Podcast appearances and mentions of Frederick McCubbin

Alice is very angry at Bill Harwood. Show notes Joel Deane's recent books Judas Boys and Year of the Wasp The Vincent Buckley Poetry Prize Ken Babstock Belfast Confetti by Ciaran Carson C. K. Williams Helen Garner's Yellow Notebook The Nicholas Building Kintsugi by Isi Unikowski Ep 244. on Harpur The Pioneer by Frederick McCubbin … Continue reading "Ep 245. Joel Deane: Making art in Sparta"

In this episode, we discussed a variety of topics, starting with the defacing of a painting in Australia to protest against Woodside, an energy company that has been involved in controversial gas projects. The painting, titled "Down on His Luck" by Frederick McCubbin, was vandalized with a spray-painted message that had the company's logo. Next, we talked about some recent baseball news, including the Baseball Nationals, where Mexico almost beat Japan. They also discuss potential new rules that may reduce the length of the games. We then shifted gears to discuss the latest fashion trend in Australia: duck fashion. Apparently, duck-themed clothing and accessories have become quite popular, with stores selling everything from duck hats to duck-shaped handbags. The conversation then turned to the potential ban of TikTok in the United States. We discussed the security concerns surrounding the popular social media app, which is owned by Chinese company ByteDance, and discussed whether a ban is necessary. Finally, we wrapped up the episode by bringing back some "would you rather?"s for some bizarre hypothetical scenarios. Enjoy! ~~~ Link Tree ~~~ https://linktr.ee/theunqualifiedgurus ~~~ Discord Server ~~~ https://discord.gg/Sn6rSYQrkT ~~~ Follow Us on Social Media! ~~~ Facebook: https://www.facebook.com/The-Unqualified-Gurus-Podcast-102423902208978/ Instagram: https://www.instagram.com/theunqualifiedgurus/ TikTok: https://www.tiktok.com/@theunqualifiedgurus?lang=en ~~~ Follow the Podcast! ~~~ Spotify: https://open.spotify.com/show/0RFWl1Bv7Fyy305n93JEAt Amazon: https://music.amazon.com/podcasts/45d2ee98-9fe3-4c5f-84dd-c6926e534c6c Google: https://podcastsmanager.google.com/show?show=show:kqNRroQuSGZQkREA3ZLjaA Podbean: https://unqualifiedgurus.podbean.com iHeartRadio: https://iheart.com/podcast/87304740/ PlayerFM: https://player.fm/series/the-unqualified-gurus-podcast Listen Notes: https://www.listennotes.com/podcasts/the-unqualified-gurus-podcast-QinjewgZq0d/ ~~~ Shameless Plugs! ~~~ Oscar's Silent Artist: https://www.instagram.com/silentartist.co/ Daniel's Velcode: https://www.youtube.com/channel/UCgwHVfkJ6rlcw8ko4ci0iRQ 00:00:00 - Start 00:01:41 - Weekly Drink: Austin Ciders - Blackberry 00:02:59 - Lack of Symmetry 00:06:22 - Painting Defacing 00:13:32 - Baseball News 00:16:49 - The XFL 00:18:05 - The Duck Fashion Show 00:23:06 - Mr. Red Boots 00:23:40 - TikTok: A Spying App? 00:35:54 - Tragical Luck 00:41:04 - Weird Would You Rathers 01:12:40 - To Farwell or Not?

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;

In the Gallery's 125th anniversary year, this exhibition celebrates the first major work to enter the collection in 1900: Frederick McCubbin's A bush burial (1890). The painting was purchased with funds raised through a donation drive at...

Laura Tingle discusses the controversial resignation of Gladys Berejiklian, Ben Noble on the threat Alexei Navalny poses to Putin, and Lisa Sullivan previews the McCubbin exhibition at the Geelong Gallery in Victoria.

Artist Frederick McCubbin (1855- 1917) was one of the founders of the 'Heidelberg school' and leading figure in a group of Australian impressionists active around Melbourne in the 1880's. His work became part of an emerging national narrative and is being showcased in an exhibition at the Geelong Gallery.

Australian Impressionism is a large-scale exhibition of 270 artworks by some of Australia’s most widely recognisable and celebrated artists including Tom Roberts, Frederick McCubbin, Jane Sutherland, Arthur Streeton, Charles Conder,... LEARN MORE The post She, Oak and Sunlight – Australian Impressionism and the National Gallery of Victoria Ian Potter Centre Federation Square appeared first on Sunday Arts Magazine.

The Forefront team gathers in the studio with all-new podcasting equipment for this latest arts review episode. 01:01 - Nate recommends some favorite episodes from other podcasts: Cooper and Cary Have Words, Between Dreams, and Redeemed Imagination 07:59 - Rich discusses some of his favorite Australian painters: Charles Conder, Arthur Streeton, and Frederick McCubbin  19:37 - Sean recalls tales from his adventures in the U.K. 24:11 - Cody reviews the new feature film 1917 and the short film Pastime

Andrew Tischler pursues artistic truth in his painting. Currently residing in New Zealand, Andrew was born in Texas. Later, his family immigrated to Australia when he was a young child. The son of sculpturer, Andrew loved to look at his father’s art books. He became enthralled with American wildlife painter Carl Rungius. Moved by the paintings he saw, Andrew began painting at a young age, and quickly progressed to become a professional, full-time artist by the time he was 21 years of age. Early in his career, Andrew strove to create quality paintings. In order to do that, he felt the need to work out a methodology to produce consistent quality. He became obsessed with the process of painting. Andrew likens his obsession to surfers who go around the world searching to catch the perfect wave. He is addicted to the search and the chase of an idea for a painting, and he is addicted to the feeling of making the best painting possible. This episode clocks in at over two hours long. Andrew does not hold back! He explains where his ideas for a painting comes from and how he develops that idea. Andrews shares three questions all artists should ask when developing an idea. He says these questions have transformed his career as an artist. Though Andrew achieve early financial success as a professional artist - like a lot of artists he was affected by the global downturn in the economy. That downturn taught him the importance of diversifying his sources of income and in this episode he explains how he has accomplished that. Mentioned in the show: Andrew Tischler’s website https://www.andrewtischler.com Andrew Tischler’s YouTube channel https://www.youtube.com/channel/UCg4eQuX8UoZkpZNno-eyYoQ Andrew Tischler on Instagram https://www.instagram.com/andrew_tischler_artist/ The Creative Endeavor Podcast https://andrewtischler.podbean.com Tom Tischler (Sculpturer, Andrew’s father) http://www.tomtischler.com Ben Haggett’s Alla Prima Pochade Box https://allaprimapochade.com Carl Rungius - American Wildlife Painter https://en.wikipedia.org/wiki/Carl_Rungius Heidelberg School (including artists Tom Roberts, Frederick McCubbin, Arthur Streeton, and Hans Heysen) https://en.wikipedia.org/wiki/Heidelberg_School Droving into the Light, by Hans Heysen (Art Gallery of Western Australia) https://nga.gov.au/exhibition/HEYSEN/Default.cfm?IRN=196937&BioArtistIRN=16602&MnuID=3&GalID=4&ViewID=2 Dr. John Demartini https://drdemartini.com Jordan B. Peterson https://jordanbpeterson.com Tony Robbins https://www.tonyrobbins.com Grant Cardone https://grantcardone.com James Schramko https://www.superfastbusiness.com Gary Vaynerchuk https://www.garyvaynerchuk.com Andrew Tischler’s video of portrait of Russell Petherbridge  https://youtu.be/TuGWvmvK-3w Gothic Folly https://en.wikipedia.org/wiki/Folly Ted Kautsky's Pencil Book https://amzn.to/2NMdoEO (affiliate link) Booth Western Art Museum in Cartersville, Georgia, USA https://boothmuseum.org Edgar Payne https://en.wikipedia.org/wiki/Edgar_Alwin_Payne Virgil Elliott https://virgilelliott.com Langridge Artist Colors http://langridgecolours.com Michael Harding Handmade Artists Oil Colors https://www.michaelharding.co.uk Gamblin Artists Colors https://www.gamblincolors.com Old Holland Classic Colours https://www.oldholland.com Williamsburg Handmade Oil Colors http://www.williamsburgoils.com Vasari Classic Artists’ Oil Colors https://www.vasaricolors.com Blockx https://www.blockx.be/en/produits/huiles.asp Rublev https://www.naturalpigments.com/rublev-colours-oil-paints/ Art Spectrum https://artspectrum.com.au 'The Tisch' Bristle Dagger Brush Set from Rosemary & Co. https://www.rosemaryandco.com/gift-sets/the-tisch-brush-set   About The Artful Painter Artful Painter website: https://theartfulpainter.com Carl Olson on Instagram: https://www.instagram.com/artful.creative/

With an evident empathy for rural labouring life, and a nationalist message, this much-admired painting by a principal member of the Heidelberg group was painted close to the artist's Melbourne home, using his family as models. Key influences for Frederick McCubbin at this time included the academic naturalism of Bastien-Lepage and the new focus on everyday subjects by leading French Barbizon school artists Corot and Millet. The title of the painting - 'On the wallaby track' - was a term used for itinerant workers roaming the bush on the fringes of properties looking for work.

The Kindly ArtistIronically, the money made from the sale of his Australian Historical Painting ‘The Pioneer’ allowed Frederick McCubbin to leave the country for the first time. NGV Curator of Australian Art, Elena Taylor

McCubbin in MacedonAn unfolding narrative over three panels, The Pioneer is part of a group of great Australian history works painted by McCubbin.

Frederick McCubbin (Australia 1855–1917), Afterglow 1912. Oil on canvas, 91.5 x 117.0 cm. Purchased 1970.

In this portrait of bereavement, Frederick McCubbin has characterised both loss and hardship. The scenario seems initially clear but the painting leaves us to speculate on the nature of the relationships.

Amid the natural beauty of the bush in McCubbin's painting Lost we see the seriousness of the woman’s plight dawn on her: the landscape doesn’t care whether she lives or dies.

http://website.ag.nsw.gov.au/audiotours/curator/McCubbin.mp3 Sept. 10, 2009, 12:26 p.m. 04:21 Art Gallery of NSW, audio, australia, guide, nsw, painting, podcast, sculpture, s

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.

It is astonishing to think that Streeton was only twenty-four years old when he painted ‘Fire’s on’, a work that remains one of the great icons of Australian landscape painting. When Streeton wrote to his friend Frederick McCubbin (1855–1917) about the work he was undertaking in the Blue Mountains, his excitement and ambition were palpable. It was the quintessentially Australian landscape and light that inspired him: ‘the vast hill of bright sandstone’ crowned by bush and the ‘deep blue azure heaven’.1Streeton was also taken with the fact that this landscape was the location of one of the engineering feats of the late nineteenth century, the construction of the ‘Zig Zag’ railway line across the Great Dividing Range and a new tunnel that would make this part of the country more accessible. Towards the end of 1891 Streeton spent three months at Glenbrook in the Blue Mountains undertaking numerous sketches and watercolours. By the time he came to paint ‘Fire’s on’, he had familiarised himself with the terrain and was following the development of the railway tunnel with interest. In Streeton’s letter to Roberts in December 1891 he conveyed a tension between his enthusiastic response to the landscape and the dangers involved in the work being undertaken. I arrive at my cutting, ‘the fatal cutting’, and inwardly rejoice at the prosperous warmth all glowing before me as I descend and re-ascend the opposite side up to my shady, shelving, sandstone rock, perched high up … 12 o’clock … and now I hear ‘Fire, fire’s on’, from the gang close by … BOOM! and then rumbling of rock, the navvy under the rock with me, and watching says, ‘Man killed’.2 On the one hand the scale of the landscape and the historic activity of constructing the railway may be seen as an expression of a heroic, nationalistic viewpoint. Yet ‘Fire’s on’ is a complex work, far removed from picturesque or pristine views of the land or people triumphing against the odds. Instead Streeton conveys a clear-eyed view of the pell-mell local scrub and the precarious rocks, dead tree-trunks and random scatter of stones on the steep hillside. On the right, it is as though a layer of earth has been peeled back by human progress to reveal the dazzling white sandstone, ochre soil and gaping mouth of the tunnel. Above the tunnel, delicately drawn figures are dwarfed by the environment, dissolving into its heat haze, while the figures below reveal the perilous nature of their endeavour. Compared with depictions of similar subjects on the theme of human labour in the landscape, it is notable that in ‘Fire’s on’ people are not the main focus. Instead the human drama is enmeshed with the towering, implacable presence of the land. Ultimately it is Streeton’s passionate feeling for the environment as a whole and the heat and light of an Australian summer, conveyed through expressive brushwork, a daring compositional structure and intense, luminous colour, that would be an inspiration for generations of Australian painters to follow. Deborah Hart 1 Letter published in R.H. Croll, Smike to Bulldog: letters from Sir Arthur Streeton to Tom Roberts, Sydney: Ure Smith, 1946, pp. 20–3. 2 Letter published in R.H. Croll, Tom Roberts: father of Australian landscape painting, Melbourne: Robertson & Mullens, 1935, pp. 187–9.

Like Pissarro, in his series of Boulevard Montmartre paintings (cat. 83), the Australian Roberts drew inspiration from Monet’s Boulevard des Capucines 1873.1Although we cannot be certain whether, or when, Roberts saw Monet’s painting, the affinities between the works are compelling.2Monet’s, Roberts’s and Pissaro’s paintings all demonstrate a remarkable ability to capture the hustle and bustle of city life; they share an elevated viewpoint, reduced palette, and fractured brushstrokes. Moreover the three artists also embody a determination to embrace modernity: Paris after the Haussmann era, on the one hand, and the energy and excitement of ‘marvellous Melbourne’ on the other. Allegro con brio: Bourke Street west is a lively composition, painted with spirit. The Italian part of the title is a musical term, a playing instruction meaning ‘quickly, with brilliance’. It is one of a group of works painted by Roberts on his return to Australia from London in 1885. Back in Melbourne he resumed his friendship with Frederick McCubbin, then with Streeton and Conder: they regularly painted together at Box Hill, en plein air. The Heidelberg School painters, as they were known collectively, were interested in instantaneous effects, in experimenting with a range of short, broken brushstrokes. Because their works so effectively convey Australian conditions of heat and light, they are regarded as the first home-grown movement. Allegro con brio: Bourke Street west is structured around one of the ‘avenues’ crossing Melbourne’s central business district, at the intersection of Elizabeth and Bourke streets, on the Post Office corner. In the 1880s, as now, the west end of Bourke Steeet was a commercial zone. As McQueen points out, more than a third of the canvas is consumed by buildings.3Prominent signs announce businesses such as Booksellers Dunn & Collins, P. Philipson & Co. and John Danks. The smoke and haze in a clear blue sky, the contrast between the cream and tan exterior walls of the buildings with dark verandahs underneath, figures scurrying across the street or clustered in the shade, all make us aware of the uncomfortable heat. As if for emphasis, two carriages in the centre foreground seem to emerge from the dust. A row of cabs – cable trams were shortly to make horse-drawn vehicles redundant in much of the city – serves to highlight the recession of the street. The word ‘ICE’ appears at the centre, on the side of a cart. At right is the tricoleur French flag; it sits almost at the same spot as a blossom-covered tree in the Boulevard des Capucines. Perhaps it is not too fanciful to imagine that Roberts left us some clues to his sources. Allegro con brio: Bourke Street west is a scene portrayed with much economy in parts, from grand, colonial-style buildings painted in blocks, to the squiggle of a tiny dog in a patch of sun at lower right. In his distinctly Australian portrait of a city that was one of the largest in the industrialised world at the time, Roberts was ‘painting with fire’. Lucina Ward 1 One version of Monet’s Boulevard des Capucines was shown in the first Impressionist exhibition of 1874, the other at the Dowdeswell Gallery, London, in 1883. The paintings are in the Nelson-Atkins Museum of Art, Kansas City and the Pushkin Museum of Fine Arts, Moscow. 2 Although Allegro con brio: Bourke Street west is not dated, it is generally given to the years 1885–86, the revisions to 1890; Mary Eagle points out that Roberts sent four paintings to the 1886 Colonial and Indian Exhibition, London, but did not seem to have considered this work sufficiently resolved, or its perspective and drawing of an Academic standard, to include it; see Mary Eagle, The oil paintings of Tom Roberts in the National Gallery of Australia, Canberra: National Gallery of Australia, 1997, p. 28. 3 Humphrey McQueen, Tom Roberts, Sydney: Macmillan, 1996, see also ‘Tom Roberts: Allegro con brio, Bourke Street west’, viewed November 2007 http://home.alphalink.com.au/-log27/Roberts/roberts_allegro.htm

In Girl in forest, Mount Macedon Frederick McCubbin revisits a central theme in his oeuvre: the activities of children in the Australian bush. He had previously painted scenes of children lost in the bush – narratives of innocence and vulnerability within the landscape. McCubbin also explored the magical worlds invented by children through storytelling and imagination. In works such as What the little girl saw in the bush 1904 (private collection, reproduced p. 28) he sought to capture ideas of creative freedom and expression that children unselfconsciously bring to their surrounds. In Girl in forest, Mount Macedon a young girl wanders through the bush carrying a basket, possibly collecting wildflowers or berries. She is small beside the large trees and thick growth, her white dress setting her apart from her environment. McCubbin has paid close attention to the study of dappled light through trees and foliage. Areas of the canvas appear abstracted and flecks of colour are layered over each other using a palette knife. Moving back from the work the scene comes into focus – a glorious image of gold, pink and violet; bracken, bark and gum. Girl in forest, Mount Macedon depicts the bush close to ‘Fontainebleau’, the McCubbin’s residence at Mount Macedon about 60 kilometres north-west of Melbourne. The child in the image is the artist’s youngest daughter, Kathleen, who posed for her father numerous times.

By 1882 a railway had been constructed between Melbourne and the township of Box Hill, and in 1885 Tom Roberts, Frederick McCubbin and Louis Abrahams first visited the area to paint. The artists set up camp on land owned by a local farmer and friend to the artists, David Houston.1 Along with other artists, including Arthur Streeton and Jane Sutherland, the group painted the local bushland. Roberts made a number of works in this area, such as his well known The artist’s camp 1886, while Streeton painted Evening with bathers 1888 (both in the collection of the National Gallery of Victoria, Melbourne). In A Sunday afternoon Roberts depicts an intimate picnic. Framed by spindly gums and bathed in dappled light, a young couple relax in the bush, the woman reading to her companion from a newspaper. A belief in the health benefits of the country air was becoming popular with city dwellers who sought recreational activities in the bush or by the ocean. Roberts’s observant eye has resulted in such small details in this scene as the trail of smoke from the man’s pipe, the dark wine bottle on the crisp white cloth and the light falling softly on the leaves of the eucalypts. 1 Leigh Astbury, ‘Memory and desire: Box Hill 1855–88’, in Terence Lane (ed.), Australian impressionism, Melbourne: National Gallery of Victoria, 2007, p. 51.