Aug 7, 2017 - Explore allthosedogs's board "Grace Cossington Smith" on Pinterest. Click here to subscribe if you a new user or click here to log in if you are a current subscriber. http://adb.anu.edu.au/biography/smith-grace-cossington-8469/text14893, 3. Whirlpools of cloth ridge around the fruit and push back against the drapery’s impetuous fall from above. Grace Cossington Smith (1892-1984), artist, was born on 20 April 1892 at Cossington, Neutral Bay, Sydney, second of five children of Ernest Smith, London-born crown solicitor, and his wife Grace, née Fisher, daughter of the rector and squire of Cossington, Leicestershire. no. Gracie hits her stride with the palette knife. By contrast to the decisively-modelled topography, the fruit is not modelled at all. Still Life with Wattle was painted in 1939, a joyous celebration of Australia's national flower that coincided with the political and social upheaval of the outbreak of World War Two in the same year. Here, the pieces of fruit bounce airily on hillocks of rumpled cloth. Her practice was to paint ’two or three hours in the morning and then perhaps an hour or two in the afternoon’.2 Consequently, her paintings more often represent the pure light of morning than the brazen afternoon. For Grace Cossington Smith, however, still life and interiors (a form of still life) involved the stiff challenge of shaping the familiar world for an elemental experience.Morning light and winter appear to be the underlying, conventional notes of Still Life in the Window, 1959. It frets at order like an irritant.’’So, in her best work, she presented a double image. The soft palette is suffused with a rosy light, highlighting the transparent quality of the two vases and the glass. The brilliant effect is more Sainte Chapelle than the traditional love apples with decay already at work within their flesh. Both were named after her mother's original home, Cossington Hall, in Leicestershire, England. But since the winter morning effects, as she would say, happened ’unconsciously’, they fit into the category of the incidental. In much the same way as she had produced elegiac yet exuberant flowerpieces on the death of her mother in 1931 (Poinsettias, 1931, Private collection; Hippeastrums Growing 1931, Private collection), here too Cossington Smith seems to be challenging the supremacy of death through her vibrant choice of colour and imagery. Each of us ought to know the answer to that. 12. In fact, the use of this vivid colour in fabric was one favoured by Cossington Smith throughout her career: seen in fabrics draped in Interior with Blue Painting (1956, National Gallery of Victoria collection) and Interior (1958, Queensland Art Gallery collection). Colour aired with light pleased her, whereas Margaret Preston’s contra-practice of offsetting bright colours against black did not. By contrast, Cossington Smith’s domestic scenes are full of life, implying a certain fluidity between the interior and the natural world outside.10 In Jug with Fruit in the Window, the open angle of the table and central placement of the jug immediately direct the viewer’s gaze through the window, to the vibrant greenery of the garden. ibid.3. Melbourne, Toorak Art Gallery, Mid Year Exhibition, June 1969, cat. Selected images available from www.fairfaxsyndication.com. Academic or grandiose subjects might have been eschewed, but the essence of Cossington Smith's art was in the brilliant interplay of form and colour, which resulted in works of unsurpassed colour, rhythm and radiance. It is as light as air.It seems that light, for Cossington Smith, embraced qualities of air and weightlessness. The artist’s father, Ernest Smith, constructed a small studio in the garden, which was to serve as her main place of work for the next twenty-five years. Cossington Smith, G., quoted in Thomas, D., 'Smith, Grace Cossington (1892–1984),’ Australian Dictionary of Biography, National Centre of Biography, Australian National University. The fruit radiates light. Part of the NGA Collection bequest from Ms Jerrems Estate, "Paint what you know" and here is the bedroom of Miss Grace Cossington Smith in Turramurra NSW. Grace Cossington Smith knew it was an advantage not to have to work. Description: GRACE COSSINGTON SMITH (1892-1984), Still Life with Lilies 1966 GRACE COSSINGTON SMITH (1892-1984), Still Life with Lilies 1966 oil on canvas on board, 51.0 x 38.5 cm signed and dated lower right: G. Cossington Smith 66 , , Private collection Goodman's Auctioneers, Sydney, 19 November 2001, lot 132 Private collection, Brisbane Hart, D., ‘Radiance: A State of Being, p.90. Thomas, D., 'Smith, Grace Cossington (1892–1984)’ Search for Matching Provenance *** *** We do not buy, sell or auction works of art. Her choice of subject matter was often domestic, or took on a documentary aspect as in The Curve of the Bridge (1928-29, National Gallery of Victoria collection) or The Lacquer Room (1935-36, Art Gallery of New South Wales collection). Catherine Baxendale, B Phil (Hons), MA (Art Curatorship). 53.6 x 45.6 cm Abstraction was fast becoming the default mode of contemporary art. Search for Matching Provenance *** *** Jug with Fruit in the Window was one of the few privately held works to be included in a subsequent touring retrospective in 2005, curated by the National Gallery of Australia. Cossington Smith, G., quoted in Hart, D., ‘Radiance: A State of Being,’ in Grace Cossington Smith: A Retrospective Exhibition, National Gallery of Australia, Canberra, 2005, p.80, 7. Hart, D., Grace Cossington Smith, National Gallery of Australia, Canberra, 2005, p. 90. 4. ‘Artist Profile: Grace Cossington Smith,’ Art Gallery of New South Wales, Sydney https://www.artgallery.nsw.gov.au/collection/artists/cossington-smith-gr... 13. Unhurried by economic need, unflustered by an applauding public, she could wait until the moment was right: ’I only paint when I want to’; ’When I do paint it is something I want to do’. Curator Deborah Hart writes that the artist’s embrace of vibrant, non-referential colour during the 1950s and 60s ‘reflects a sense of liberation in growing older, freed from the pressures of having to prove herself.’7 Cossington Smith’s other still lifes of this era demonstrate her willingness to experiment with different colour schemes, corresponding to changes in atmosphere and ‘mood’.8 Interior 1958 in the collection of the Queensland Art Gallery reveals a jewel-like palette of magenta, turquoise and gold; while the more serene Still Life with Jugs 1963 features brightly coloured ceramics and fruit amid contrasting red and blue drapery. 10. Sydney, The Macquarie Galleries, Grace Cossington Smith, 21 June - 10 July 1972, cat.no.16 (titled Still Life with Blue Glass) Lot Essay Together with Roy de Maistre and Roland Wakelin, Grace Cossington Smith was one of a triumvirate that pioneered Modernism in Australian art. The family moved to Thornleigh, New South Wales around 1890. Miss Grace Cossington Smith age 80, image copyright Fairfax Press Ltd. Grace Cossington Smith, interior with bed, dresser, paintings, window and mantel. We have over 600,000 lots listed of which about 400,000 have accompanying images. cit., Roberts, A., transcripts, pp. Grace Cossington Smith’s radiant still lifes and interiors of the 1950s and 60s are broadly considered to mark the culmination of her career. clever referential portrait of Grace Cossington Smith by Carol Jerrems (1949-1980) in 1974 when Grace was 82. Hart, D., ‘Radiance: A State of Being,’ p.90, 15. verso: Ltd., Melbourne, Australia. Grace Cossington Smith painted her Turramurra bedroom again. This is where the modeller gave way to the colourist, who excluded cast shadows as ‘superficial’.4 Instead, here, she has encompassed each piece of fruit and the jugs with a discontinuous, fine dark line within which the colour has intense and vibrant life. Grace Cossington Smith knew it was an advantage not to have to work. signed and dated 'G Cossington Smith 39' (lower left) Grace Cossington Smith knew it was an advantage not to have to work. Nevertheless, several scholars have observed abstract tendencies in Cossington Smith’s mature works, citing her renewed focus upon painterly surface and 'colour as form'.16 Ultimately, however, Cossington Smith never abandoned figuration entirely: the subjects of her paintings are always readily discernible. Cossington Smith began studies with painter Antonio Dattilo Rubbo in … A cold light plays on yellow-green winter fruits, quinces, pears and apples. I can see that this homily perhaps has some merit. Still, when I hear it repeated, I think: "Well, yes, but a destination does in fact await us." Grace Cossintgon Smith is very well known in Australia, but I don't know how much of her is known overseas. This is seen to most dramatic effect in the section of wall on the top right, where pearlescent brushstrokes of yellow and cream are interspersed with touches of pale pink and indigo. Mossvale Landscape with Cows (Drought 1938) From the National Gallery of Victoria to the Louvre Abu Dhabi, how the world's great museums are bringing the best of their collections into your home. Oil on composition board, signed and dated lower left : G Cossington Smith 59 signed and inscribed with title on artist's label verso: Still Life in the Window / Grace Cossington Smith bears inscription verso: I2, 61.5 x 47.5 cm . Perceptive James Gleeson saw a battle between light and solidity. In the absence of conventional perspective, Cossington Smith has adjusted her distribution of colour to convey a softening and sharpening of focus. oil on board We are often advised to take heed of the old saw "life is a journey, not a destination." Animating the entire surface of her paintings with ‘confident, square touches of pure colour,’1 Cossington Smith fulfilled her long-held ambition to paint ‘colour within colour, vibrant with light.’2Jug with Fruit in the Window 1960 is a consummate example of Cossington Smith’s approach to still life, combining a characteristically lively palette with an underlying rigour of composition and form. The site is not an online gallery, and the only items that will be available for sale are those listed as coming up in forthcoming auctions. In the words of her friend, Interview magazine’s Bob Colacello, Barbara de Kwiatkowski was the 1970s It Girl —‘the embodiment of a decade’, Australian, International & Contemporary Paintings Part II. Our database has art auction market prices for Dorothea (Dorrit) Foster Black, 1891-1951, Australia and other Australian and New Zealand artists covering the last 40 years sales. Suggested further reading. The interior of Grace Cossington Smith’s Turramurra (Sydney) home was the inspiration for many works. This is where Philip Larkin comes in handy. Animating the entire surface of her paintings with ‘confident, square touches of pure colour,’1 Cossington Smith fulfilled her long-held ambition to paint ‘colour within colour, vibrant with light.’2 Jug with Fruit in the Window 1960 is It also featured in sister Diddy's coat in Lili Kraus in the Town Hall (1946, Private collection), in Church Interior (1941-42, Queensland Art Gallery collection) and was used as early as 1916 in The Reader (Art Gallery of New South Wales collection), acting as it does here as a prism for a range of other colours ranging from blue and purple to pink and yellow.
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