Latest news with #post-Impressionist
The Advertiser
27-05-2025
- Entertainment
- The Advertiser
Never-before-seen Margaret Preston artworks go on show
Two recently discovered paintings by one of Australia's most significant artists are going on show to the public for the first time. Margaret Preston is best known for her distinctively Australian still lifes and printmaking, but while based in Ireland during World War I, she painted two post-Impressionist views of the coast. The oil paintings were held in a private collection in Britain, and even art scholars specialising in Preston's work were unaware the paintings existed, according to Art Gallery of South Australia curator Tracey Lock. The paintings will finally go on public display as part of Dangerously Modern: Australian Women Artists in Europe 1890–1940, currently on at the Art Gallery of South Australia, before opening at the Art Gallery of New South Wales in October. The exhibition is a joint project by both galleries, with art from their collections making up about half the works on show - what's more, the galleries have acquired one of the Preston paintings each. With 50 artists and 220 artworks, Dangerously Modern is billed as the first major exhibition to explore the role of Australian women in modernism internationally. At the turn of the 20th century, waves of women artists left Australia to work overseas, in defiance of social expectations at the time. Not only did these artists contribute to the development of modernism in Europe, they returned home with fresh ideas that helped modernise Australia too. The exhibition title comes from an article by artist Thea Proctor, who returned from London to Sydney in 1921 to find her art described as "dangerously modern". The show also includes work from the likes of Nora Heysen and Grace Cossington Smith, but there are names that are less well known, such as Justine Kong Sing and Stella Marks. Many trailblazing women artists were successful during their lifetimes, only to find themselves written out of art history in the postwar period, said Lock. "Almost overnight - bam! They are erased from the record," she said. Dangerously Modern is no less than an effort to bring these artists back into the historical narrative - and a 65,000-word catalogue with essays from 29 art scholars should help. Lock believes part of the reason women have been left out is that Australian art history (and those writing it) did not value the themes these artists were exploring at the time. Rather than the usual tenets of light, landscape and national identity, women artists such as Anne Dangar were exploring notions of spiritualism, for example. "Our women get lost, they get a bit stuck in some blind spot in Australian art, we don't know what to do with them," said Lock. "Frankly, it's time to change, and show the power of this work." While Australia's state galleries regularly loan works, they do not often collaborate on the design and concept of a show. But when AGNSW and AGSA realised they were preparing similar exhibitions, they decided to work together. There are Sydney artists such Proctor, Dangar and Cossington Smith, as well as Grace Crowley, while South Australian names include Dorrit Black along with Heysen and Preston. "Maybe it's in the water or something, but it turns out Adelaide has produced a number of very talented modern women artists," said Lock. Dangerously Modern is on at the Art Gallery of South Australia until September 7 and will show at the Art Gallery of New South Wales from October 11 until February 2026. Two recently discovered paintings by one of Australia's most significant artists are going on show to the public for the first time. Margaret Preston is best known for her distinctively Australian still lifes and printmaking, but while based in Ireland during World War I, she painted two post-Impressionist views of the coast. The oil paintings were held in a private collection in Britain, and even art scholars specialising in Preston's work were unaware the paintings existed, according to Art Gallery of South Australia curator Tracey Lock. The paintings will finally go on public display as part of Dangerously Modern: Australian Women Artists in Europe 1890–1940, currently on at the Art Gallery of South Australia, before opening at the Art Gallery of New South Wales in October. The exhibition is a joint project by both galleries, with art from their collections making up about half the works on show - what's more, the galleries have acquired one of the Preston paintings each. With 50 artists and 220 artworks, Dangerously Modern is billed as the first major exhibition to explore the role of Australian women in modernism internationally. At the turn of the 20th century, waves of women artists left Australia to work overseas, in defiance of social expectations at the time. Not only did these artists contribute to the development of modernism in Europe, they returned home with fresh ideas that helped modernise Australia too. The exhibition title comes from an article by artist Thea Proctor, who returned from London to Sydney in 1921 to find her art described as "dangerously modern". The show also includes work from the likes of Nora Heysen and Grace Cossington Smith, but there are names that are less well known, such as Justine Kong Sing and Stella Marks. Many trailblazing women artists were successful during their lifetimes, only to find themselves written out of art history in the postwar period, said Lock. "Almost overnight - bam! They are erased from the record," she said. Dangerously Modern is no less than an effort to bring these artists back into the historical narrative - and a 65,000-word catalogue with essays from 29 art scholars should help. Lock believes part of the reason women have been left out is that Australian art history (and those writing it) did not value the themes these artists were exploring at the time. Rather than the usual tenets of light, landscape and national identity, women artists such as Anne Dangar were exploring notions of spiritualism, for example. "Our women get lost, they get a bit stuck in some blind spot in Australian art, we don't know what to do with them," said Lock. "Frankly, it's time to change, and show the power of this work." While Australia's state galleries regularly loan works, they do not often collaborate on the design and concept of a show. But when AGNSW and AGSA realised they were preparing similar exhibitions, they decided to work together. There are Sydney artists such Proctor, Dangar and Cossington Smith, as well as Grace Crowley, while South Australian names include Dorrit Black along with Heysen and Preston. "Maybe it's in the water or something, but it turns out Adelaide has produced a number of very talented modern women artists," said Lock. Dangerously Modern is on at the Art Gallery of South Australia until September 7 and will show at the Art Gallery of New South Wales from October 11 until February 2026. Two recently discovered paintings by one of Australia's most significant artists are going on show to the public for the first time. Margaret Preston is best known for her distinctively Australian still lifes and printmaking, but while based in Ireland during World War I, she painted two post-Impressionist views of the coast. The oil paintings were held in a private collection in Britain, and even art scholars specialising in Preston's work were unaware the paintings existed, according to Art Gallery of South Australia curator Tracey Lock. The paintings will finally go on public display as part of Dangerously Modern: Australian Women Artists in Europe 1890–1940, currently on at the Art Gallery of South Australia, before opening at the Art Gallery of New South Wales in October. The exhibition is a joint project by both galleries, with art from their collections making up about half the works on show - what's more, the galleries have acquired one of the Preston paintings each. With 50 artists and 220 artworks, Dangerously Modern is billed as the first major exhibition to explore the role of Australian women in modernism internationally. At the turn of the 20th century, waves of women artists left Australia to work overseas, in defiance of social expectations at the time. Not only did these artists contribute to the development of modernism in Europe, they returned home with fresh ideas that helped modernise Australia too. The exhibition title comes from an article by artist Thea Proctor, who returned from London to Sydney in 1921 to find her art described as "dangerously modern". The show also includes work from the likes of Nora Heysen and Grace Cossington Smith, but there are names that are less well known, such as Justine Kong Sing and Stella Marks. Many trailblazing women artists were successful during their lifetimes, only to find themselves written out of art history in the postwar period, said Lock. "Almost overnight - bam! They are erased from the record," she said. Dangerously Modern is no less than an effort to bring these artists back into the historical narrative - and a 65,000-word catalogue with essays from 29 art scholars should help. Lock believes part of the reason women have been left out is that Australian art history (and those writing it) did not value the themes these artists were exploring at the time. Rather than the usual tenets of light, landscape and national identity, women artists such as Anne Dangar were exploring notions of spiritualism, for example. "Our women get lost, they get a bit stuck in some blind spot in Australian art, we don't know what to do with them," said Lock. "Frankly, it's time to change, and show the power of this work." While Australia's state galleries regularly loan works, they do not often collaborate on the design and concept of a show. But when AGNSW and AGSA realised they were preparing similar exhibitions, they decided to work together. There are Sydney artists such Proctor, Dangar and Cossington Smith, as well as Grace Crowley, while South Australian names include Dorrit Black along with Heysen and Preston. "Maybe it's in the water or something, but it turns out Adelaide has produced a number of very talented modern women artists," said Lock. Dangerously Modern is on at the Art Gallery of South Australia until September 7 and will show at the Art Gallery of New South Wales from October 11 until February 2026. Two recently discovered paintings by one of Australia's most significant artists are going on show to the public for the first time. Margaret Preston is best known for her distinctively Australian still lifes and printmaking, but while based in Ireland during World War I, she painted two post-Impressionist views of the coast. The oil paintings were held in a private collection in Britain, and even art scholars specialising in Preston's work were unaware the paintings existed, according to Art Gallery of South Australia curator Tracey Lock. The paintings will finally go on public display as part of Dangerously Modern: Australian Women Artists in Europe 1890–1940, currently on at the Art Gallery of South Australia, before opening at the Art Gallery of New South Wales in October. The exhibition is a joint project by both galleries, with art from their collections making up about half the works on show - what's more, the galleries have acquired one of the Preston paintings each. With 50 artists and 220 artworks, Dangerously Modern is billed as the first major exhibition to explore the role of Australian women in modernism internationally. At the turn of the 20th century, waves of women artists left Australia to work overseas, in defiance of social expectations at the time. Not only did these artists contribute to the development of modernism in Europe, they returned home with fresh ideas that helped modernise Australia too. The exhibition title comes from an article by artist Thea Proctor, who returned from London to Sydney in 1921 to find her art described as "dangerously modern". The show also includes work from the likes of Nora Heysen and Grace Cossington Smith, but there are names that are less well known, such as Justine Kong Sing and Stella Marks. Many trailblazing women artists were successful during their lifetimes, only to find themselves written out of art history in the postwar period, said Lock. "Almost overnight - bam! They are erased from the record," she said. Dangerously Modern is no less than an effort to bring these artists back into the historical narrative - and a 65,000-word catalogue with essays from 29 art scholars should help. Lock believes part of the reason women have been left out is that Australian art history (and those writing it) did not value the themes these artists were exploring at the time. Rather than the usual tenets of light, landscape and national identity, women artists such as Anne Dangar were exploring notions of spiritualism, for example. "Our women get lost, they get a bit stuck in some blind spot in Australian art, we don't know what to do with them," said Lock. "Frankly, it's time to change, and show the power of this work." While Australia's state galleries regularly loan works, they do not often collaborate on the design and concept of a show. But when AGNSW and AGSA realised they were preparing similar exhibitions, they decided to work together. There are Sydney artists such Proctor, Dangar and Cossington Smith, as well as Grace Crowley, while South Australian names include Dorrit Black along with Heysen and Preston. "Maybe it's in the water or something, but it turns out Adelaide has produced a number of very talented modern women artists," said Lock. Dangerously Modern is on at the Art Gallery of South Australia until September 7 and will show at the Art Gallery of New South Wales from October 11 until February 2026.
Perth Now
27-05-2025
- Entertainment
- Perth Now
Never-before-seen Margaret Preston artworks go on show
Two recently discovered paintings by one of Australia's most significant artists are going on show to the public for the first time. Margaret Preston is best known for her distinctively Australian still lifes and printmaking, but while based in Ireland during World War I, she painted two post-Impressionist views of the coast. The oil paintings were held in a private collection in Britain, and even art scholars specialising in Preston's work were unaware the paintings existed, according to Art Gallery of South Australia curator Tracey Lock. The paintings will finally go on public display as part of Dangerously Modern: Australian Women Artists in Europe 1890–1940, currently on at the Art Gallery of South Australia, before opening at the Art Gallery of New South Wales in October. The exhibition is a joint project by both galleries, with art from their collections making up about half the works on show - what's more, the galleries have acquired one of the Preston paintings each. With 50 artists and 220 artworks, Dangerously Modern is billed as the first major exhibition to explore the role of Australian women in modernism internationally. At the turn of the 20th century, waves of women artists left Australia to work overseas, in defiance of social expectations at the time. Not only did these artists contribute to the development of modernism in Europe, they returned home with fresh ideas that helped modernise Australia too. The exhibition title comes from an article by artist Thea Proctor, who returned from London to Sydney in 1921 to find her art described as "dangerously modern". The show also includes work from the likes of Nora Heysen and Grace Cossington Smith, but there are names that are less well known, such as Justine Kong Sing and Stella Marks. Many trailblazing women artists were successful during their lifetimes, only to find themselves written out of art history in the postwar period, said Lock. "Almost overnight - bam! They are erased from the record," she said. Dangerously Modern is no less than an effort to bring these artists back into the historical narrative - and a 65,000-word catalogue with essays from 29 art scholars should help. Lock believes part of the reason women have been left out is that Australian art history (and those writing it) did not value the themes these artists were exploring at the time. Rather than the usual tenets of light, landscape and national identity, women artists such as Anne Dangar were exploring notions of spiritualism, for example. "Our women get lost, they get a bit stuck in some blind spot in Australian art, we don't know what to do with them," said Lock. "Frankly, it's time to change, and show the power of this work." While Australia's state galleries regularly loan works, they do not often collaborate on the design and concept of a show. But when AGNSW and AGSA realised they were preparing similar exhibitions, they decided to work together. There are Sydney artists such Proctor, Dangar and Cossington Smith, as well as Grace Crowley, while South Australian names include Dorrit Black along with Heysen and Preston. "Maybe it's in the water or something, but it turns out Adelaide has produced a number of very talented modern women artists," said Lock. Dangerously Modern is on at the Art Gallery of South Australia until September 7 and will show at the Art Gallery of New South Wales from October 11 until February 2026.
South China Morning Post
28-02-2025
- Entertainment
- South China Morning Post
Immersive ‘Van Gogh Alive' exhibition returns to Hong Kong
Vincent van Gogh is a towering figure in the art world. His post-Impressionist sunflowers and nightscapes, at the time revolutionary for their bold colours and heavy impasto, are today familiar to all. The tumultuous story of his life, however, from struggling with mental health and poverty, to infamously cutting off part of his left ear, puts him in the top tier of tortured-artist stereotypes. The Starry Night by Vincent van Gogh is exhibited on screens at 'Van Gogh Alive'. Photo: Grande Experiences One of the more thorough exhibitions to dissect the painter's life and art is 'Van Gogh Alive – The Experience', which returns to Hong Kong after six years, having travelled to more than 100 cities worldwide. Combining art with cutting-edge technology, this iteration, at the K11 Atelier King's Road in Quarry Bay, presents about 3,000 paintings through modern projection techniques. Iconic works such as Sunflowers, The Starry Night and Wheatfield with Crows are blown up across giant screens using the Sensory 4 system, which combines motion graphics, allowing visitors to appreciate every brushstroke in minute detail. It's as close as you'll get to stepping into a painting by the Dutch master. Vincent van Gogh's paintings come together with auditory and olfactory elements at 'Van Gogh Alive'. Photo: Grande Experiences Starting March 10, the exhibition goes beyond visual stimulation by also incorporating auditory and olfactory elements. Classical scores from greats such as Schubert and Bach suffuse the exhibition with a sense of grandeur in cinema-quality surround sound, while aromatic elements designed with top, middle and base notes evoke scents related to van Gogh's paintings – whether it's the fragrance of Sunflowers or the crisp air of The Starry Night. The immersive area at 'Van Gogh Alive'. Photo: Grande Experiences 'Van Gogh Alive' also encourages participation through interpretive areas. Visitors can step into a life-size replica of Bedroom in Arles, interact with art stations that offer drawing tutorials, and gain insights into van Gogh's life through large-scale graphics and quotes. Advertisement Those who fancy themselves as subjects of van Gogh's paintbrush can now bring their dream to life thanks to AI Van Gogh, a new initiative that uses artificial intelligence to generate a personal portrait in the artist's vibrant aesthetic. Bandaged ear optional. Runs from March 10 to June 8. For tickets, go to
