Podcasts about Hans Heysen

Less known among the enormous oeuvre of Hans Heysen are his monotypes. Join Associate Curator Maria Zagala as she introduces Heysen's monotypes in the context of the 18th Adelaide Biennial of Australian Art: Inner Sanctum. Image Caption: installation view: 18th Adelaide Biennial of Australian Art: Inner Sanctum , Art Gallery of South Australia, Adelaide; photo: Saul Steed.

Thank you for listening to this track produced by the Art Gallery of South Australia. Join Gallery Guide Jill Swann as she discusses 'The Lovebirds and the Matchmaker': Hans Heysen, Selma Bartels and Mrs. Maude Vizard Wholohan. For more information visit agsa.sa.gov.au Image: Hans Heysen, born St Pauli, Hamburg, Germany 8 October 1877, died Mt Barker, South Australia 2 July 1968, Poppies, c 1907, Adelaide, oil on canvas board, 53.5 x 49.5 cm; Gift of the Crosby Family, Jane McGregor, The Hon Mark Livesey, The Hon Ann Vanstone QC and Dick Whitington QC through the Art Gallery of South Australia Foundation Annual Collectors Club 2021, Art Gallery of South Australia, © Chris Heysen.

There's a new annual art, history, music and nature festival coming to the Adelaide Hills this Spring to honor Sir Hans Heysen. 'Celebrate the Cedars' will coincide with what would have been Sir Heysen's 145th Birthday, on Saturday 8 October between 10am-4.30pm (gates open at 9.30am). Cedars CEO, Tori Dixon Whittle, joins Jennie Lenman in this podcast to talk about the Heysen story and what is planned for the inaugural event. To find out more, buy tickets or memberships, go to www.hansheysen.com.au. 

This free public lecture was part of the History Trust of South Australia's Talking History series. Hans Heysen and Nora Heysen are Australia's most well-known father-daughter artistic duo. In this episode, Professor Speck explores the letters written to each other from the time Nora moved to London in 1934 until Hans Heysen died in 1968. During that time Nora Heysen won the Archibald Prize, was appointed an official war artist, fell in love with a married man, Robert Black, with whom she lived with and eventually married, relocated to Sydney, and travelled extensively to the Pacific. Hans Heysen was knighted, sat on the board of the National Art Gallery of South Australia and was connected to leading figures in the Australian art world. The letters take readers into these events, life at The Cedars, Sallie Heysen's role there, and the art itself. Music in this episode courtesy of: Parting of the Ways - Part 2 by Kevin MacLeod Link: https://filmmusic.io/song/4196-parting-of-the-ways---part-2 License: https://filmmusic.io/standard-license No. 9 Esther's Waltz by Esther Abrahmi  Link: https://www.youtube.com/watch?v=fbGJgzJS3Ws Vision of Persistence by Kevin MacLeod Link: https://filmmusic.io/song/4592-vision-of-persistence License: https://filmmusic.io/standard-license

A second painting a woman unwittingly had hanging on her wall for years that was hidden behind another by Hans Heysen has comfortably out sold the first at auction, reports FIVEaa Breakfast's David Penberthy. See omnystudio.com/listener for privacy information.

Thank you for listening to this track produced by the Art Gallery of South Australia. Join guest speaker Dr Ralph Body, as he shares his insights into Hans Heysen and his creative response to trees, in celebration of the inaugural Nature Festival. For more information please visit: agsa.sa.gov.au image: Hans Heysen, Australia, 8 /10/1877 - 1968, Red Gold, 1913, Hahndorf, South Australia, oil on canvas, 129.5 x 174.5 cm; Gift of the Rt Hon. Sir Charles Booth 1913, Art Gallery of South Australia, Adelaide, © Chris Heysen.

Thank you for listening to this recording, produced by the Art Gallery of South Australia. In this live recording, Allan Campbell, Curator of The Cedarsm, speaks on the work of Nora and Hans Heysen currently on display in Gallery 3. Recorded live on Tuesday 28 January 2020 For further information visit www.agsa.sa.gov.au image: Saul Steed

Hans Heysen and Nora Heysen are Australia’s most well-known father-daughter artistic duo. Professor Speck explores how this dynamic motivated her interest in the Heysen letters to each other written from the time Nora moved to London in 1934 until Hans Heysen died in 1968. During that time Nora Heysen won the Archibald Prize, was appointed an official war artist, fell in love with a married man, Robert Black, with whom she lived with and eventually married, relocated to Sydney, and travelled extensively to the Pacific. Hans Heysen was knighted, sat on the board of the National Art Gallery of South Australia and was well connected to leading figures in the Australian art world. The letters take readers into these events, life at The Cedars and Sallie Heysen’s role there, and the art itself. This free public lecture was part of the History Trust of South Australia's Talking History series. For upcoming events visit: history.sa.gov.au/whats-on/events/

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/

What happens to an artist's legacy, home and archive after their death? Explore the life and work of Hans Heysen, his legacy and the role of families and estates in managing the artistic afterlife. Speakers include art historian and publisher Lou Klepac, Treasures Curator Nat Williams and members of the Heysen family.

During his lifetime Hans Heysen was one of the most accomplished and publicly acclaimed painters of the Australian landscape. He was equally a master of oil paint and watercolour, as well as a formidable draughtsman in pencil and charcoal. The landscape around Hahndorf in the Adelaide Hills and especially its old gums were his preferred subject matter. He was also attracted to the rugged isolation of the Flinders Ranges in South Australia. ‘Drought sheep’ underwent gradual development, indicated by the date Heysen put on the work (1916-21) and a preliminary drawing ‘Travelling sheep’ c1916, now also in the Art Gallery of NSW collection. The preliminary drawing is half the size of ‘Drought sheep’ and has an additional sheep in the bottom left foreground. Heysen removed it in the watercolour, strengthening the overall compositional movement to the right. In both drawing and watercolour, muscle, bone and sinew are suggested in the movements of each sheep. This evocative watercolour was produced around the time of the First World War when Heysen’s loyalty to Australia, like many others of German birth or background, was unfairly questioned. As well as capturing the conditions that accompany severe drought, it may reveal something of the artist, suggesting his anxiety at the time. A flock of parched sheep moves across a hot and dusty track under an overarching sky with clouds in magnificent ferment but without the promise of rain. Featureless and treeless, it is an unusual work for an artist whose paintings of grand eucalypt forests came to epitomise heroic Australian landscape painting in the interwar decades. Heysen won the Wynne Prize for landscape an unprecedented nine times between 1904 and 1932, boosting his early reputation and the popularity of his work. He was knighted in 1959.

Hans Heysen (Germany 1877 – Australia 1968),The saplings 1904–06. Oil on canvas, 120.5 x 90.3 cm. Bequest of Millie Hay Joyner 1993. © Hans Heysen. Represented by VISCOPY, Australia.

The squatter’s daughter created a stir in Australia when it was first exhibited in 1924 because Lambert was concerned with creating a new way of painting Australian landscape. He assimilated the blue-and-gold palette that Streeton had used to convey the heat and glare of the Australian scene, but he moved from an intuitive response to the land to a more formalist approach. He counterbalanced the strong verticals of the trees with the triangular shape of the hill and the horizontal streak of green grass in the lower centre of the picture. He painted with tight, controlled brushstrokes, so the image seems still, but lifelike, with the trees and grass embalmed by a sharp, scintillating light. He observed in around 1927 that ‘when the Apple gum gilded by the dying sun comes up for technical analysis, the memories of Giorgione’s famous tree ... make it look more beautiful’ (ML MSS 97/8, item 5). The illusionism of the scene encourages us to look at it as an image of a particular person in a specific place at a certain time – as a picture of Gwendoline ‘Dee’ Ryrie in white shirt and jodhpurs leading her horse (which Lambert had given her) across the family property, Micalago, during the Christmas and New Year of 1923–24. Lambert’s prime interest, however, in The squatter’s daughter was in conveying a universal squatter’s daughter. He gave it a generic title rather than the specific ‘Gwendoline Ryrie at Micalago’ , to indicate that it was an image of Australian life. Lambert attacked the intuitive approach to landscape and, in response, critics such as Howard Ashton maintained that Lambert’s work lacked emotion. But this was his aim. He advised young landscape painters that there was always perfect design in nature and that they should reduce it to definite forms, as he had simplified the mass of the hill and sharpened its outline in The squatter’s daughter . He portrayed the figure of the squatter’s daughter as if she were located artificially in her environment, as if she were a cut-out shape pasted onto it. He described her as passing ‘gracefully across the foreground’ and looking ‘like a figure on a Greek vase’ (ML MSS 97/8, item 5), indicating that he purposely presented her in profile in an arranged pose and detached from her setting. He intentionally created a stylised view. That the girl is not immersed in the landscape (as in A bush idyll c.1896, cat.3), but merely passes across the land, is appropriate. By the 1920s many Australian landowners did not need to work their properties themselves but were able to employ others to do so, and a number of city dwellers had the time and money to visit the rural areas for their health and for recreation. The squatter’s daughter reflects this new relationship of Australians with the land. Lambert’s formalist response in this paintinginspired other painters. Hans Heysen wrote on 20 August 1924 that it was ‘different from anything else painted in Australia’ (ML MSS 285/87), and in 1930 that it was a picture which ‘in its search for character and form’, was ‘an object lesson for the young landscape painters of Australia’ (Lambert 1930). In 1931, Lionel Lindsay commented: When the ‘Squatter’s Daughter’ was first shown, to the best of my knowledge, only three Australian artists proclaimed its originality and truth. Such a break with suave sentiment and surface drawing met with a protective opposition – here was almost attack upon established income. It was pronounced hard, untrue, unsympathetic. To-day we know this landscape to possess the largest local truth, supreme draughtsmanship and design, and to exhale the very spirit of Australia (AA 1931). As a result of Lambert’s example and his denunciation of the sentimental Australian landscape, artists began to make changes in their work. They came to believe that they should now explore organic form, seek greater simplicity and use sharper contours. Lambert thought highly of The squatter’s daughter , asking 500 guineas for it at a time when he received only £500 for his most significant battle painting, The charge of the 3rd Light Horse Brigade at the Nek 1924 (cat.95), on which he worked for several years. Lambert sold The squatter’s daughter to George Pitt-Rivers in England in 1926. Henry Lawson had published a poem called ‘The squatter’s daughter’ in 1889, of which Lambert no doubt was aware. It related the story of a wealthy squatter who encouraged his daughter to become engaged to a wealthy lordling; however, she elopes with a stockman instead. Eventually the father becomes reconciled with the daughter and son-in-law. In 1910 a silent film was produced, based on a 1907 stage melodrama with the same title and same cast. It was written by Edmund Duggan and Bert Bailey. In 1933 The squatter’s daughter , a sound film, featured a strong young horsewoman in jodhpurs who saves the family property.

For almost three decades the landscape of the Flinders Ranges in South Australia provided inspiration for Hans Heysen. Known for his imagery of Australian gum trees, the artist was forty-nine when he first visited the Flinders Ranges. The scenery of this country had a deep impact on Heysen, and between November 1926 and April 1949 he made many painting trips to the region. In the Flinders–Far North is an example of Heysen combining the two great motifs of his oeuvre in one composition: the Australian gum tree and the view of the Flinders Ranges. The mightiness of the gum dominates this work, set deep in the arid amber and lilac landscape of the Ranges. The work was commissioned by the Commonwealth Government to celebrate the fiftieth anniversary of Federation and was displayed in the Australian Embassy in Paris for many years.1 In discussing the impact of the Flinders Ranges on his work and the contrast it provided with the landscape of his hometown of Ambleside (also known as Hahndorf), South Australia, Heysen said: … I go to the north, to the Flinders, where I find an entirely new landscape, quite divorced from anything that surrounds me here at Ambleside, and it gives me the fresh impulse to create the bare bones of our landscape in South Australia. It is an old country, very old, and it is that very age you feel in your surroundings, that spaciousness and those rugged peculiar shapes in the hills, that fascinate one, and the dry quality of the colour and the infinity of the vast distances have a fascination which this country surrounded by foliage and trees doesn’t give you. You feel freer.2 1 Colin Thiele, Heysen of Hahndorf, Australia: Rigby Limited, 1968, pp. 264–65. See also Alisa Bunbury, Arid Arcadia: art of the Flinders Ranges, Adelaide: Art Gallery of South Australia, 2002. 2 Hans Heysen, interview by Hazel de Berg, 1960, Canberra: National Library of Australia [deB 27].