She traveled through North Queensland in the 1950s and followed this up with a trip to Papua New Guinea (France 12).Olley painted what she saw around her. She was critical of all sorts of pretense and deliberate characterization – like following fashion, gender stereotyping of women and Australia’s isolation in the world. She adopted truthfulness in all that she saw and did. The quality of her work greatly improved after she gave up consuming alcohol in 1959. The colors in her work were deeper and her drawings more confident and three dimensional in structure, form and weight (Stewart 22). She was honored with the Order of Australia in 1991 and also won the Mosman Art Prize in 1947. Amazingly, two of her portraits – one by William Dobell in 1948 and another by Ben Quilty in 2011 – both won an Archibald Prize. One can easily see the deep vibrant colors in Poppies and Checked Cloth while Turkish Pots and Lemons hold a touch of intrigue behind the hazy look. Marigolds and Fruit once again reminds us of days gone by like the Victorian era (Pearce 19).Grace Cossington Smith (1892-1984) has been hailed as the first of Australia’s Post Impressionist painters. She was born in Neutral Bay Sydney but lived most of her life at her mother’s home in Turramurra. She studied art under the tutelage of Albert Collins and Alfred Coffey. During the First World War and soon after, she spent some time in Leicester, England and Speck, Germany. Returning to Sydney in 1914, she attended art classes under Datillo Rubbo and took an interest in modern art forms. Her Sock Knitter (1915) is considered Australia’s first Post Impressionist painting. It shows her sister Madge in the process of knitting socks for the War effort. Its message is simple but strong: women are prepared to do their lot for the War (James, 7). The Prince is a depiction of the Prince of Wales as he tours Australia being driven in his car across the street as crowds of onlookers gaze on. It reflects the love and respect Australians had for the monarchy when the country was considered very much a part of the British Empire (Thomas 12). Crowd shows what its subject matter entails – indicating that Sydney was a busy place and the population was rising as the economy improved. The people in the crowd are wearing hats reminiscent of the fashion of that period.Cossington painted the everyday life of Sydney, its roads, suburbs and landscapes. Her painting of Sydney Harbor
Abramowicz, Janet. Giorgio Morandi: The Art of Silence. Yale University Press, 2004. Print.
Bell, Jane. “Messages in Bottles: The Noble Grandeur of Giorgio Morandi”. ARTnews, March 1982: 114–117.Print.
Coldwell, Paul. Morandis Legacy: Influences on British Art. I.B. Tauris, 2006.
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