Podcasts about australian impressionist

Tania Malkin's passion for photography began early, collecting travel postcards on family camping trips around Western Australia and receiving her first SLR camera at seven. Inspired by the Australian outback's colors and the Australian Impressionist art movement, Tania's interest in photography and art has been a significant part of her life journey. Initially studying fine art and art history, she used photographic images as references for her paintings. However, landscape photography, particularly aerial photography, took precedence in the late '90s. Living and working in remote locations has given Tania the opportunity to explore and capture stunning landscapes, creating artworks across various mediums, including photography, painting, and ceramics. Tania describes aerial images as illustrations of the landscape in a completely different way, offering a journey through the history of a landscape that oscillates between the surreal and reality.. Tania's work is renowned for its unique perspectives and storytelling through images, capturing the essence of the landscapes she explores. She continues to shape her approach to landscape photography, offering a glimpse into the future of the art form. We discuss her experiences working with Fujifilm, her transition from terrestrial to aerial photography, and the logistical and creative challenges that come with it. We touch on her approach to planning shoots, her philosophy on storytelling through images, the business side of photography, and her struggles with pricing and marketing her work along with lots more.  I hope you enjoy the show!   You can find Tania's work  here: Linktree: https://linktr.ee/tm_artphoto Instagram: https://www.instagram.com/tm_artphoto/ Website: https://artisticimageco.com/   Listen to this and other episodes wherever you find your podcasts or on https://grantswinbournephotography.com/lpw-podcast Or subscribe to my YouTube channel https://youtube.com/@grantswinbournephotography   Theme music: Liturgy Of The Street by Shane Ivers - https://www.silvermansound.com   #landscapephotography #aerialphotography #Australianlandscape #photographyjourney #artisticphotography

Hilda Rix Nicholas (née Rix, later Wright, 1 September 1884 – 3 August 1961) was an Australian artist. Born in the Victorian city of Ballarat, she studied under a leading Australian Impressionist, Frederick McCubbin, at the National Gallery of Victoria Art School from 1902 to 1905 and was an early member of the Melbourne Society of Women Painters and Sculptors. Following the death of her father in 1907, Rix, her only sibling Elsie and her mother travelled to Europe where she undertook further study, first in London and then Paris. Her teachers during the period included John Hassall, Richard Emil Miller and Théophile Steinlen. Source: https://en.wikipedia.org/wiki/Hilda_Rix_Nicholas License: Creative Commons Attribution-ShareAlike License 3.0;

Dreamgirls was a hit Broadway show which became an Oscar-winning film starring Beyoncé Knowles, Jennifer Hudson, Jamie Foxx and Eddie Murphy. As the musical arrives in the UK for the first time since it opened there 31 years ago, we speak to the composer and co-creator, Henry Krieger.Helen Martens recently shared her cheque for winning The Hepworth Prize for Sculpture with the other shortlisted artists. Now she's done the same with her Turner Prize winnings. What does this desire to share say about the artist?41 paintings from four of the most innovative Australian Impressionist artists are on show at The National Gallery in London for the first time. As curator Chris Riopelle explains, they reveal how the artists were influenced by European Impressionism, a growing sense of national identity, and their desire to capture the great Australian landscape.Porridge co-creator Dick Clement remembers the actor Peter Vaughan who has died aged 93. Vaughan played a devoted butler in The Remains of the Day, a villainous prisoner in Porridge, and a wise elder in Game of Thrones.Presenter Samira Ahmed Producer Marilyn Rust.

Dr Andrew Brown-May from the School of Historical Studies at The University of Melbourne discusses the way in which the city of Melbourne was portrayed by Australian Impressionist painters.

Michael Varcoe-Cocks, Conservator of Paintings 1850-1950 at the National Gallery of Victoria, discusses the conservation of Australian Impressionist paintings.

Australian composer Marshall Hall was an advocate for Australian Impressionist art and an admirer of Arthur Streeton, buying several of his works. Streeton returned the compliment with this searching portrait.

The 9 x 5 impression exhibition set out to educate the Australian public in international art practice.

Roberts’s return to Melbourne in 1885, after four years’ study in Europe, marked the end of his long artistic apprenticeship. By the age of twenty-nine he had developed a sophisticated eye and an exceptional technical facility that enabled him to capture the appearance of things. He was also a proselytiser and, back home, looked up his old friend Frederick McCubbin (1855–1917) and enthused him about the European style of plein-air painting. Together they established a weekend painting camp on Houston’s Farm at Box Hill, some sixteen kilometres from the city. It was a primitive approximation to the artists’ colonies of Europe and America, but quickly became a hub of the new painting in Melbourne. Many of the first great works of the Australian Impressionist movement were painted there, in or near the patch of remnant bushland on Gardiners Creek where the camp was located. Paintings such as McCubbin’s Lost1and Roberts’s own A summer morning tiff2 and Wood splitters3captured the intimacy and patchy sunlight of the site. Roberts’s ’Evening, when the quiet east flushes faintly at the sun’s last look’ was painted on the hillside above the camp and is more panoramic in format than the other early Box Hill views. It is also a nocturne – a type of twilight or evening subject that was still something of a novelty in late 1880s Melbourne. Streeton, who joined the group in 1887, recalled: We tried painting the sunset with somewhat conventional and melodramatic results. Roberts pointed to the evening sky in the east, and showed us the beauty of its subtle greys, and the delicate flush of the afterglow, when the shadow of the earth upon its atmosphere, resembling a curved band of cool grey, rises up, and succeeds the rosy warmth as the sun descends further below the western horizon. He was the first artist in Australia to notice it, and to point it out to the native-born.4 Roberts’s painting skills enabled him to capture rapidly the topography of the valley of Gardiners Creek and the view to the Dandenongs. The facture is suggestive rather than descriptive, with a definite drift towards abstraction, particularly in the adjustments made in the studio to the foreground and other areas. Atmosphere was also important, and Roberts succeeded brilliantly in capturing le moment crepusculaire, the stillness of dusk. The only movement is a bird wheeling in from the left, and a waft of smoke rising from a field. ’Evening, when the quiet east flushes faintly at the sun’s last look’ is a national picture, in that its subtext is the claiming and clearing of the land, one of the great themes of nineteenth-century Australian life. As such, it demands a place on Roberts’s list of national pictures, alongside such works as Coming South, Allegro con brio: Bourke Street West, The sunny South and Shearing the rams.5It is also his most poetic and elegiac landscape, Symbolist in its evocation of the slumbering land. Terence Lane 1 Collection of the National Gallery of Victoria, Melbourne. 2 Collection of the Ballarat Fine Art Gallery, Victoria. 3 Collection of the Ballarat Fine Art Gallery. 4 Argus (Melbourne), 21 June 1932, p. 8. 5 All collection of National Gallery of Victoria, except Allegro con brio: Bourke Street West.