Australian painter, printmaker, book designer, lecturer, collector, gallery director and publisher of limited edition artists’ books, of Irish decent. He worked as a draughtsman before entering war service in the British Admiralty from 1940 to 1949, including five years in Colombo, where he made sketching trips to jungle temples with the Buddhist monk and artist Manjsiro Thero. Between ...
New Zealander, 20th century, male.
Born 7 September 1890, in Feilding; died 31 March 1975, in Christchurch.
Cranleigh Harper Barton painted watercolours of landscapes and architectural subjects.
Australian architect and watercolourist. He trained as an architect at the Public Works Department of Western Australia in Perth (1922–6). In 1930 he travelled to England and worked for E. Vincent Harris in London. This experience reinforced Clifton’s belief in the classical tradition as a basis for contemporary design. He was also influenced by vernacular building forms, which he studied during travels in Spain. After returning to Western Australia in ...
Australian painter. After an apprenticeship with an architect in Newcastle, he went to Sydney to attend evening classes at Julian Rossi Ashton’s art school, while employed at an architectural metalwork company. His talent gained him early recognition in the Society of Artists. In 1929 his first prize in the Australian Art Quest and the Society of Arts Travelling Scholarship enabled him to travel overseas. He studied at the Slade School of Fine Art in London for 15 months under ...
Barbara B. Kane
French painter, sculptor, designer and teacher, active in Australia. He trained under the architect Viollet-le-Duc and at the Ecole des Beaux-Arts, Paris, under Jean-Léon Gérôme. In 1871 he was sentenced to death for his political activities in the Paris Commune; this was commuted to transportation to New Caledonia. He arrived in Sydney in ...
Australian painter, video and film maker and teacher. After World War II he studied part-time at St Martin’s School of Art, London. In 1951 he learnt about Islamic art and architecture by working in Algiers on the restoration of the Marabout tombs. Returning to England, he attended Toynbee Hall, London (...
Australian silversmith, jeweller, woodworker and painter of English birth. His father was the watercolourist Sir James Dromgole Linton (1840–1916). Having trained as a painter and architect in London, he travelled to Western Australia in 1896 and began practising metalwork after settling in Perth; he was appointed head of the art department of Perth Technical School in ...
David P. Millar
New Zealand painter. Lusk was the daughter of an architect and was determined from an early age to be an artist. Lusk enrolled herself at the Art School attached to Dunedin’s Technical College. Blessed with ability, Lusk found art school a stimulating time. Dunedin had a tiny but lively art community: Russell Clark (...
Australian, 19th century, male.
Born 4 December 1862, in Melbourne; died 28 June 1916, in London.
Painter, illustrator, cartoonist. Landscapes, animals.
Frank Mahony worked in an architect's studio while studying under Anivitti at the New South Wales Academy of Art. He exhibited paintings in the ...
Australian, 19th – 20th century, male.
Born 8 October 1863, in Paddington, Sydney; died 12 November 1948, in Sydney.
Painter, curator. Landscapes.
Gother Mann was apprenticed to the architect Thomas Rowe in 1882 and attended lectures in architecture at the University of Sydney. In 1885 he became friends with Charles Conder and accompanied him to Julian Ashton's art classes and on painting trips to the Hawkesbury River. He was elected an associate of the Institute of Architects of New South Wales in ...
Australian, 19th – 20th century, male.
Born 25 February 1855, in Melbourne; died 20 December 1917, in South Yarra.
Painter. Scenes with figures, genre scenes, landscapes, urban landscapes, architectural views, boats, gardens.
Frederick McCubbin trained at the newly established School of Design at the National Gallery of Melbourne in 1871. He stayed briefly in Europe in 1907. His works are close to those of his contemporaries, the French Impressionists. Like them, he painted out of doors, depicting everyday scenes in muted, neutral colours. His sober compositions testify to his deep attachment to his native Australia....
Australian painter. After completing his architectural studies in Wellington in 1917, he met the Dunedin painter A. H. O’Keefe and determined to be an artist. He was able to do this with the assistance of a private income. He travelled to China, Japan and the Philippines and in ...
Australian painter. He was sent to England in 1879 as an apprentice engineer in Lincoln, where he began painting in watercolour. The inheritance that followed his father’s death enabled him to become a student at the Slade School of Fine Art, London (1881–3). He then trained at the Atelier Cormon, Paris (...
Australian painter. A childhood passion for architecture shaped his interest in the beauty of the man-made world. Trained in Adelaide, where he later taught, Smart developed an early admiration for Piero della Francesca and Cézanne. He first visited Europe in 1948 and the following year studied for six months with ...
Australian, 20th – 21st century, male.
Painter (including mixed media). Scenes with figures.
Neo-Conceptual Art, Appropriation Art.
Imants Tillers graduated with a Bachelor of Science and Architecture from the University of Sydney in 1972. In 1976 he held residencies in Paris and Venice and ...
Australian conceptual artist and painter. An architecture student at Sydney University (1969–72), he closely followed the profound questioning of artistic practices concentrated there, including the radical rethinking of Australian and modern art history occurring in the courses and research of the Power Institute of Fine Arts. He was also alert to the particular nexus between minimalist aesthetics and conceptual experimentality being forged by artists in Sydney as elsewhere. A son of Latvian immigrants, he saw these developments from an already displaced perspective. They gave him the grounding for his artistic language, and for his recurrent subject: the imagery of identity, of the personal within the social. It was approached obliquely, usually by inference, often unstable and elusive to the point of disappearance....