BUSH TO BAY: 2 December 2017 - 28 January 2018
In 1894 the Australian artist Tom Roberts painted what would become known as one of the most important paintings in the artist's oeuvre, Mosman’s Bay. It was created by the artist during his time spent at the Curlew Artist Camp, then situated on the edge of Sirius Cove, Mosman. This iconic Australian painting has now come to symbolise the rich history of the Australian Impressionist movement that developed at the artist camps of Curlew Camp, Sirius Cove in Mosman in the late 19th century along with the Impressionist movement in Heidelberg, Victoria.
It was at Sirius Cove that a young Howard Hinton met and became firm friends with many of these important artists. Hinton began collecting their works and in doing so established one of the most significant private collections of artworks by Australian impressionist painters, now held in the collection of the New England Regional Art Museum.
Now, over 120 years later a collaboration has taken place between a group of contemporary artists from both the New England and Mosman regions, who have responded to Mosman's glorious harbour side location and this significant site in Australian art history. Contemporary artworks by: Gabrielle Collins, Viola Dominello, Ashley Frost, Michelle Hungerford, Angus Nivison, Elouise Roberts, Hadyn Wilson and Ana Young. Historical art works by: Charles Condor, A J Daplyn, Henry Fullwood, Lionel Lindsay, Sydney Long, Francis McComas, Tom Roberts, Arthur Streeton and H.J. Weston.
Bush to Bay: Hinton and the Artists' Camps was a collaborative exhibition developed in partnership between the New England Regional Art Museum and Mosman Art Gallery. The exhibition was originally presented at New England Regional Art Museum from December 2016 to March 2017 and was curated by Sandra McMahon. The exhibition at Mosman Art Gallery was curated by Katrina Cashman.
In 1894 the Australian artist Tom Roberts painted what would become known as one of the most important paintings in the artist's oeuvre, Mosman’s Bay. It was created by the artist during his time spent at the Curlew Artist Camp, then situated on the edge of Sirius Cove, Mosman. This iconic Australian painting has now come to symbolise the rich history of the Australian Impressionist movement that developed at the artist camps of Curlew Camp, Sirius Cove in Mosman in the late 19th century along with the Impressionist movement in Heidelberg, Victoria.
It was at Sirius Cove that a young Howard Hinton met and became firm friends with many of these important artists. Hinton began collecting their works and in doing so established one of the most significant private collections of artworks by Australian impressionist painters, now held in the collection of the New England Regional Art Museum.
Now, over 120 years later a collaboration has taken place between a group of contemporary artists from both the New England and Mosman regions, who have responded to Mosman's glorious harbour side location and this significant site in Australian art history. Contemporary artworks by: Gabrielle Collins, Viola Dominello, Ashley Frost, Michelle Hungerford, Angus Nivison, Elouise Roberts, Hadyn Wilson and Ana Young. Historical art works by: Charles Condor, A J Daplyn, Henry Fullwood, Lionel Lindsay, Sydney Long, Francis McComas, Tom Roberts, Arthur Streeton and H.J. Weston.
Bush to Bay: Hinton and the Artists' Camps was a collaborative exhibition developed in partnership between the New England Regional Art Museum and Mosman Art Gallery. The exhibition was originally presented at New England Regional Art Museum from December 2016 to March 2017 and was curated by Sandra McMahon. The exhibition at Mosman Art Gallery was curated by Katrina Cashman.
Artist Statement |
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Mosman is very familiar to me having spent my teenage years living in Boyle Street and going to school in Milsons Point. Through the abundant views and an egalitarian access to foreshore areas, the harbour of Mosman become deeply embedded in my consciousness. In my Latin classes at St Aloysius College Milsons Point I compulsively sketched the Opera House and at age fifteen I travelled on the Mosman Bay ferry to my first job in Sydney’s CBD. I have continued to paint Sydney harbour ever since.
I have wanted to convey through my works what I find truly unique and beautiful about the artist camps of Mosman. From Autumn through to early Spring this year I regularly visited Mosman to paint a number of studies and plein air paintings around the Mosman artist camps of Sirius Cove. I found the wonderfully preserved bush around the camps takes on an almost mystical quality in the late afternoon light. This is due in part to the typography of the narrow strips of bush on the headlands bordered by the reflective light of Sydney harbour.
The low sunlight of a winter afternoon, while fleeting, can illuminate large sections of the bush, colouring swathes of trees, forest floor and rocks. For some works I wanted to directly reference Streeton’s panoramic format to explore this transition of light across the horizontal plane.
It was in the quite moments while creating the works you see in this show that I began to understand what drew so many great artists to the shores of Mosman; and continues to do so in the present day. It is therefore a great honor to be a part of this show at Mosman Regional Art Gallery and to be a part of the lineage of artists who have painted here, past, present and future.
I have wanted to convey through my works what I find truly unique and beautiful about the artist camps of Mosman. From Autumn through to early Spring this year I regularly visited Mosman to paint a number of studies and plein air paintings around the Mosman artist camps of Sirius Cove. I found the wonderfully preserved bush around the camps takes on an almost mystical quality in the late afternoon light. This is due in part to the typography of the narrow strips of bush on the headlands bordered by the reflective light of Sydney harbour.
The low sunlight of a winter afternoon, while fleeting, can illuminate large sections of the bush, colouring swathes of trees, forest floor and rocks. For some works I wanted to directly reference Streeton’s panoramic format to explore this transition of light across the horizontal plane.
It was in the quite moments while creating the works you see in this show that I began to understand what drew so many great artists to the shores of Mosman; and continues to do so in the present day. It is therefore a great honor to be a part of this show at Mosman Regional Art Gallery and to be a part of the lineage of artists who have painted here, past, present and future.
