DOI Heft:
No. 241 (April 1913)
DOI Artikel:The public art galleries of Australia
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.21160#0229
The Public A rt Galleries of A ustralia
Morland, Constable, and Bastien-Lepage. The "And thus the whirligig of time brings in his
work by Constable is a sketch, and that by Bastien- revenges."
Lepage is a scriptural subject painted when the The majority of Australian artists who have
artist was twenty-six years of age. There is the gained distinction abroad were trained at the
same dead level in a number of works by painters Government school associated with the Melbourne
of to-day. Puvis de Chavannes' L'Hiver and Gallery. Rupert Bunny, who has an assured
Burne-Jones's Wheel of Fortune, though repetitions position among artists in Paris, and is one of the
of works bearing the same name, are interesting few British painters who have two .works in the
paintings and the value of the collection is en- Luxembourg, is represented by Endormies and
hanced by replicas of sculpture by Rodin, Barye, Sea Idylls. Mention has been made of Mackennal,
Fremiet, and Alfred Gilbert.
Rodin is represented by the
marble head Mi?ierve sans
Casque, a bronze head of
Jean Paul Laurens from
the original in the Luxem-
bourg, and an original
bronze statuette. The
works by Gilbert consist of
Perseus Arming, the bronze
head of an old fisherman,
and an exquisitely wrought
St. Elizabeth of Hungary,
a sketch model for one of
the twelve statuettes for
the Clarence tomb at
Windsor; and those by
Fremiet are the statue of
Joan of Arc (from the
original in the Palais des
Pyramides in Paris) and a
small statuette of St. George
and the Dragon.
The bronze Circe, which
is an original work by
Bertram Mackennal, is
another valuable addition
to the statuary. Some years
ago, when the sculptor was
not so widely known, the
trustees offered him ^800
for this work, but as they
wanted to dole it out in
instalments . the artist
closed with a private offer
at the same figure. But
eventually the growing
reputation of the artist im-
pressed the trustees with
the necessity of having at
least one work by Mac-
kennal, and three years ago
Circe was secured from a
"minerve sans casque (replica) by auguste rodin
private owner for ^£,1200. (Felton Bequest, National Gallery, Melbourne)
206
Morland, Constable, and Bastien-Lepage. The "And thus the whirligig of time brings in his
work by Constable is a sketch, and that by Bastien- revenges."
Lepage is a scriptural subject painted when the The majority of Australian artists who have
artist was twenty-six years of age. There is the gained distinction abroad were trained at the
same dead level in a number of works by painters Government school associated with the Melbourne
of to-day. Puvis de Chavannes' L'Hiver and Gallery. Rupert Bunny, who has an assured
Burne-Jones's Wheel of Fortune, though repetitions position among artists in Paris, and is one of the
of works bearing the same name, are interesting few British painters who have two .works in the
paintings and the value of the collection is en- Luxembourg, is represented by Endormies and
hanced by replicas of sculpture by Rodin, Barye, Sea Idylls. Mention has been made of Mackennal,
Fremiet, and Alfred Gilbert.
Rodin is represented by the
marble head Mi?ierve sans
Casque, a bronze head of
Jean Paul Laurens from
the original in the Luxem-
bourg, and an original
bronze statuette. The
works by Gilbert consist of
Perseus Arming, the bronze
head of an old fisherman,
and an exquisitely wrought
St. Elizabeth of Hungary,
a sketch model for one of
the twelve statuettes for
the Clarence tomb at
Windsor; and those by
Fremiet are the statue of
Joan of Arc (from the
original in the Palais des
Pyramides in Paris) and a
small statuette of St. George
and the Dragon.
The bronze Circe, which
is an original work by
Bertram Mackennal, is
another valuable addition
to the statuary. Some years
ago, when the sculptor was
not so widely known, the
trustees offered him ^800
for this work, but as they
wanted to dole it out in
instalments . the artist
closed with a private offer
at the same figure. But
eventually the growing
reputation of the artist im-
pressed the trustees with
the necessity of having at
least one work by Mac-
kennal, and three years ago
Circe was secured from a
"minerve sans casque (replica) by auguste rodin
private owner for ^£,1200. (Felton Bequest, National Gallery, Melbourne)
206