Podcasts about streeton

Soul from Joy Crookes, Amaria, Kinny, SAULT, and Leena Conquest. Broken Beat from Footshooter feat James Mollison (Ezra Collective), Streeton, After ‘Ours feat Omar. Deep House from Masaki Morii. Hip Hop from Ahmed With Love, Sonnyjim, Doechii and Jurassic 5. Raw-Artes remixes Amy Winehouse. Jungle from Potential Badboy (from 1992), Sl8r, Pete Cannon & Ghost Writerz, K Jah remixing Chopstick Dubplate feat Mr Williamz. Plus plenty more music treats.

1. Girls of the Internet - The Middle feat. Allysha Joy (Original Mix) 2. Discuji - Space Is The Place Original Mix 3. Crackazat - Dark (Original Mix) 4. Fred Everything, James Alexander Bright - Breathe (Extended Lazy Vox) 5. Vincenzo - Love Accurate 6. Nathan G - What Would Love Do? Nathan G (Original Dub) 7. Mr. V, Mo'Cream - Gotta Find a Way (Harley&Muscle Deep Remix) 8. Boogie Rapture - Peaches and Cream Nathan G (Peachy Dub) 9. Gala, The AM - Fallin' Original Mix 10. Philippa - Blue Skies (Fouk Remix) 11. Jimpster, Mon, Philippa - All I Wanted (feat. Mon) 12. DJ Steaw - Emerald Coast (Original Mix) 13. STREETON, Pluto Monkey - In Transit (Original Mix)

On our latest More Than Law podcast, host Miri Stickland is joined by three members of our Build To Rent group who provide their insights into the sector. Commercial Real Estate Partner Helen Streeton talks through the types of sites being acquired for BTR schemes, who the key players are as the project progresses and how the funding risk profile differs on a BTR development scheme. Partner Elizabeth Small from our Tax team discusses the importance of focusing on tax structuring at the outset of a BTR development and the potential longer term tax implications when the scheme is operational and Matt Evans, Counsel in our Planning team, walks us through the planning complexities of BTR schemes, including delivery of affordable housing.

Join Caro and Corrie for Ep 155 ‘You Would’ve Rocked A Conical Bra’.Thanks to our show sponsors Prince Wine Store and Click for Vic. Caro shares her reflections on Sydney (including her dining out recommendations) and reviews the new Streeton exhibition at the Art Gallery of NSW.As we head rapidly towards Christmas we discuss whether or not our COVID experiences will influence our Christmas plans.In AFL Nathan and Tanya Buckley’s separation hit the headlines this week but – is it really front-page news?In our Click for Vic update for Visit Victoria we discover ‘Tis the Box - a Melbourne owned and based company delivering seasonal health, beauty and lifestyle subscription boxes. For more info head to www.tisthe.com. Plus listener Anita's recommending a #ClickforVic stay at Apollo Bay.Click for Vic - Get the best of Victoria delivered at www.visitvictoria.com/clickforvic or HERE.Let us know about your wonderful Victoria recommendations or Click for Vic gems via our socials or feedback@dontshootpod.com.au.In the Cocktail Cabinet for Prince Wine Store - Tony Nowell joins us again to talk rose. Tony's top pick is Domain Tempier but for an Australian rose Prince recommend;Medhurst Estate Rosé 2020 Sutton Grange Fairbank Rosé 2019 Brash Higgins Nymph Rose 2020Prince Wine Store bringing Melbournians, the greatest wine in the world. Delivering Australia Wide. www.Prince Wine Store.com.au To receive a special listener discount enter the promo code MESS (as in Messenger) at checkout to receive your discount and tell the Prince team that Caro and Corrie sent you!In BSF Caro's been reading The Good Sister by Sally Hepworth (available HERE) and The Burning Island by Jock Serong (available HERE) and highly recommends the film In The Name of the Land. Corrie shares a delicious shortbread recipe thanks to Marg in Hamilton (see recipe below).For videos and pics make sure you follow us on Instagram or Twitter @DontShootPod.Email the show via feedback@dontshootpod.com.au.Like our Facebook page and hit 'Sign Up' to receive weekly updates HERE.Don't Shoot the Messenger is produced by Corrie Perkin, Caroline Wilson and produced, engineered and edited by Jane Nield for Sports Entertainment Network.Thanks to Clementine Donohoe for additional social media support. You can follow @clemmiedonohoe on Instagram HERE.Marg's Shortbread250g plain flour120g rice flour120g caster sugar250g butter1 dash of vanilla essenceCream butter and sugar, add vanilla. Add sifted flours. Roll out thinly. Cut with whatever cutters you like. Bake in a moderate oven for 10mins. Turn oven to slow (right down) and leave for another 10 minutes.

In the late 19th century, impressionism swept through the art world. In Australia, a group of young artists embraced the new movement - they would meet in artist's camps and paint en plein air. Among them was a young Arthur Streeton who would in due course become one of Australia's most loved and respected artists.   Wayne Tunnicliffe has curated an outstanding retrospective of Streeton’s work. Wayne is Head Curator of Australian art at the Art Gallery of NSW, and the retrospective gathers together over 150 of Streeton’s works, some not seen in public in over 100 years. This is Streeton as he has never been seen before. Wayne had the idea for the exhibition when he was curatorial adviser to an exhibition of Australian impressionists at the National Gallery in London. It was clear to him that Streeton stood out as the most significant landscape painter in the group. It makes sense that this retrospective is held at the Art Gallery of NSW. Not only does the Gallery have the largest collection of Streetons anywhere in the world, but they started buying his work in 1890 when he was an emerging artist at only 23 years of age.  In this episode we explore Streeton's life: his early years, his meeting some of the key figures in Australian art, his experience of life in London and during WWI, and his later years back in Australia. We also dig deep into a couple of the works with Wayne providing some fascinating insights. To hear the interview press 'play' beneath the above feature photo. You can see images of the works we talk about below. Streeton opens at the Art Gallery of NSW on 7 November 2020 and runs until 14 February 2021. To purchase tickets to the exhibition click here. https://youtu.be/JRvUErfm87Y Video excerpt from the podcast interview with Wayne Tunnicliffe on the forthcoming exhibition 'Streeton'. Here we talk about the iconic painting 'Fire's On' from the AGNSW's collection. To hear the full audio podcast episode (and more about this painting) click on the 'play' button under the feature photo at the top of this page. 'Golden Summer, Eaglemont', 1889, oil on canvas, 81.3 x 152.6cmNational Gallery of Australia, Canberra, purchased 1995 ‘Still glides the stream, and shall for ever glide’ 1890, oil on canvas, later mounted on hardboard, 82.6 x 153 cm Art Gallery of New South Wales, Sydney, purchased 1890 Photo: Jenni Carter, AGNSW 'Spring', 1890, oil on canvas on plywood, 81.4 x 152.6cmNational Gallery of Victoria, Melbourne, Gift of Mrs Margery Pierce, 1978 'Fire's on', 1891, oil on canvas 225.5 x 164 cm, Art Gallery of New South Wales Purchased 1893 Photo: Jenni Carter, AGNSW 'From McMahon's Point - fare one penny' 1890 oil on canvas 117.7 x 97.5 cm National Gallery of Australia, Canberra Purchased 1972 ‘The purple noon’s transparent might’ 1896 oil on canvas, 123 x 123 cm National Gallery of Victoria, Melbourne, purchased 1896 33-2 Photo: National Gallery of Victoria, Melbourne 'The Grand Canal' 1908 oil on canvas, 93 x 169 cm Collection of Susan Clarke, Victoria Photo: Glen Watson Arthur Streeton 'Balloons on fire' 1918 oil on canvas 63.4 × 76.2 cm National Gallery of Victoria, Melbourne Gilbee Bequest, 1918 Photo: National Gallery of Victoria, Melbourne

“Working in a fiery trance” 108 degrees in the shade provided the perfect atmosphere for Streeton to capture the hot, atmospheric quality of Australia.

Both Roberts and Condor painted the breathtaking view from Eaglemont Hill across the Yarra Valley to the Dandenongs but Streeton made it his own in magnificent blue and gold panoramas.

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.

This painting was one of Streeton’s few nods to symbolism. His allegorical Spirit of the Drought is placed on an Impressionist landscape and to that landscape he remained true.

Arthur Streeton and Sydney were each other’s gift. Sydney provided the perfect outdoor subjects for an Impressionist and Streeton become the champion of Sydney Harbour, painting it in all its moods.

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

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.

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.

The selector’s hut (Whelan on the log) is an iconic image of the ‘pioneering spirit’ that underpinned Australian nationalist attitudes of the late nineteenth century. Although most Australians lived in coastal cities and towns, it was the bush that was used as a symbol of Australian sentiment. In The selector’s hut (Whelan on the log) Arthur Streeton depicted these iconic elements of the land. The ‘blue and gold’ of sky and earth are encapsulated by the great scale of the sky, the golden grass and shimmering light, a slender silhouetted gum tree and a bush pioneer. By 1888 a railway had been constructed between Melbourne and the suburban fringe at Heidelberg. Towards the end of that year Streeton had set up ‘camp’ in an old house on Eaglemont estate, which was located close to Heidelberg at Mount Eagle. Mr C. M. Davies, part owner of the estate, had offered the house to the artist.1 Early in 1889 Streeton was joined by Charles Conder and Tom Roberts. The camp provided the perfect working environment–a reasonably isolated bush location that was still close to the city. Streeton found much inspiration in the area, nicknaming Eaglemont ‘our hill of gold’. Jack Whelan was the caretaker and farmer of the Eaglemont estate and shared the house with the artists over the summer of 1888–89. In The selector’s hut (Whelan on the log) Streeton has presented Whelan as a bush selector–a type of pioneering ‘hero’ who farmed the large properties of landowners. 1 Terence Lane, ‘Painting on the hill of gold: Heidelberg 1888–90’, in Terence Lane (ed.), Australian impressionism, Melbourne: National Gallery of Victoria, 2007, p. 123.