Nora Heysen - Carrick Hill · Nora Heysen is regarded as one of Australia’s premier portrait and still-life artists. Born in 1911, the fourth of Hans and Selma (Sallie) Heysen’s

Education Resource

Nora Heysen Light and life

Contents1 AboutthisEducationResource 1

2 Meettheartist 2 Ataglance(biographicaloutline) 2

Creativejourney(keydevelopments) 4

Influences 8

Incontext 9

3 Explore(subjectsandthemes) 10 Stilllife 10

Flowers 12

Selfportraits 14

Australiansatwar 16

Figures 18

4 Keysforlooking 20

5 Forteachers/students 22 Learningconnections 22

Getstarted(intheexhibition) 24

6 Researchandfurtherresources 25

ThisEducationResourceisproducedinassociationwiththetouringexhibitionNora Heysen: Light and life,curatedbyJaneHyltonandcoordinatedbyCarrickHill,Adelaide.TheexhibitionexploresNoraHeysen’sworldandworkandhighlightsthestrengthsanddiversityofherstudiopracticeinanotablecareerspanningsevendecades.

Cover image: Self Portrait(detail),1953,oiloncanvas,89.0x66.5cm;CollectionoftheArtGalleryofSouthAustralia,Adelaide;SouthAustralianGovernmentGrant,1994

Acknowledgments

Writer:JohnNeylonConsultant:JaneHyltonProduction:CarrickHill,Adelaide,withparticularassistancefromRichardHeathcoteandCateParkinsonDesign:SandraElmsDesign

TheNoraHeysenFoundationIncorporated

Nora Heysen: Light and life Education Resource: John Neylon

About this Education Resource TheResourceisdesignedtosupportlearningoutcomesandteachingprogramsassociatedwithviewingtheNora Heysen: Light and lifeexhibitionby:

• providinginformationabouttheartistandherpractice

• exploringexhibitionsubjectsandthemes

• locatingtheartist’sworkwithinart-historicalcontexts

• challengingstudentstoengagewiththeworksandtheexhibition’sthemes

• identifyingwaysinwhichtheexhibitioncanbeusedasacurriculumresource.

Itmaybeusedinconjunctionwithavisittotheexhibitionandasapre-visitorpost-visitresource.

YearLevelThisResourceisdesignedtobeusedbyprimary,secondary–seniorsecondaryvisualartteachersandstudents.

LearningAreasVisualArt:theexhibitionoffersinsightsinto:

• theartisticdevelopmentandcontributionofasignificantAustralianwomanartist

• studio-basedstylesandtechniques

• arthistoricalcontextsofthemodernistperiod

Society/AustralianStudies• therolesandcontributionofwomenartistswithinAustraliansociety

• Australiansatwar

English/Literacy• Analysingworksorreportinganddebatingfindingsrelatedtoviewingworkswill

requirestudentstomakeeffectiveuseoflanguageandwritingskills.

1 nora heysen: light and lifeEducationResource

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Meet the artist: At a glance At a glanceAt a glance

Self Portrait,1953oiloncanvas,89.0x66.5cm;CollectionoftheArtGalleryofSouthAustralia,Adelaide;SouthAustralianGovernmentGrant,1994

NoraHeysenisregardedasoneofAustralia’spremierportraitandstill-lifeartists.Bornin1911,thefourthofHansandSelma(Sallie)Heysen’seightchildren,shegrewupinthefamilyhome,TheCedars,atHahndorfintheAdelaideHills.FromanearlyageNorawasdeterminedtobeanartist.ThroughstudyandapplicationsheachievedcriticalsuccessandinherearlytwentieswasabletorealiseadreamoflivingandstudyinginLondon.

BythetimeshereturnedtoAustraliainlate1937herartistichorizonshadbeenexpandedbyexposuretothediversityoftraditionalandmodernEuropeanart.TheartistmovedtoSydneyin1938,perhapstorestoreasenseofindependenceasanartistwhichshehadenjoyedwhileoverseas.ThishadtheeffectofextendingHeysen’sreputationbeyondSouthAustraliaandconsolidatinghercredentialsasacommissionedportraitpainter.WinningtheArchibaldPrizeinthesameyear(thefirstfemaleartisttowinthisprestigiousaward)confirmedhergrowingreputationasoneofAustralia’sforemostwomanartists.

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Heysenwasanofficialwarartist(thenation’sfirstfemalewarartist)andservedasacaptainintheAustralianWomen’sArmyService1943 – 46.

Fromthelate1940stothetimeofherdeathin2003herworkingbasewasSydneyandfrom1954herhome,TheChalet,inHuntersHill.FrequenttravelwithherhusbandRobertBlacktoPacificdestinations,includingNewGuineaandtheSolomonIslands(1954 – 65),offeredopportunitiestoextendherpracticeandtodrawandpaintlocalpeople,subjectswhichfiguredprominentlyinheroutputatthistime.

Theartofhersenioryearsreflectedinitsflowerstudies,gardensubjects,interiorsandfigurestudieshowspecialtheintimatemomentsandsubjectsassociatedwithherdomesticworldandstudiopracticewerefortheartist.AcrossthisperiodsheexhibitedrarelybutsufficientlyfortheAustralianartcommunitytoappreciatethefullfloweringofhertalentsandimaginationasanartist.

Awardsandhonoursreflectedthisappreciation.In1993HeysenreceivedtheAustraliaCouncil’sAwardforAchievementintheArts.In1998shewasawardedtheOrderofAustralia(AM).In2000amajorretrospectiveexhibitionNora HeysenwaspresentedbytheNationalLibraryofAustralia,Canberra.In2004theNoraHeysenFoundationIncwasestablishedinSouthAustralia,basedattheHeysenfamilyhome,TheCedars,Hahndorf,SouthAustralia.

Insights“NoraHeysenremainsoneofthemostsignificantoftheAustralianfemaleartistsofthelastcentury.Shewasaremarkablewomanwhoseartisticachievementsspannedaperiodofsome75years,andwhogainedcontinuedrespectforheracknowledgedpassionandgenuinededicationtoherart.NoraHeysenwasabeautifulcolourist,formidabledrawer,superbdraughtsmanandskilfulexponentofoilonbrush;anartistwhoplacedherselfinthehistorybooksbybecomingthefirstwomantowintheprestigiousArchibaldPrizeandthefirstappointedfemalewarartistinWorldWarII.”

AllanCampbellCurator,TheCedars,theHansHeysenEstateChairman,theNoraHeysenFoundationIncorporated

“UltimatelytheessenceofNoraHeysen’sartreflectshercontinualpursuitofandloveforlightandlife.”

JaneHyltonCurator,Nora Heysen: Light and life

Meet the artist: Creative journey Naturaltalentandwork:EarlyyearsinAdelaide1920s –1933Nora,ofalltheHeysenchildren,demonstratedthemostartisticinterestandtalent.Encouragedbyherfathershelearnttodrawandpaint.AgedfifteenshebeganformalartstudiesattheSchoolofFineArtsinNorthAdelaide.Fromthelate1920stotheearly1930sshecontinuedtodevelopskillsindrawingandpaintingacrossavarietyofsubjects,principallystilllife,portraiture(includingselfportraits)andlandscape.EarlyworkcarriestheimprintoftheformalandconservativetrainingshereceivedprimarilyattheSchoolofFineArtsunderFrederickMillwardGray.FromGrayshelearnttoanalyseandillustrateobjectsintermsofessentialvolumes;cylinders,spheresandcubes.Thissystemgaveherthebasisonwhichtoexplorethepossibilitiesofformandcomposition.

Still life with cheese and bread,1931oiloncanvas,50.0x60.0cm;CourtesyofKensingtonGalleries,Adelaide;PhotographbyMickBradley

Anemergingindividual:LifeinLondon1934 –37Fromtheearly1930sandacrosstheperiodspentinLondon(1934 –37),itispossibletoidentifyanoticeableshiftinstyleandmethodology.Theearthcolourspalettewhichhadservedhersofaithfullywasreplacedbyaricherpaletteofbrightluminouscoloursandbrushhandlingbecamemoregesturalandtextured.WhileinLondonNorastudiedattheCentralSchool.Thisstudywassupplementedbyvisitstogalleries.WhilethesubjectmatterofHeysen’sworkcontinuedtobeprimarilystilllifesubjects,studiointeriors,afewlandscapesandportraits(includingselfportraits)herworkreflectedanincreasedawarenessofthepossibilitiesofcolourtoenliventheimageandcreatemood.Changewasalsoevidentinanincreasingcomplexityandsophisticationofcompositionalarrangementswithinstilllifesandinteriors.


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London breakfast,1935oiloncanvas,47.0x53.5cm;CollectionoftheNationalGalleryofAustralia,Canberra,purchased1996

Awealthofexperience:Sydneylate1930s –early1940sNorareturnedtoAustralia,initiallytoAdelaideandTheCedarsinlater1937beforemovingtoSydneyin1938.Distinctivefeaturesofworkmadeonherreturnwereamorehigh-keypalette(asopposedtoanearlierrelianceondarksandlights)andalooserpaintingstyle.Thishadtheeffectofestablishinglightandcolourascentralconcernsofherpractice.Duringthisearly1940speriodtheartistcontinuedtoexplorepainterlyexpressionthroughmoregesturalbrushworkwithoutabandoningsounddraughtmanshipandcompositionalstructure.Atthistimeshecompletedanumberofsignificantpaintingsrelatedtothesubjectofmotherhood.

Tomatoes,1939oilonboard,44.2x55.6cm;CollectionoftheArtGalleryofSouthAustralia,Adelaide;SouthAustralianGovernmentGrant1998


Atwar1943–46InOctober1943HeysentookupanappointmentascaptainintheAustralianWomen’sArmyService.ShewasthefirstwomaninAustraliatobeappointedasawarartist.Duringthistimesheproducedover170worksofart.Thisbodyofworkconsistsofarangeofsubjectsfromformalportraitsoffemaleofficebearerstomoreinformalportraitsandviewsofwomenengagedinarangeofduties.TropicalconditionsmadeoilpaintingverydifficultandHeysenchoseattimestoworkinchalk.Workingin situandspeedrequiredachangeintechnique;moredirectandrapidbrushwork.

Private Gwynneth Patterson, Australian Army Medical Women’s Service,1944,oiloncanvas,56.0x41.0cm;CollectionoftheAustralianWarMemorial,Canberra;AcquiredundertheOfficialWarArtScheme1945

Pacificregionwork:1954 –64HeysenmarriedRobertBlackinearly1953andoverthenextdecadeaccompaniedhimonresearchexpeditionsthattookthembothtoPapuaNewGuinea,TheSolomonandTrobriandIslandsandtheNewHebrides(nowknownasVanuatu).OnseveralPacificregionjourneystheartistmadenumerousdrawingsandsomeoilpaintingsoflocal,indigenouspeople.Workingmainlyinchalks(amoremanageablemediuminthedifficultclimateandworkingconditions)Heysenhonedherfigurativedrawingskills.JaneHyltoncommentsthat,“TheworkssheproducedduringthesejourneysareexceptionalinHeysen’soeuvre.Herknowledgeofthehumanformtranslatedreadilyintobeautifullyfreshportraitsoftheindigenouswomenandmen.”


King Mitakaka, New Guinea,c.1962sanguine,pastellaidonpaper,63.5x48.5cm;CollectionoftheArtGalleryofNewSouthWales,Sydney;Giftoftheartist2003;PhotographbyDianaPanuccio

Ahomeofherown:Sydney1950s –2003FollowingwarserviceHeysenquicklyre-establishedherartisticcareer.By1951shewasverybusyacceptingcommissionsforbothportraitsandflowerstilllifes.In1954NoraandRobertpurchasedTheChaletatHuntersHill,Sydney.OverthefollowingdecadesNoraHeysen’sworkbecamemoreintrospectiveandreliantonsubjectsdrawnfromherdomesticsettingatTheChalet,includinghergardenanditsflowers,localchildren,hercatsandstudioscenes.Heysenjoinedalocallife-drawinggroupandovertimeproducedalargeandsignificantbodyofdrawingsofthenudemodel.AsHeysenworkedintoherseventiesherpaintingstylebecamebolderandpaintapplicationdryerandmorerapid.

Morning sun,1965oiloncanvas,63.5x47.0cm;Privatecollection


Meet the artist: Influences HansHeysenThemostsignificantformativeinfluenceonNoraHeysen’spracticewasthatofherfather,thenationallyacclaimedlandscapeartist,HansHeysen.HanshadundergonehisowninitiationintotheworldofartwhenasayoungmanhestudiedandtravelledinEuropeattheturnofnineteenthcentury(1899 –1904).Itwasatimeofradicalchange.TheinfluenceofpleinairismandamodifiedformofImpressionismspreadinthefinaltwentyyearsofthecentury.ManyartistsfoundwaystocombinesomeofImpressionism’sinnovativefeatures,suchasitsfreerbrushwork,apreoccupationwithlightandatmosphereandaninterestinmodern-lifesubjects,withelementsofamoreconservative,academickind.ThiscomplexitywasapparentinHeysen’sworkwhereanumberofsubjectsandsettingsindicateabroaddebttohumanistartistsincludingRembrandtandMillet.Heysen’s‘capture’oflight,oftenwithinruralsubjectworks,reflectshisclosestudyofthe‘atmospheric’artists,particularlyClaudeLorraine,J.M.W.Turner,JohnConstableandJean-BaptisteCorot.

HeysenhadencounteredModernisttrendsintheformofartbyPaulCézanne,VincentVanGoghandothers.HeadmiredaspectsoftheirworkbutfeltthatModernismingeneralplacedundueemphasisonpersonalexpressionattheexpenseofformandstructure.TheseprioritiesareclearlyexpressedinaletterhewrotetoNorawhileshewasstudyinginLondon.

At your present stage of development, colour after all is not of such importance as form and structure – never relinquish your hold on your search for structure – it is indispensable to help you build your foundations: first form and structure then colour

HansHeysentoNoraHeysen22March,1930s

Nora’searlytrainingindrawing,compositionandtonalrealismandher‘apprenticeship’underthewatchfulandencouragingeyeofherfatherinhisstudioensuredthatthisemphasisonstructureemergedasakeyorganisingprincipleforherwork.Althoughthestyleofhermatureworkchangedassheallowedcolouramorecentralroleitisstillpossibletoidentifyasenseof‘visualscaffolding’createdbytheformsofindividualobjectsandtheirrelationshipswithinacomposition.

ImpressionismThefirstImpressionistexhibitionwasheldinParisin1874.Bythelate1880sithadbecomelessaspecificartmovementassociatedwithasmallgroupofradicalartists(includingClaudeMonet,CamillePissarro,MaryCassattandothers)andmoreagenericstylewithmanyvariations.Butcharacteristicelementssuchaspaintingen plein air,dividedor‘broken’brushwork,useofpureandcomplementarycolours,andemphasisonlightremainedincommon.Australianartists(unlesstheytravelledoverseas)inthefirsthalfofthetwentiethcentury(includingNoraHeysen)hadlittleornocontactwithoriginalImpressionist(orModernist)works.HeysenwasinspiredbyamajorexhibitionofMonet’sworkseeninLondonin1936.Thishadagreatinfluenceonherstyleparticularlyintheuseofbrightercolourandthetreatmentoflight.

Post-ImpressionismThistermwasderivedfromthetitleofanexhibitionheldinLondonin1910.Theparticipatingartists,includingCézanne,HenriMatisse,PabloPicasso,GeorgesSeuratandVanGogh,representedaphaseofartisticexperimentwhichreplacedImpressionism(thusthetitle).WhilePost-Impressionismwasaverybroadtermtodescribeadiversityofstylesandapproaches,thereweresimilaritiesintheworkofartistsassociatedinsomewaywiththePost-Impressioniststyle.Theimagerytendedtoaflatteningofpictorialspaceandsimplificationofform.Colourwasarbitraryanddeterminedbyimaginativeorexpressiveimperativesratherthantruthtooriginalsources.TheappealofthisapproachforanumberofyoungerBritishartists(andforNoraHeysen)wasthatitretainedastronglinkwiththeworldofappearances–unlikeformsofCubism,Surrealismandabstraction.

NoraHeysen’sexposuretoawiderangeofImpressionistandPost-Impressionistartwasextensive.TheartistrecalledbeingparticularlydrawntotheworkofAugusteRenoir,Monet,PierreBonnard,AlfredSisley,Cézanne,andVanGogh.ThisexperienceinspiredHeysentoexpressasenseof‘lightandair’inherwork.

ThePissarroconnectionIn1935HeysenwasinvitedtomeettheartistOrovidaPissarro,thedaughterofLucienPissarrowhoseworkbothNoraandHansHeysenadmired.OrovidaconfrontedNorawithobservationsthatherpainingwas“muddyandfiftyyearsbehindthetime”and“toolowintone”andsuggestedanewrangeofcolourstouseincludingcadmiums,ultramarine,cobaltandcrimson.InresponseNoradeliberatelybrightenedherpaletteandnotedwithsatisfactionthatitcreatedmore“vibrationandbrilliancethanbefore”.Thisintroductionofmorehigh-keynotesintoherworkmarksasignificantshiftinLondon-periodwork.Theconsequencescanbeseeninworksubsequentlymadeovertheremainderofherlife,expressedinconfidenthandlingofrichandbrightlycolouredcompositions.


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Meet the artist: In context Theturnofthecentury–atimeofchangeThelatenineteenthcenturymarkedtheendofthepioneeringerainAustralia.SomeAustralianImpressionists,TomRoberts,ArthurStreetonandFredMcCubbininparticular,commemoratedthiserainanumberofpaintingswhichbecamenationalicons(includingArthurStreeton,Fire’s on,1891,TomRoberts,Shearing the rams,1890andA break away!,1891,FredMcCubbin,The Pioneer,1904).Intheearlytwentiethcentury,pastorallandscapeswerevaluedasexpressionsofnationalidentity.HansHeysenwascelebratedastheinheritorandforemostexponentofthistradition.

ExpatriateandEuropeantravelexperience:latenineteenthcenturyBytheearlytwentiethcenturythestrategyofleavingAustraliatostudyandtravelinEnglandandEuropebecameapriorityforsomeAustralianartists.ThemovementofartistsandartstudentstoEurope(mainlytoLondonandParis)beganinthe1880sandcontinuedintothe1930s.Thefirstwave(1880 –1900)includedTomRobertsandJohnRussellwholeftin1881,BertramMackennal1883,RupertBunny1884,CharlesConder1890,ArthurStreeton1898,HughRamsay,MaxMeldrumandGeorgeLambert1899.

ModernismAfterWorldWarI(1914 –18),theyoungnationofAustraliaunderwentgreateconomicandsocialchange.Thischangewasreflectedinartoftheperiod.Anewgenerationofartistslookedforsubjectsandstyleswhichbetterexpressed(thanpastorallandscapepainting)theideaofAustralianasamodern,urbanisednation.ThisgenerationwasattractedtostylesandideasassociatedwithEuropeanModernism.Modernismisageneraltermwhichappliedtoawiderangeofartstylesandphilosophiesassociatedwithearlytwentiethcenturyart.Artstylesassociatedwithitinclude;Cubism,Surrealism,Abstraction,Constructivism,FuturismandVorticism.WhileelementsofPost-ImpressioniststylefilteredbacktoAustraliathroughthetravelandstudyexperiencesofafewartists,familiaritywithawiderrangeofmodernstyleswasrestrictedtoreproductionsinartpublications.Encounteringmodernartmeantoverseastravel.WorldtravelbecamemoreaccessibleduringthelatenineteenthtoearlytwentiethcenturyandanumberofyoungerAustralianartists,particularlywomenartists,seizedtheopportunitytobroadentheirhorizons.

AustralianwomenartistsandModernismFromthe1920sopportunitiesopenedforwomentotakemoreindependentandlessconventionalrolesinsociety.WorldWar1hadamajorimpactonlifeinAustralia.Familieslostmenfolkandmanysoldierswereseverelywounded.Asaresult,intheperiodfollowingthewarmanywomentookmoreresponsibilitywithinthehome.AperiodofeconomicprosperitybeforetheGreatDepression(1929 –1931)gavepeopleandsomewomeninparticular,agreaterdegreeofsocialfreedom.ForsomewomenthistranslatedasopportunitiestofollowanartisticcareerinAustraliaoroverseas.

ThefirstwaveofoverseastraveloccurredintheyearsleadingtotheFirstWorldWar.Thisgroupincluded;BessieDavidson,HildaRixNicholas,StellaBowen,MargaretPreston,TheaProctor,GladysReynell,JessieTraill,KathleenO’Connor,AgnesGoodsirandGraceCossingtonSmith.

TheimagesproducedbyAustralia’swomenartistsfromthe1920stothelater1930sexpressedacreativeandpositiveresponsetothechallengesofbecomingatwentiethcentury,modernnation.Theseartistsexplorednewideasaboutwhatartcouldbeandportray.TheybroughtnewmovementssuchasCubismbackfromEurope.TheyexploredandextendedpaintingandprintmakinginwaysthatchallengedotherartistsandAustralianaudiences.

Thewomenwhodominatedthetwodecadesfromthe1920stothe1940schallengedtheconservativemoodofartandsocietyduringthisperiod.IncludedinthisgenerationofwomenartistsventuringoutsideofAustraliawere;JeanAppleton,DorritBlack,GraceCrowley,AnneDangar,LisetteKolhagen,KathleenSauerbier,EthelSpowersandEvelineSyme.Afeatureoftheworkofthisgroupofartistswasthewillingnesstoseekoutanduseurbanandindustrialsubjects(suchascities,trainsandbridges)andtreatingtheminastylisticmannerwhichemphasised,technologicalchange,speedandmodernity.

NoraHeysen’smodernityNoraHeysen,untilshetravelledoverseas,wasisolatedfromtherevolutionarychangestakingplaceintheartworldinthefirstpartofthetwentiethcentury.HerarttrainingwasconservativeaswastheartsceneinAdelaideatthistime.HerfatherHanshadmadeaconsciousdecisiontoturnhisbackonmuchoftheModernistexperimentationheobservedwhileoverseasthirtyyearsearlier.Norawascautiousbutcuriousaboutaspectsofmodernart.HereventualadoptionofabroadlyPost-Impressionistapproachwhichusedcolourandameasureofexpressivepainterlystyle–ameasureofhowfarshefeltshecouldembracethespiritofModernismwithoutabandoningprinciplesofsounddraughtsmanshipandcompositionalstructure.


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Explore: Still life

Still life with cheese and bread,1931oiloncanvas,50.0x60.0cm;CourtesyofKensingtonGalleries,Adelaide;PhotographbyMickBradley

ConsiderThisearlyexampleshowstheartistapplyingheremergingskillsintonalrealism.Thismeansthatshadesofcolours(lightertodarker)basicallydefinesolidforms.Thisisclearlyevidentintheloafofbreadandtheeggs.

Thesinglesourceoflight(fromviewer’srighttoleft)hasmadeiteasyfortheartisttoorganisethehighlightsandshadows.WithinthisworkingarrangementHeysenhasalsohadtodealwithreflectedlight.Lookatthelowersurfacesofthetwoeggslowerrighttoseehowthelightfromthetableclothis‘bouncingup’ontotheeggs.

Achallengeforrealistartistsistocreateconvincingsimulationsofsurfacesandtexturesacrossawiderangeofobjects.ConsiderhowsuccessfulNorahasbeeninrenderingthesurfacequalitiesofthebread,eggsandbottle.Lookalsoatthewaytheartisthasworkedto‘capture’thetranslucencyofliquidintheglassandthecrinkledqualityofthepaperwrappedaroundtheblockofcheese.

Consideralsohowinthisverytonalimagehowtheredunitsonthebottle(corkandseal)areusedto‘lift’themoodofthisimageandactaspointsoffocus.

Thecompositionisbasedonatraditionalformulaofthetriangle.Thetopofthebottleactsastheapexandthefrontedgeofthetablecloththebase.Noticehowtheknifeisangledtoleadtheeyeinwardsanduptowardsthebottle.

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Apples on a chair,1995oiloncanvas,40.5x51.0cm;CollectionoftheNoraHeysenFoundation,TheCedars,Hahndorf;PhotographbyMickBradley

Thispicturecanbelookedatintwodifferentways.Halfcloseyoureyesandtheapplesmightsuddenlybegintolooksolid.Openthemandtheymightbegintofloatordissolve.ThiseffectiscommonlyfoundinmanyofNoraHeysen’slaterworks.Itisanindicationofhowdeterminedshewastofuseelementsoflightandlifewithinherwork.

Thetreatmentoflightismuchdifferenttoearlytonalrealistwork(asseeninStill life with cheese and bread)whereasinglesourceoflightcreatedapredictablerangeofhighlightsandshadows.InApplesthelightseemstobeeverywherealmosttothepointofshiningfromwithinsolidforms.Thisislargelyduetothedominanceofyellowwithinthetotalcompositionandtheloose,openbrushworkwhichhasleftsectionsofthewhiteunderpaintingvisible.

Thecompositionislessformalthaninearlywork.Thebackrungsofthechairpositionedontherightcreateanasymmetrywhichhasbeencounterbalancedbythetworedapplesclosesttotheviewer.Theclosefocusonthesubject(whichhasresultedinthetightcroppingofthechair)andtheslightdegreeoftiltingtowardstheviewerarelegaciesoftheartist’sgraspofModernistprinciplesofcompositionandviewerengagement.


Explore: Flowers

Summer flowers,1933oiloncanvas,76.1x61.2cm;CollectionoftheCarrickHillTrust,Adelaide;TheHaywardBequest;PhotographbyMickBradley

ConsiderThispaintingisanexcellentexampleofthehighlevelofskillNoraHeysenhadachieved,bytheearly1930s,inrenderingcomplexarrangementsofflowers.Theflowersdepictedhadbeenfreshlycutandtheartistneededtoworkquicklytocaptureasenseoffreshnessandbeautybeforethebloomsfadedandwilted.

Comparethisworktoanearlierflower-subjectpaintingintheexhibitionsuchasScabiouspaintedin1930.Thereareanumberofdifferencesinapproach.InStill lifethereisfarlessrelianceontransitionsfromlighttodarkwithinindividualbloomstocreateillusionsofform.

Thecoloursarebrighterandtheplacementofcolours(theredsandbluesforexample)isstrategicintermsofinvitingtheeyetotrackacrosstheimagetoexplorelikeandunlikecolourrelationships.

Thecompositionmakesastrongvisualstatement.Noticehowthebloomsarepushedouttotheedgesoftheimage.Thishastheeffectofbreakingupthebackgroundor‘negative’spacebehindthesubjectintoareasofinterest.

Thebrushwork(seenbestintheoriginal)isdecisiveandbold.


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Freesias,1985oiloncanvas,50.0x61.0cm;Privatecollection;PhotographbyGregWeight

ConsiderThisstilllifeischaracteristicoflaterworkbytheartistinwhichpainterlyexpressiondominates.Theartisthasworkeddirectlyandwithspeedindefiningtheprincipalfeaturesandobjectswithinthecomposition.Thisisa‘drawingstyle’ofpainting.Mostitemssuchasthevaseofflowers,theapplesinthebasketandtheplatehavebeendepictedbymultiplesweepsanddashesofarelativelythinbrush.Thebroaderareas,particularlythetabletop,windowandwallhavealsobeen‘builtup’withsweepingbrushmarks.

Thecolourrelationshipsofyellowandpinkdominatethecomposition.Thebunchofflowersreliesonpassagesofwhiteandtheradiatingextensionsofgreentoestablishitspresenceinthemiddleofsuchahighenergycomposition.

Tomaintainfreshnesstheartisthasleftsomeareasofunderpaintingexposed.Ontheleftoftheflowersitispossibletoseewheretheartisthasscrapedbackthroughthepigmenttothecanvas.

AswithmostofNoraHeysen’swork,nomatterhowenergisedorexpressiveinstyle,itispossibletoseehowcontrolwasmaintainedbyweighingtonalvalues.Toappreciatethispeerattheimagethroughhalf-closedeyesandtrytoseetheimageintermsoflightanddark(andshadesbetween).Youmaynoticehowthedarkpassagesinthebunchofflowers,theforegroundbasketofapplesandtoalesserextent,therectangularunitfarrighttendto‘anchor’theimageandpreventitfromdissolvingintoamassofshapes,linesandcolours.


Explore: Self portraits

Self-portrait,1932oiloncanvas,76.2x61.2cm;CollectionoftheArtGalleryofNewSouthWales,Sydney;GiftofHowardHinton1932;PhotographbyJenniCarter

ConsiderNoraHeysenpaintedanumberofselfportraits,oftenatcriticalpointsinherprofessionalandprivatelife.Assuchtheyarerevealingexpressionsofselfscrutiny.

This1932selfportraitwaspaintedwhentheartistwasbarelyinhertwenties.Itwaspaintedinherfather’sstudio,beforeshehasherownstudiospace.Theworkbenchinthebackground,withitscollectionofpaintingmaterialsandboards,emphasizestheideaofanartistatwork.TheposethatNorastrikesisoneusedconventionallybytraditionalartiststoprojectanddefinetheirprofessionalidentity.ThepaletteisonegiventotheartistbytheacclaimedsingerDameNellieMelba.

Thereisaframedpicturebehindherhead.ItisareproductionofapaintingbytheDutchseventeenthcenturyartistJanVermeer,anartistbothNoraandHansHeysenadmired.Thecontrolledtonalrealismofthisworkandlow-keyrangeofcolours,particularlythedarkbrownoftheartist’sclothingandthewhiteofthecollar,echothestyle,tonalvaluesandeventheperiodcostumingtobefoundwithinVermeer’spainting.

Technically,HeysenbuiltherpaintingonherstrongdrawingskillsThisisparticularlyevidentinthefacewherethedramaticmodellingofvolumesbearsastrongsimilaritytoportraitdrawingsmadebytheartistaroundthistime.

Thecompositionreliesheavilyontheextremecontrastofthedarksilhouetteofthetorsoandtherectangularframedpicturesonthewallandthelightareasofthewallandstackedpaintingboards.

Thepurple-blueofthefabriconthebackofthechairandtheredpigmentonthepalettehavebeengiventhetaskofenliveningorliftingthemoodoftheimage.


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Down and out in London,1937oiloncanvas,55.0x40.0cm;CollectionoftheArtGalleryofSouthAustralia,Adelaide;SouthAustralianGovernmentGrant1994

Thisisarevealingself-portrait,madeinLondon,atacrisispointinNoraHeysen’slife.ItwasthelastpaintingtheartistmadebeforereturningtoAustralia.Londonwasahard,coldandlonelyplace.Recentnegativecriticalopinionofherworkhadcrushedherspirits.Havingcreatedthiswork,theartistabandonedit.Perhapsthemooditconveyswastoodifficulttoconfront.

Thesubjectistheartistinhersmallstudio-flat.It’sacrampedspace.Theartistisinfactsittingpartlyonherpalettewithalineofwashingrunningjustbehindherheadandacookingstoveimmediatelytooneside.

Comparetheposeofthefiguretothatinthe1932self-portrait(illustratedthisResource).IntheearlierworkNorahastheuprightmannerandself-assuredlookofsomeonepurposefulandincontrol.Inthe1937selfportraitthebodyisslumped,thefaceexpressionlessexceptfortheeyeswhichlookawayfromtheviewer.Theoverallimpressionisthatofweariness.Perhapsthewashinghasasymbolicroletoplaybysuggestingthattheartistherselfhasemotionallybeen‘hungouttodry’.Thinkaboutthe‘downandout’referenceinthetitle.

Thelow-keymoodconveyedbythefigureisincontrasttotheup-beatstyleofpainting.ThisworkisanexcellentexampleoftherangeofModernistinfluencesNoraHeysenabsorbedwhileinLondon.ThedirectinfluencemaywellbethePost-Impressioniststylesofrepresentationpromotedthroughtheartist’scontactwithLucienandOrovidaPissarro.BythistimeNorahadlookedwithinitialcuriositythenenthusiasmatawiderangeofmodern-eraartistsincludingRenoir,Monet,Sisley,Cezanne,BonnardandVanGogh.

EvidenceofModernistinfluencescanbeseenintheuseof‘brokenbrushwork’(individual,squareheadedbrushmarkslaidsidebysidetobuildareas),complementarycolourtocreateshadows(asseeninthecoolcolourhighlightsonthefaceandthebrighter,pastel-huedcolourrange.


Explore: Australians at war

Sister Minnie Goldstein working in the blood bank, Alexishafen,1944oiloncanvas,40.0x45.6cm;CollectionoftheAustralianWarMemorial,Canberra;AcquiredundertheOfficialWarArtScheme1945

ConsiderAsanofficialwarartistNoraHeysencreatedover170worksofart.152oftheseworkswereultimatelyacquiredbytheAustralianWarMemorialundertheOfficialWarArtScheme.Thisbodyofworkpresentsarangeofsubjects.Itincludedformalportraitsoffemaleofficebearersaswellaslessformalviewsofwomenengagedinawiderangeofwork.CollectivelytheyconstituteauniquerecordofAustralianwomen’scontributiontothewareffort.

Thisportraitofanurseworkinginamake-shiftbloodbankinPapuaNewGuineaistypicalofanumberofworksiteinteriorsmadeinvarioustheatresofwar.IncreatingsuchanimageHeysenneededtocalluponherdrawingandrenderingskills,particularlyindealingwithinteriorlighting.Theartist’sexperienceinpaintinginteriorsisparticularlyevidentintheboldmassingoflightsanddarkstoachievedramaticeffectandaddinteresttowhatanotherobservermightseeasacommonplacescene.

Thepaintingstyleofthisworkisdirect.Considerhow,forexample,theartisthascreatedtheimpressionofnumerousbottlesontheworkbenchusingdecisivebrushmarksandhighlights.


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Pathologist titrating sera (Captain Robert Black),1944oilonhardboard,45.9x39.6cm;CollectionoftheAustralianWarMemorial,Canberra;AcquiredundertheOfficialWarArtScheme1945

ConsiderThepersoninthispaintingisthepathologistCaptainRobertBlack,aspecialistintropicaldiseases.Heysenmethimduringthewar.Theycorresponded,maintainedcontactandlatermarriedin1953.

JaneHyltonhasobservedofsuchimagesthattheywerealmostlike“incidentalimagessuchasonemightcatchwhilewalkingdownthewardscorridorabusyhospital.Theseinteriorsreflecttheconcentratedintensitythatsurroundedtheentirewareffort–wedarenotdisturbSisterMinnieGoldsteinassheworksinthebloodbankinAlexishafeninPapuaNewGuinea,norinterruptRobertBlackashefocusesontitratingsera”.

Inthispicturetheartisthasmaintainedamiddle-distancefocustoensurethattheviewergetsarealsenseofthelaboratoryenvironmentinwhichthedoctorisworking.Herportraitandfigureskillsareevidentnotonlyintheconcentrationexpressedonthefacebutthedelicacyofhandgesturesinholdingadelicateitemoflaboratoryequipment.


Explore: Figures

Ruth,1933oiloncanvas,81.5x64.2cm;CollectionoftheArtGalleryofSouthAustralia,Adelaide;SouthAustralianGovernmentGrant1934

ConsiderEarlyinhercareerNoramadeaconsciousdecisiontoexcelinportraiture.Onereasonforthiswasthefactthatherfather,Hans,had,assheonceput,‘takenoutcopyrightonthegumtree’andbyimplicationtree-studdedlandscapes.InportraitureNorafeltshecouldworkinherownspacewithoutinevitablecomparisonswithherfather.

Theartistmadeanumberofsketchesandpaintingsofthepersonrepresentedinthepainting.ShewasalocalHahndorfwomannamedRonda.Nora’smotherSalliehadarrangedforRondatomodelforNora.Theartistfoundinspirationinthesubject’sstrongfeaturesandhealthyappearance.HeysengavethefigureinherfinishedportraittheBiblicalnameof‘Ruth’.

Threepaintedversionsof‘Ruth’giveagoodideaofNora’sinterestatthetimeinfifteenthcenturyFlorentineRenaissancepainting.Thereare,forexample,strongvisualsimilaritiesbetweenthisworkandLeonardodaVinci’sMona Lisa.

Thesparse,hillycharacterofthebackgroundlandscapeisintendedtomatchthetough,robustappearanceofthewoman.

Technicallytheworkispaintedintwosections.Thefigureisdefinedincarefultonalrealismwithsmoothtransitionsbetweenhighlightsandshadows.Thebackgroundlandscapeontheotherhandhasbeenbuiltupbyfree-spiritedglazingovercoolgreyunderpainting.


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A boy with his cat,1972oiloncanvasboard,56.0x45.8cm;Privatecollection;PhotographbyMickBradley

ConsiderTheartofNoraHeysen’ssenioryearsreflectedinitsflowerstudies,gardensubjects,interiorsandfigurestudieshowspecialtheintimatemomentsandsubjectsassociatedwithherdomesticworldandstudiopracticeatHuntersHillwerefortheartist.Thisportraitofalocalboynursingacatcapturesasimplemomentintime.

Afeatureofthisworkistheopen,confidentbrushworkwhichmatchesthesubjectinitsinformality.Theimagehasbeenbuiltupfromalightochrebackgroundwash,somebrush-drawnlinestodefinethechairandthefigure,thensomewet-in-wetbuildupofareas(particularlythehandsandthecat)topulltheprimaryfeaturestogether.


Keys for looking “To look. To see. To really see. That is the ultimate result. If you do it well enough and contribute something of the imagination and real knowledge to anything you do it must have an effect on the viewer. It opens your eyes. You just don’t look. You see. You feel.”

NoraHeysen,speakinginfilmproduction,Of art and men: Nora Heysen,Schlusser,Eugene, SevenSProductions,Sydney,2007

AsanartistworkinginthestudiotraditionNoraHeysenthoughtandactedvisually.Hertrainingtaughthertothinkofapictureasessentiallyacomposition.Thismeantthatnomatterwhatthesubjectmightbe(aface,figureorvaseofflowersforexample)ithadtoworkasavisualstatement.SopaintingforNoraHeysenwasalwaysmorethancopyingorcreatingalikeness.Ithadtocapturethevisualcharacterofthesubjectandithadtocapturetheviewer’simagination.ByfavouringacertainvisualstyleNoraHeysenprovidescluestoherintentionsasanartist.Recognisingthesecluescreatesanopportunitytosharetheartist’sfeelingsaboutthebeautyanduniquenessof,inherwords,“lifeandlife”.

TomakethishappenHeysenthoughtandactedasifshewasplayingagame.Inthisgametherewereanumberofkeyplayerssuchaslight,colourandcomposition.

TimetolookatoneofNora’spaintingstoseehowit’sbeenputtogetherandhowitworks.

London breakfast,1935oiloncanvas,47.0x53.5cm;CollectionoftheNationalGalleryofAustralia,Canberra,purchased1996

Generaldescription:Whatdoesthispicturelooklike?Whatisitabout?Whatdoesitshow?Thispaintingshowsawomansitingatatableinaroom.Sheisreading(abook?)whilehavingacupoftea(orcoffee?).

Isthereanymoreinformation?Thewomaniswearingadressinggownandhasslippersonherfeet.Alongsidethecupandsauceronthetableisacutloafofbreadonabreadboard,onatray,ateapot,abottleofmilk,acutpumpkinonasaucerandavasewithflowersinit.

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Thisisaninteriorsettingorsubject.Butwhatkindofinteriorspaceisthis?Thepaintingshowspartofaroom.Ithaslightcolouredwallsandexposedfloorboards.Thereisakindofmantelpieceimmediatelybehindthewoman.Belowthetopedgeofthismantelpieceisabookshelfrecesswithafewbooks.Ontopofthemantelpieceisabowlsetonanornatestand.Abovethisaframedpicturecanbepartlyseen.

Theotherprincipalitemsintheroomarethechairthewomanissittingon,thetableandapatternedrugsetbeneathboththeseitems.

Thistypeofdescriptionislikeanauditorchecklistofwhat’sinthepicture.Itprovidesaplatformonwhichadditionalinformationcanbeaddedasfollows:

Light:Whereisthelightcomingfrom?Isitnaturalorartificial?Howhastheartistdealtwithreflectedlight?

Colour:Whatkindofcolourshastheartistused?Dosomekindsofcoloursdominate?Doesitlookasiftheartisthasgivensomethoughttowheredifferentareasofcolourareplaced?Toanswerthisquestionfocusonallthe‘blues’inthepicture.Noticehowtheyarevariedshadesofblueandthattheyare‘scattered’withinthecomposition.Doyouthinktheartistintendedtodothis?Ifso,why?

Patterns:Patternsareoftenusedbyartiststobuildvisualenergy.Itemsinapicturemayhavedecorativepatternsaspartoftheirsurfaces(suchastherugonthefloorinthispicture).Ortheartistwillsometimesrepeatmarks,lines,shapes,coloursorbrushmarkstocreatepatterning.Seeifyoucanfindexamplesofbothinthispicture.

Composition:Howiseverythingarrangedorplacedwithinthepicture?Doesitlookasiftheartisthasgivensomethoughtaboutwheredifferentthingsareplaced?Doyouthinkforexamplethattheartistmeanttolineupthebowlonthemantelpiecewiththepaintingaboveandthetablelegsbelow?

Linesandshapes:ArtistslikeNoraHeysenunderstoodthepoweroflinesandshapestocreateinterestandtocontrolthewayapictureisviewed.Thetableandchairlegsforexamplehaveimportantworktodoinsubdividingthelowerpartofthepictureintointerestingsmallersections.Tofindtheimportantshapestrypeeringatthepicturethroughyoureyelashes.Whenyoudosoyoumightnoticethatmuchofthelowerpartofthepicture‘comestogether’tomakealargeshapeagainsttheupperpartwhichismainlythelightcolouredwall.Butwhenyoudothisyoumightalsonoticethatmanyoftheitemsonthetablesuchasthebottleofmilkandtheloafofbread‘cometogether’tomakesomeinterestinglight-tonedshapesinthemiddleofthepicture.

Spaceandspatialdepth:Theartisthasusedshadingtocreatetheillusionthatsuchthingsastheloafofbread,thecupandthepumpkinaresolidorthreedimensional.Canyoufindotherexamplesofshadingusedtocreateillusionsofreality?Theartisthasalsousedavisualsystemcalledperspectivetoincreasethespatialdepthofthepicture.Findoutwhatthistermmeansandseeifyoucanfindexamplesofthissystematworkinthispicture.

Mood:NoraHeysencreatedinterpretationsnotcopiesofreality.Inexpressingherfeelingsabouthersubjectssheintentionallyorotherwisecreatedmoodswhichspeakdirectlytotheviewer.Thewaytheartistchoosestointerprethersubjectsusuallydecidestheoverallmoodofthework.Itremainsapersonalthing.Youmaygetasenseofaparticularmoodtheartistneverintended.

Style:Artworksareoftenclassifiedaccordingtostyle.TosaythatNoraHeysen’sartisinarealistorPost-ImpressionistorModerniststyleisonlyusefultoadegree.Itdoesn’tsaywhatmakesherartspecialordistinctive.Howeverwhenanalysingordiscussingindividualworksitisveryusefultothinkaboutthestyleasbeingthesumofallthevariousfeaturesandvisualelementsworkingtogether.Thuswecantalkaboutearlypaintingsanddrawingsasbeinginatonalrealiststyle.Lateworks,ontheotherhand,maybedescribedasexpressive.WithNoraHeysenitisperhapsbesttotalkintermsofherworkhavingitsownordistinctivestyle.

Medium:Thewaythepaintisappliedinapainting(usuallybutnotexclusivelywithabrush)revealsmuchabouttheartist’sintentions.Alivelyor‘worked’paintingsurfaceorareascomposedofmultipleandvisiblebrush(orothermedium)markswillusuallybuildthevisualenergyofthepicture.Itmayalsohelptobuildordefinethemoodofawork.ReproductionswillnotalwaysconveythisinformationsowhenyouseetheoriginalLondon breakfastcheckitout.

Technique:Thisabroadtermthatcoversthedifferentmethodstheartistuseswhenworkingwithanartmediumsuchasoilpaintorpastel.Itmayincludethesupport,(stretchedcanvasorboard),ground(baseonwhichthepigmentisplaced),preliminarydrawingontheground,underpainting,washingorstaining,indirectpaintingmethodssuchasworkingfromthintothicklayersofpigmentorapplyingglazesoverpre-preparedsurfaces,directpaintingmethodssuchaswet-in-wetmanipulationofpigmentorworkingbacksuchaswiping,scrapingorinscribing.


For teachers/students:: Learning connections Thefollowingactivitiescanbeadapted /adoptedforvisit /post-visituse:

VisualArts

Studio/Artspractice• Havingviewedtheexhibitioncheckitoutonemoretimetoseeifthere’sanideaortechnique

(inawork)thatyoucouldtrywhenyougetbacktoschooloryourstudio.

• NoraHeysenalwaysconsideredthewayherpicturesworkedascompositions.Tryproducingsomeimageswhichdeliberatelyuseormanipulatecompositionalelements.

• Heysenoftenusedcolourrelationshipsasameansoforganisingandaddinginteresttoherimages.Tryproducingsomeimageswhichdeliberatelyexplorerelationshipsbetweencolours.

• Trycompletingastilllifepaintingoffreshlycutorgatheredflowers(oraplant)whichcapturesthefreshnessofthesubjectbeforethebloomsfadeandwilt.

• TryproducingaworkwhichmakesdeliberateuseofPost-Impressionistideasandtechniques

• InlaterlifeNoraHeysenfoundinspirationandsubjectsinlifearoundheratHuntersHill.Seeifyoucanmakeaworkofartbasedonsubjectsdrawnfromyourownpersonalsurroundings.

• Inherworkasawarartist,NoraHeysenessentiallyfocusedonindividualsmakingtheircontribution.Considerusingthisasastartingpointforsomeofyourownworkusinglocaleventsorissuesasastartingpoint.

Personalresponse/analysisofworks• Selectoneworkthatappealsinsomewayandtellsomeoneelseyourreasonsforyourselection.

• Writeareviewoftheexhibitionwhichexploresthelinksorrelationshipsbetweentheworks.Youmightfindthe‘Explore’themesinthisResourceausefulstartingpointforthis.

• Theartisthassaidthatherartwasessentiallyabout‘lightandlife’.Howsuccessfuldoyouthinkshewasinachievingthis?

• Writeorpresentaformalanalysisofaselectedworkusingaspectslistedin‘Keysforlooking’inthisResourceasareference.

• CompareasmallselectionofHeysen’sworktodemonstratehowtheartist’sideasandstylechangedovertime.

Arthistory/Artincontext• StilllifeisasignificantgenreortraditionwithinartoftheEuropeantradition.Asastudentofthistradition

NoraHeysenadoptedmanyofitsconventionsandtechniques.Seeifyoucanidentifysomeofthem.

• HeysenwasanAustralianwarartist.Havetherebeenothers?HavetherebeenotherAustralianwomenwarartists?TheAustralianWarMemorialsitewww.awm.gov.auwillbeausefulstartingpoint.

• ThisResourceincludesthenamesofanumberofwomenartistswhomadeasignificantcontributiontoAustralia’sacceptanceofmodernartinthefirsthalfofthetwentiethcentury(see‘Meettheartist:Incontext’inthisResource).Considerresearchingoneoftheseartiststofindoutmoreaboutthekindofarttheyproduced.

• TheartisthadashockwhentoldbyOrovidaPissarrothatherworkwasfiftyyearsoutofdate.WhydoyouthinkOrovidasaidthis?

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Society• Australiansocietyofthefirsthalfofthetwentiethcenturyfoundmostformsofmodernarttobe

incomprehensible,confrontingandeven‘dangerous’.Whywasthisso?

• NoraHeysen,asadaughterandfemaleartist,wasconsciousofalways‘workinginherfather’sshadow’.Doyouthinkthesekindsofthingsremainanissueorchallengeforyoungwomenaspiringtodeveloptheirowncareerstoday?

Literacy/EnglishAnalysingworksorreportinganddebatingfindingsrelatedtoviewingworkswillrequirestudentstomakeeffectiveuseoflanguageandwritingskills.Analysingandrespondingwillalsoallowstudentstolearnmoreaboutartasapowerfulformofcommunication.

Listeningandspeaking• SelectoneofthesuggestedthemesinthisResource(e.g.Stilllife,Australiansatwar)andgiveashort

presentationwhichanalysessomeworkswithinthisthematiccontext.

• Canartreallycaptureorexpress‘artandlife’?Orisitjustinthemindoftheartistortheviewer?Organiseadebateabouttheideaofbeauty.Setthisdebatewithinthecontextofaquestion(e.g.shouldwereallybelievewhatartistssay?).

• SomepeoplecommissionedHeysentopaintflowerstilllifesonthebasisthattheywantedtoownsomethingbeautifultolookat.Whydosomepeoplebelieveflowerstobebeautiful?Wheredoesthisideacomefrom?Whyshouldflowersgetsingledoutforspecialtreatment?Isallnatureequallybeautiful?Considerorganisingadebatearoundthesequestions.

Writing• Writeawalllabeltextforoneormoreworksintheexhibitionusingyourpersonalresponse

asastartingpoint.

• Writeashortpiecewhichimaginesthethoughtsandfeelingsoccurringwithintheartist’smindassheworkedonapainting.


For teachers/students: Get started (in the exhibition) Thefollowingtasksaredesignedtosupport/initiatestructuredviewingandengagementforstudentsintheexhibition.Theycanbeundertakeninanyorderandaresuitableforindividualandsmallgroupwork.Implicitinsometasksistheideathatstudentsorgroupswillreportfindingsanddiscussworkswithothers.Scribingisnotnecessarytoundertaketheseactivitiesbutsomeofthesetaskscouldinvolvescribingtosupporton-goingpost-visitwork.

Firstandlastimpressions• Whatdidyouthinkaboutwhenyoufirstcameintotheexhibitionandlookedaround?

• Wasthereanyworkinparticularyouwantedtolookatorreturntoandlookatagain?Whydoyouthinkthishappened?

• Isthereaworkinthisexhibitionthatyouthinkyouwillneverforgetorfindhardtoforget?

• Beforeleavingcheckouttheexhibitiononemoretimetoseeifthere’sanideaortechniqueinaworkthatyoucouldtrywhenyougetbacktoschool

Thinkabout• Whenyoufindyourselfwantingtolookatsomeworksinparticulardothinkitisbecausetheimage

orsubjectisinterestingorisitbecauseoftheartist’stechniqueorwayofinterpretingthesubject

• Ifdisasterstrikesyoucouldsaveoneworkfromthisexhibition,whichonewouldyousaveandwhy?

Easy?• Whichworkwastheeasiestandwhichworkwasthehardesttomake–andwhy?

Analysisandresponse(individualwork/s)Chooseanyworkthatattractsyourattentionandapplyanyorallofthefollowingquestions

• Arethevisualqualitiesofthisworkappealinginanyway?

• Canyouseeanykindofconnectionbetweenthiskindofartandothersyouknowabout?

• Whatdoyouthinkthisworkisaboutormightbesaying?

• Writeacaption(extendedwalllabel)foraselectedworkbasedonyourownpersonalresponse,feelingsorinterpretation.

• Hasthisgivenyouanideaforsomethingyoucouldmakeaspartofyourartstudies?

• Selectoneworkthatappealsinsomewayandtellsomeoneelseyourreasonsforyourselection.

Analysisandresponse(theexhibition)• Writeareviewoftheexhibitionwhichexploresthelinksorrelationshipsbetweentheworks.

• Chooseoneofthethemessuggestedinthe‘Explore’sectionofthisEducationResourceandreviewtheexhibitionfromthisperspective.

• Arethereotherthemes(notidentifiedinthisResource)whichcouldapplytothisselectionofwork.

• Writeapressreleaseforthisexhibition.

• Comparetwoormoreworkswhichappeartobeexploringsimilarideasindifferentways.


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Research and further resources ResearchforthisEducationResourceisdrawnprimarilyfromthefollowingpublicationproducedinassociationwiththeNora Heysen: Light and lifeexhibitionatCarrickHill,Adelaide2008 – 09.

Hylton,Jane,Nora Heysen: Art and life,WakefieldPress,Adelaide,2009

OtherrecommendedtextsEagle,Mary,Modern Australian painting between the wars,BayBooks,Sydney,1989

Gray,Anna,Send me more paint!,AustralianWarMemorial,Canberra,1989

Hylton,Jane,South Australian women artists: Paintings from the 1890s to 1940,ArtGalleryBoardofSouthAustralia,Adelaide,1994

Hylton,Jane,Modern Australian women: paintings and prints, 1925 – 1945,ArtGalleryBoardofSouthAustralia,Adelaide,2000

Klepac,Lou,Nora Heysen,NationalLibraryofAustralia,Canberra,2000

Klepac,Lou,Nora Heysen,TheBeaglePress,Sydney,1989

Recommendedwebsiteswww.nla.gov.au NationalLibraryofAustralia,Canberra

Searchunder‘NoraHeysen’.ThissitecontainsanextensiveNoraHeysenprofile(andlinkededucationmaterials)andresourcesrelatedtootherAustralianwarartists.

www.awm.gov.au AustralianWarMemorial,Canberra

www.artgallery.sa.gov.au ArtGalleryofSouthAustralia,AdelaideSearchunder‘Education’foreducationresourceslinkedtotheexhibitionsHans HeysenandModern Australian women: paintings and prints, 1925 – 1945.

www.artgallery.nsw.gov.au ArtGalleryofNewSouthWales,SydneyLookforthe‘SelfPortrait’on-lineeducationresource.

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Documents

Nora Heysen - Carrick Hill · Nora Heysen is regarded as one of Australia’s premier portrait and still-life artists. Born in 1911, the fourth of Hans and Selma (Sallie) Heysen’s