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Hidden Treasures with Betty Churcher: Inside the National Gallery of Australia. Violet Teague & Jessie Traill.

Author: Kanopy (Firm)
Publisher: [San Francisco, California, USA] : Kanopy Streaming, 2016.
Edition/Format:   eVideo : Clipart/images/graphics
Summary:
During the first two decades of the 20th century there was a spirit of emancipation among Australian women. Many now saw art as a viable career, enrolling in art schools across the country. Violet Teague and her friend Jessie Traill were part of a remarkable group of financially independent, middle-class women who never married, allowing them to devote their lives to art. From an early age both women travelled  Read more...
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Details

Material Type: Clipart/images/graphics, Internet resource, Videorecording
Document Type: Internet Resource, Computer File, Visual material
All Authors / Contributors: Kanopy (Firm)
OCLC Number: 956901191
Language Note: In English.
Notes: Playing time: 6 min.
Title from title frames.
In Process Record.
Event notes: Originally produced by National Film and Sound Archive of Australia in 2006.
Description: 1 online resource (1 video file, approximately 6 min.)

Abstract:

During the first two decades of the 20th century there was a spirit of emancipation among Australian women. Many now saw art as a viable career, enrolling in art schools across the country. Violet Teague and her friend Jessie Traill were part of a remarkable group of financially independent, middle-class women who never married, allowing them to devote their lives to art. From an early age both women travelled regularly overseas, which put them in touch with international trends. Jessie Traill's hand-coloured aquatint The Red Light, Harbour Bridge, June 1931 shifts the emphasis of etching from the intimate to the dramatic. It owes more to the etching revival in Europe than the brightly coloured wood and lino block prints popular in Australia in the 1930s. Violet Teague's handprinted children's book Nightfall in Ti-Tree, which she made with Geraldine Rede in 1905, uses handmade recycled paper made to look like Japanese mulberry paper and Japanese methods of binding and applying water-based ink with a brush. Even the asymmetrical placement of objects on the page is Japanese. In 1920, Teague's portrait The Boy with the Palette was exhibited in the Paris Salon, where it won a silver medal, and in the following year it attracted acclaim at an exhibition at the Royal Academy of London. It's a splendid painting, equal to any portrait painted in Australia before World War One, and Traill's etchings too hold their own. So why are both artists seldom mentioned in the story of Australian art? Perhaps because they were women, but more likely because Teague interrupted her career to look after an ailing father. And also because the independence of both women enabled them regular trips abroad, which meant they were more in touch with artists and art movements there than at home. A Film Australia National Interest Program in association with Early Works. Produced with the assistance of the Australian Broadcasting Corporation. Copyright - 2011 National Film and Sound Archive of Australia. Executive Producer: Anna Grieve Producer: John Hughes, Philippa Campey Director: John Hughes Writer: Betty Churcher DOP/Cinematographer: Joel Peterson Narrator/Presenter: Betty Churcher.

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