Tuesday 26 Feb, 2013
Presenter: Carol Duncan
Interviewee: Ann Hardy
1233 Local Treasures- 26 Feb 2013
Broadcast Notes
Presenter: Carol Duncan
Interviewee: Ann Hardy
1233 Local Treasures- 26 Feb 2013
Broadcast Notes
I thought that it would be an opportune time to talk about colonial art of the Macquarie era in the same week the Macquarie Chest is coming home, after 195 years. The years that Macquarie was Governor of NSW produced some beautiful artworks of Newcastle, they were artwork authorised and supported by government officials, for the purpose of documenting public infrastructure and changes in the landscape. The period 1810 to 1821 produced a collection of colonial works that are acknowledged as fine art today, and no other decade during the 1800s saw such a rich collection of artworks produced to the same extent documenting the town.
The penal settlement at Newcastle had a distinct artistic culture that was different to Sydney. It was dominated by occupational artists, regardless whether they were convict, surveyor, botanist or engineer. There was plenty of work for government commissioned topographical illustrators and artists at Newcastle. Many government commissioned artworks from Newcastle have survived because they were kept by authorities as government documents. However, the work of occupational artists may be more reliable than that of others because of their training as surveyors, botanists or engineers, their job was to record the progress of the colony as part of the official record. Their works carefully record building projects and the topography; they had an eye for important details. In contrast, the picturesque or professional artists were more concerned with balance and harmony and concealed hardship in the colony.
Most of the artists in Newcastle during the Macquarie years were Government artists who produced art as part of their professions. They were employed by government authorities to carry out landscape research and mapping projects. Many of the colonial artists were associated with the military professions. What they produced as topographical illustrations have come to be viewed as fine art. Landscape research also involved botanists and botanical illustrators. Visual sources were the ‘tools of trade’ of many professions with works documenting the physicality of the place, the engineering works and public projects. People were rarely seen and instead the built environment was the focus.
Paintings and drawings by occupational artists have a high level of reliability in terms of historical interpretation. This is particularly the case for the etchings whereby both artists (drawer and etcher) were in Newcastle and knew the landscape well.
Visual sources provide an enduring record and we can thank several Commandants for supporting the production of artwork, in particular Commandants Skottowe (1811 to 1814) and Captain Wallis (1816 to 1818). Wallis and Governor Macquarie shared a common interest in art and both supported convict artists. Many convict artists had competencies in drawing for example produced art as part of their professions as forgers.
Artists collaborated with the Newcastle commandants. Such as An Historical Account of the Colony of NSW (engraving) by Commandant Wallis and convict artist Walter Preston, showing flora and fauna of NSW. Another collaborative partnership Richard Browne, a skilled convict artist and fellow convict artist Walter Preston produced the engraving Newcastle, in NSW, with a distant view of Port Stephens in 1812 (Figure 2).
Newcastle artworks of the Macquarie era convey a story of change and progress, which is valuable in terms of Australia’s colonial culture. Academic research has focused on works produced in Sydney, however there have been some wonderful exhibitions and books recognising artworks of Newcastle. These include John McPhee’s excellent work Joseph Lycett: Convict Artist and Elizabeth Ellis’ book Rare and Curious: the Secret History of Governor Macquarie's Collector's Chest.
These artworks compliment beautifully the Macquarie Chest because they were produced during a period of growth in the colony. The culture of art making was one of sharing and collaborating, and the rich culture of artworks from the Macquarie era can be accredited to government authorities who supported the practice of art.
The penal settlement at Newcastle had a distinct artistic culture that was different to Sydney. It was dominated by occupational artists, regardless whether they were convict, surveyor, botanist or engineer. There was plenty of work for government commissioned topographical illustrators and artists at Newcastle. Many government commissioned artworks from Newcastle have survived because they were kept by authorities as government documents. However, the work of occupational artists may be more reliable than that of others because of their training as surveyors, botanists or engineers, their job was to record the progress of the colony as part of the official record. Their works carefully record building projects and the topography; they had an eye for important details. In contrast, the picturesque or professional artists were more concerned with balance and harmony and concealed hardship in the colony.
Most of the artists in Newcastle during the Macquarie years were Government artists who produced art as part of their professions. They were employed by government authorities to carry out landscape research and mapping projects. Many of the colonial artists were associated with the military professions. What they produced as topographical illustrations have come to be viewed as fine art. Landscape research also involved botanists and botanical illustrators. Visual sources were the ‘tools of trade’ of many professions with works documenting the physicality of the place, the engineering works and public projects. People were rarely seen and instead the built environment was the focus.
Paintings and drawings by occupational artists have a high level of reliability in terms of historical interpretation. This is particularly the case for the etchings whereby both artists (drawer and etcher) were in Newcastle and knew the landscape well.
Visual sources provide an enduring record and we can thank several Commandants for supporting the production of artwork, in particular Commandants Skottowe (1811 to 1814) and Captain Wallis (1816 to 1818). Wallis and Governor Macquarie shared a common interest in art and both supported convict artists. Many convict artists had competencies in drawing for example produced art as part of their professions as forgers.
Artists collaborated with the Newcastle commandants. Such as An Historical Account of the Colony of NSW (engraving) by Commandant Wallis and convict artist Walter Preston, showing flora and fauna of NSW. Another collaborative partnership Richard Browne, a skilled convict artist and fellow convict artist Walter Preston produced the engraving Newcastle, in NSW, with a distant view of Port Stephens in 1812 (Figure 2).
Newcastle artworks of the Macquarie era convey a story of change and progress, which is valuable in terms of Australia’s colonial culture. Academic research has focused on works produced in Sydney, however there have been some wonderful exhibitions and books recognising artworks of Newcastle. These include John McPhee’s excellent work Joseph Lycett: Convict Artist and Elizabeth Ellis’ book Rare and Curious: the Secret History of Governor Macquarie's Collector's Chest.
These artworks compliment beautifully the Macquarie Chest because they were produced during a period of growth in the colony. The culture of art making was one of sharing and collaborating, and the rich culture of artworks from the Macquarie era can be accredited to government authorities who supported the practice of art.
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