment - visual arts, celebrations fetes and exhibitions, marjorie williams, prince henrys hospital, melbourne homeopathic hospital -
Women's Art Register
Book, Women 150, 150 Victorian Women Artists, 1975
Compiled by the Visual Arts Committee of Women150 to mark the 150th celebrations for the establishment of state of Victoria in 1985. Represents many established and emerging artists of the time.book non-fictionCompiled by the Visual Arts Committee of Women150 to mark the 150th celebrations for the establishment of state of Victoria in 1985. Represents many established and emerging artists of the time.feminism, painting, printmaking, drawing, photography, textiles -
Women's Art Register
Book, Evelyn Healy, Artist of the Left. A Personal Experience 1930s to 1990s, 1993
A history of the authors life as an artist, teacher, and political activist in Australia.non-fictionA history of the authors life as an artist, teacher, and political activist in Australia.trade unions, social realism, communist party of australia, peace art, australia council, community arts, art and working life, international co-operation art award, cpa, political cartoons, cabramatta and districts art society, noel counihan, contemporary art society of victoria -
Coal Creek Community Park & Museum
Picture Frame
It is made from polished fiddleback, Blackwood and sassafras, and studded with ornamental metalwork.This item is aesthetically significant, as it is an example of Arts and Crafts movement, 1880's Hand made Picture Frame, made by Local Korumburra, Carpenter and Builder Mr. Dan Jarvis. As a Builder, this item was made as a hobby item which showed his Excellent skills with minute craftsmanship. It was selected, and featured as item 233, in Murray Walkers catalog, Colonial Crafts of Victoria, published in 1978, for the Exhibition at the National Gallery of Victoria, November 1978 to January 1979. -
Ararat Gallery TAMA
Print, Nanette Bourke, Just a Gumtree, 2006
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Print, Nanette Bourke, The Cult of the Car - Carefree Youth, 1990
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Print, Nanette Bourke, The Cult of the Car - Obsolescence, 1989
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Print, Nanette Bourke, Scarlet Banksia, 1988
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Print, Nanette Bourke, She-Oak in Spring, 2002
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Print, Nanette Bourke, Aftermath, 2005
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Print, Nanette Bourke, The Growth of Tourism, 1988
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Nanette Bourke, Opening up the Land, 1995
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Nanette Bourke, Return of the Grasstrees, 2007
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Print, Nanette Bourke, No, I don't want to live to 100, Thank you, 1992
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Print, Nanette Bourke, Watch Over All Living Things, 1996
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Print, Nanette Bourke, Starleaf Grevillea, 2008
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Print, Nanette Bourke, Blue Devils, 1992
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Print, Nanette Bourke, Casuarina Grove, 2003
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Print, Nanette Bourke, Grasstrees, a different perspective, 1992
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.