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During a 50-year career, Barbara Brash (1925-1998) experimented to extend the limits of the graphic medium, so that she became a pivotal artist in a post-WWII [[printmaking]] revival in Melbourne. Her work attracted the attention of the public as early as 1953; “Unusual grey and silver invitation cards have been designed by Barbara Brash for the "winter dinner" dance the Whernside Junior Auxiliary of the Royal Melbourne Hospital will hold at Ciro's on June 19. Barbara, who is an old St. Catherine's girl, is doing an art course at the Melbourne Technical College."<ref>{{Cite news |date=1953-06-08 |title=In town and out |work=Herald |url=http://nla.gov.au/nla.news-article245158823 |access-date=2022-07-05}}</ref>
During a 50-year career, Barbara Brash (1925-1998) experimented to extend the limits of the graphic medium, so that she became a pivotal artist in a post-WWII [[printmaking]] revival in Melbourne. Her work attracted the attention of the public as early as 1953; “Unusual grey and silver invitation cards have been designed by Barbara Brash for the "winter dinner" dance the Whernside Junior Auxiliary of the Royal Melbourne Hospital will hold at Ciro's on June 19. Barbara, who is an old St. Catherine's girl, is doing an art course at the Melbourne Technical College."<ref>{{Cite news |date=1953-06-08 |title=In town and out |work=Herald |url=http://nla.gov.au/nla.news-article245158823 |access-date=2022-07-05}}</ref>


Brash began printmaking in 1947 when she started etching lessons at the [[RMIT University|Melbourne Technical College]] (now RMIT), simultaneous with the her training in painting and drawing at the National Gallery School. Furthermore, as an avid student she undertook additional classes with George Bell at his private school, where her work began to reflect the ideas and practices of modern art including the principle of dynamic symmetry. As part of the George Bell Group, a group consisting of [[Russell Drysdale]], Geoffrey Jones, Edwin Robinson, Dorothy Braund, Alan Warren, Roma Thompson, Barbara Brash, Peter Cox, [[Constance Stokes]], [[Anne Montgomery (artist)|Anne Montgomery]], R.A. Center, George Bell, [[Sali Herman]], and Alan Sumner,<ref>{{Citation | author1=George Bell Group | title=[George Bell Group : Australian Gallery File] | url=https://trove.nla.gov.au/work/32483787 | access-date=5 July 2022}}</ref> she exhibited frequently in their group shows.
Brash began printmaking in 1947 when she studied [[etching]] at the [[RMIT University|Melbourne Technical College]] (now RMIT), simultaneous with her training in painting and drawing at the [[National Gallery of Victoria Art School|National Gallery School]]. Furthermore, as an avid student she undertook additional classes with George Bell at his private school, where her work began to reflect the ideas and practices of [[modern art]] including the principle of dynamic symmetry. As part of the George Bell Group, a group consisting of [[Russell Drysdale]], Geoffrey Jones, Edwin Robinson, Dorothy Braund, Alan Warren, Roma Thompson, Barbara Brash, Peter Cox, [[Constance Stokes]], [[Anne Montgomery (artist)|Anne Montgomery]], R.A. Center, George Bell, [[Sali Herman]], and Alan Sumner,<ref>{{Citation | author1=George Bell Group | title=[George Bell Group : Australian Gallery File] | url=https://trove.nla.gov.au/work/32483787 | access-date=5 July 2022}}</ref> she exhibited frequently in their group shows.


Brash benefitted from revived interest in printmaking among the city's galleries and art schools, and local and émigré artists transmitted new techniques to eager local practitioners.
Brash benefitted from revived interest in printmaking among the city's galleries and art schools, and local and émigré artists transmitted new techniques to eager local practitioners.
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''The Herald'' newspaper art reviewer 'L.T.’, surveying 1949 exhibitions associates Brash with Alan Warren, [[Roger Kemp]], [[Arthur Boyd]], Keith Nichol, Eric Smith, Wesley Penberthey, Samuel Fullbrook, Robert Grieve, Dorothy Braund, [[John Brack]], [[Leonard French]] and Barbara Robertson, as the “the nucleus of a new and strong movement.”<ref>{{Cite news |date=1950-01-09 |title='Tidal Wave' Of Art Shows |work=Herald |url=http://nla.gov.au/nla.news-article244317734 |access-date=2022-07-05}}</ref> She was member of a group formed in Melbourne, Victoria in 1961, based at the Print Studio in the Art School of the Royal Melbourne Institute of Technology [RMIT] and its other members were [[Tate Adams]], [[Hertha Kluge-Pott]], [[Grahame King]], [[Janet Dawson]], [[Fred Williams (artist)|Fred Williams]], and John Senbergs.<nowiki><ref>{{Citation | author1=Studio One Printmakers | title=[Studio One Printmakers : Australian Gallery File] | url=https://trove.nla.gov.au/work/32485577 | access-date=5 July 2022}}</ref></nowiki>
''The Herald'' newspaper art reviewer 'L.T.’, surveying 1949 exhibitions associates Brash with Alan Warren, [[Roger Kemp]], [[Arthur Boyd]], Keith Nichol, Eric Smith, Wesley Penberthey, Samuel Fullbrook, Robert Grieve, Dorothy Braund, [[John Brack]], [[Leonard French]] and Barbara Robertson, as the “the nucleus of a new and strong movement.”<ref>{{Cite news |date=1950-01-09 |title='Tidal Wave' Of Art Shows |work=Herald |url=http://nla.gov.au/nla.news-article244317734 |access-date=2022-07-05}}</ref> She was member of a group formed in Melbourne, Victoria in 1961, based at the Print Studio in the Art School of the Royal Melbourne Institute of Technology [RMIT] and its other members were [[Tate Adams]], [[Hertha Kluge-Pott]], [[Grahame King]], [[Janet Dawson]], [[Fred Williams (artist)|Fred Williams]], and John Senbergs.<nowiki><ref>{{Citation | author1=Studio One Printmakers | title=[Studio One Printmakers : Australian Gallery File] | url=https://trove.nla.gov.au/work/32485577 | access-date=5 July 2022}}</ref></nowiki>


Brash often combined or modified existing techniques and materials, developing and exploiting a proficiency that encompassed a broad gamut of technical printmaking processes, such as screenprints which she adopted earlier than most of her contemporaries and exploited for its intensity of opaque or transparent colour.
Brash often combined or modified existing techniques and materials, developing and exploiting a proficiency that encompassed a broad gamut of technical printmaking processes, such as [[Screen printing|screenprints]] which she adopted earlier than most of her contemporaries and exploited for its intensity of opaque or transparent colour. She continued to work into her seventies and embraced the nascent field of digital printmaking technologies as enthusiastically as traditional media.

Brash continued to work into her seventies and embraced the nascent field of digital printmaking technologies as enthusiastically as traditional media.


== Reception ==
== Reception ==
It is a reflection of her innovation that [[Alan McCulloch (art critic)|Alan McCulloch]] writing in 1953 in ''The Herald'' noted Brash's application of flat, intense hues in "colorful works after the pattern of cut outs…,"<ref>{{Cite news |date=1953-08-04 |title=ART REVIEW |work=Herald |url=http://nla.gov.au/nla.news-article249252731 |access-date=2022-07-05}}</ref> while ''The Bulletin'' condemned it; “There is Barbara Brash’s “Seated Woman,” whose flesh and nightdress have all the variety of a coat of whitewash applied to a smooth surface.”<ref>{{Cite journal |date=6 May 1953 |title=Sundry Shows : Artbursts |url=http://nla.gov.au/nla.obj-536949766 |journal=The Bulletin |volume=74 |issue=3821 |pages=19}}</ref> In 1954 ''The Age'' art critic called attention to the "decorative effect" of two-dimensional pattern in her colored lino-cuts,”<ref>{{Cite news |date=1954-04-27 |title=ART NOTES |work=Age |url=http://nla.gov.au/nla.news-article205701900 |access-date=2022-07-05}}</ref> an observation that ''The Herald'' critic repeated; “Barbara Brash is boldly decorative in a series of color lino-cuts.<ref>{{Cite news |date=1954-04-28 |title=ART REVIEW |work=Herald |url=http://nla.gov.au/nla.news-article245563693 |access-date=2022-07-05}}</ref> ''The Age'' also drew attention in the same Forty Prints by Ten Artists show at Peter Bray Gallery, opened by [[Ursula Hoff]], to Brash's spanning of oil and watercolour painting and printing, noting that "she feels this new medium [lithography] has a wide scope for experiment and is something which should be developed.<ref>{{Cite news |date=1954-04-28 |title=Print Exhibition |pages=7 |work=Age |url=http://nla.gov.au/nla.news-article205707518 |access-date=2022-07-05}}</ref> The same show traveled to Brisbane where ''Courier-Mail'' critic [[Gertrude Langer]] recognised "exceptional gifts" that in Brash's "colour linocut ''Native Dancer'' (which the group used as their poster), could not be bettered in composition and colour."<ref>{{Cite news |date=1954-05-19 |title=Versatility in technique |work=Courier-Mail |url=http://nla.gov.au/nla.news-article50593154 |access-date=2022-07-05}}</ref> Another Brisbane report noted that “This lithograph exhibition — the first of its kind in Australia — has aroused considerable interest, buyers coming from as-far afield as New Zealand and Tasmania. Particularly noteworthy is the work of Barbara Brash, Kenneth Jack and Walter Gheradin, although all 10 artists excel at individualised style arid skilful handling of their media.”
It is a reflection of her innovation that [[Alan McCulloch (art critic)|Alan McCulloch]] writing in 1953 in ''[[The Herald (Melbourne)|The Herald]]'' noted Brash's application of flat, intense hues in "colorful works after the pattern of cut outs…,"<ref>{{Cite news |date=1953-08-04 |title=ART REVIEW |work=Herald |url=http://nla.gov.au/nla.news-article249252731 |access-date=2022-07-05}}</ref> while ''[[The Bulletin (Australian periodical)|The Bulletin]]'' condemned it; “There is Barbara Brash’s “Seated Woman,” whose flesh and nightdress have all the variety of a coat of whitewash applied to a smooth surface.”<ref>{{Cite journal |date=6 May 1953 |title=Sundry Shows : Artbursts |url=http://nla.gov.au/nla.obj-536949766 |journal=The Bulletin |volume=74 |issue=3821 |pages=19}}</ref> In 1954 ''[[The Age]]'' art critic called attention to the "decorative effect" of two-dimensional pattern in her colored lino-cuts,”<ref>{{Cite news |date=1954-04-27 |title=ART NOTES |work=Age |url=http://nla.gov.au/nla.news-article205701900 |access-date=2022-07-05}}</ref> an observation that ''The Herald'' critic repeated; “Barbara Brash is boldly decorative in a series of color lino-cuts.<ref>{{Cite news |date=1954-04-28 |title=ART REVIEW |work=Herald |url=http://nla.gov.au/nla.news-article245563693 |access-date=2022-07-05}}</ref> ''The Age'' also drew attention in the same Forty Prints by Ten Artists show at Peter Bray Gallery, opened by [[Ursula Hoff]], to Brash's spanning of oil and watercolour painting and printing, noting that "she feels this new medium [lithography] has a wide scope for experiment and is something which should be developed.<ref>{{Cite news |date=1954-04-28 |title=Print Exhibition |pages=7 |work=Age |url=http://nla.gov.au/nla.news-article205707518 |access-date=2022-07-05}}</ref>
The same show traveled to Brisbane where ''Courier-Mail'' critic [[Gertrude Langer]] recognised "exceptional gifts" that in Brash's "colour linocut ''Native Dancer'' (which the group used as their poster), could not be bettered in composition and colour."<ref>{{Cite news |date=1954-05-19 |title=Versatility in technique |work=Courier-Mail |url=http://nla.gov.au/nla.news-article50593154 |access-date=2022-07-05}}</ref> Another Brisbane report noted that “This lithograph exhibition — the first of its kind in Australia — has aroused considerable interest, buyers coming from as-far afield as New Zealand and Tasmania. Particularly noteworthy is the work of Barbara Brash, Kenneth Jack and Walter Gheradin, although all 10 artists excel at individualised style arid skilful handling of their media.”


Another 1954 exhibition at Peter Bray over November-December prompted [[Arnold Shore]] to comment on Brash's "more exciting colours,"<ref>{{Cite news |date=1954-11-23 |title=Exciting color, feeling, in newly open art shows |work=Argus |url=http://nla.gov.au/nla.news-article23461969 |access-date=2022-07-05}}</ref> and though Alan McCulloch condemned the show for its ‘absence of ideas,’ he conceded “Barbara Brash's ''Woman Seated'' has the forthright quality of a vividly stencilled fabric design”<ref>{{Cite news |date=1954-11-24 |title=ART REVIEW |work=Herald |url=http://nla.gov.au/nla.news-article243429783 |access-date=2022-07-05}}</ref> while Allan David in the ''Jewish News'' affirmed its "decorative" "colour and design.” In 1955 Arnold Shore in ''The Argus'' starts to see "romantic suggestion" in the “elusive variety of pattern ... of a "Landscape," by Barbara Brash.”<ref>{{Cite news |date=1955-12-06 |title=Interesting Show By Twelve Artists |work=Argus |url=http://nla.gov.au/nla.news-article71784409 |access-date=2022-07-05}}</ref>
Another 1954 exhibition at Peter Bray over November-December prompted [[Arnold Shore]] to comment on Brash's "more exciting colours,"<ref>{{Cite news |date=1954-11-23 |title=Exciting color, feeling, in newly open art shows |work=Argus |url=http://nla.gov.au/nla.news-article23461969 |access-date=2022-07-05}}</ref> and though Alan McCulloch condemned the show for its ‘absence of ideas,’ he conceded “Barbara Brash's ''Woman Seated'' has the forthright quality of a vividly stencilled fabric design”<ref>{{Cite news |date=1954-11-24 |title=ART REVIEW |work=Herald |url=http://nla.gov.au/nla.news-article243429783 |access-date=2022-07-05}}</ref> while Allan David in the ''[[The Australian Jewish News|Jewish News]]'' affirmed its "decorative" "colour and design.” In 1955 Arnold Shore in ''[[The Argus (Melbourne)|The Argus]]'' starts to see "romantic suggestion" in the “elusive variety of pattern ... of a ''Landscape'', by Barbara Brash.”<ref>{{Cite news |date=1955-12-06 |title=Interesting Show By Twelve Artists |work=Argus |url=http://nla.gov.au/nla.news-article71784409 |access-date=2022-07-05}}</ref>


Modernist developments in 1955 still aroused suspicion in some quarters. Of the December show at Peter Bray of the George Bell Group the traditionalist magazine ''The Bulletin'' is typically sardonic; "Barbara Brash’s ''Landscape with Houses'' is a little looser [in brushwork], as is her ''Old Farm'', which has two trees, two wheels and a ladder, and which is easily recognisable as contemporary“<ref name=":0">{{Cite journal |date=14 Dec 1955 |title=Sundry shows |url=https://nla.gov.au/nla.obj-675646784 |journal=The Bulletin |volume=76 |issue=3957}}</ref> But by 1960 the ''Canberra Times'' praised innovation; “Barbara Brash illustrates the use of overprinting in lino cut on rice paper, using many strong, transparent colours. ''The Peacock'' is a radiating composition with pattern and line assisting the glowing colours to make it most decorative,"<ref>{{Cite news |date=1960-05-28 |title="MELBOURNE PRINTS 1960" STIMULATING |work=Canberra Times |url=http://nla.gov.au/nla.news-article103080859 |access-date=2022-07-05}}</ref> and of the same show "Melbourne Prints," when it traveled to South Australia, ''The Bulletin'''s Geoffrey Dutton was prepared to appreciate her experiments; “Barbara Brash lays on color with the most notable effect in the show, in separate blocks in ''Lighthouse'' and in gauzy veils in ''Peacock''."<ref>{{Cite journal |last=Dutton |first=Geoffrey |date=14 December 1960 |title=Adelaide Art Shows |url=http://nla.gov.au/nla.obj-687205362 |journal=The Bulletin |volume=81 |issue=4218 |pages=26}}</ref>
Modernist developments in 1955 still aroused suspicion in some quarters. Of the December show at Peter Bray of the George Bell Group the traditionalist magazine ''The Bulletin'' is typically sardonic; "Barbara Brash’s ''Landscape with Houses'' is a little looser [in brushwork], as is her ''Old Farm'', which has two trees, two wheels and a ladder, and which is easily recognisable as contemporary“<ref name=":0">{{Cite journal |date=14 Dec 1955 |title=Sundry shows |url=https://nla.gov.au/nla.obj-675646784 |journal=The Bulletin |volume=76 |issue=3957}}</ref> But by 1960 the ''[[The Canberra Times|Canberra Times]]'' praised innovation; “Barbara Brash illustrates the use of overprinting in lino cut on rice paper, using many strong, transparent colours. ''The Peacock'' is a radiating composition with pattern and line assisting the glowing colours to make it most decorative,"<ref>{{Cite news |date=1960-05-28 |title="MELBOURNE PRINTS 1960" STIMULATING |work=Canberra Times |url=http://nla.gov.au/nla.news-article103080859 |access-date=2022-07-05}}</ref> and of the same show "Melbourne Prints," when it traveled to South Australia, ''The Bulletin'''s [[Geoffrey Dutton]] was prepared to appreciate her experiments; “Barbara Brash lays on color with the most notable effect in the show, in separate blocks in ''Lighthouse'' and in gauzy veils in ''Peacock''."<ref>{{Cite journal |last=Dutton |first=Geoffrey |date=14 December 1960 |title=Adelaide Art Shows |url=http://nla.gov.au/nla.obj-687205362 |journal=The Bulletin |volume=81 |issue=4218 |pages=26}}</ref>


== Awards ==
== Awards ==


* 2nd prize (a landscape) Jewish Competitions Society 1948 series of competitions. <nowiki>http://nla.gov.au/nla.news-article262154827</nowiki>
* 1948: 2nd prize (a landscape) Jewish Competitions Society series of competitions<ref>{{Cite news |date=1948-04-23 |title=REV. CHERRICK AT COMPETITION FINALE |work=Australian Jewish News |url=http://nla.gov.au/nla.news-article262154827 |access-date=2022-07-05}}</ref>
* Sara Seri Scholarship, 1949, judged by A.M.E. Bale, Eric Thake, Douglas Dundas and
* 1949: Sara Seri Scholarship, judged by [[Alice Marian Ellen Bale|A.M.E. Bale]], [[Eric Thake]], Douglas Dundas and Daryl Lindsay<ref>Scholarship In Art, The Age 19 December 1947, p.2</ref><ref>{{Cite news |date=1947-12-19 |title=NATIONAL GALLERY ART SCHOOL AWARDS |work=Argus |url=http://nla.gov.au/nla.news-article22529409 |access-date=2022-07-05}}</ref>
⚫
* 1951: Victorian Jewish Competitions Society 1at Prize, Art Division<ref>{{Cite news |date=1951-04-20 |title=Victorian Jewish Competitions Society GRAND JUBILEE NIGHT |work=Australian Jewish News |url=http://nla.gov.au/nla.news-article261752380 |access-date=2022-07-05}}</ref>
* Daryl Lindsay<nowiki><ref>Scholarship In Art, The Age 19 December 1947, p.2</ref></nowiki><nowiki>http://nla.gov.au/nla.news-article22529409</nowiki>
* 1975: Warrnambool
⚫
* 1951 Victorian Jewish Competitions Society 1at Prize, Art Division [is this actually B. Brash?] <nowiki>http://nla.gov.au/nla.news-article261752380</nowiki>
* 1980: Stanthorpe
* purchase awards at Warrnambool, 1975; Stanthorpe, 1980; Mornington, 1981; Victor Harbor Drawing Prize, 1984; <nowiki>http://nla.gov.au/nla.news-article185632937</nowiki> selected award, 5th International Miniature Print Exhibition, Seoul, Sth Korea, 1988.
* 1981: Mornington,
* 1984: Victor Harbor Drawing Prize<ref>{{Cite news |date=1984-01-11 |title=Rotary Art Show paints a rosy picture |work=Victor Harbour Times |url=http://nla.gov.au/nla.news-article185632937 |access-date=2022-07-05}}</ref>
* 1988: selected award, 5th International Miniature Print Exhibition, Seoul, Sth Korea, .


== Collections ==
== Collections ==

Revision as of 12:43, 5 July 2022

Barbara Brash (3 November 1925-1998) was a twentieth-century Australian artist known for her innovative printmaking.

Career

During a 50-year career, Barbara Brash (1925-1998) experimented to extend the limits of the graphic medium, so that she became a pivotal artist in a post-WWII printmaking revival in Melbourne. Her work attracted the attention of the public as early as 1953; “Unusual grey and silver invitation cards have been designed by Barbara Brash for the "winter dinner" dance the Whernside Junior Auxiliary of the Royal Melbourne Hospital will hold at Ciro's on June 19. Barbara, who is an old St. Catherine's girl, is doing an art course at the Melbourne Technical College."[1]

Brash began printmaking in 1947 when she studied etching at the Melbourne Technical College (now RMIT), simultaneous with her training in painting and drawing at the National Gallery School. Furthermore, as an avid student she undertook additional classes with George Bell at his private school, where her work began to reflect the ideas and practices of modern art including the principle of dynamic symmetry. As part of the George Bell Group, a group consisting of Russell Drysdale, Geoffrey Jones, Edwin Robinson, Dorothy Braund, Alan Warren, Roma Thompson, Barbara Brash, Peter Cox, Constance Stokes, Anne Montgomery, R.A. Center, George Bell, Sali Herman, and Alan Sumner,[2] she exhibited frequently in their group shows.

Brash benefitted from revived interest in printmaking among the city's galleries and art schools, and local and émigré artists transmitted new techniques to eager local practitioners.

The Herald newspaper art reviewer 'L.T.’, surveying 1949 exhibitions associates Brash with Alan Warren, Roger Kemp, Arthur Boyd, Keith Nichol, Eric Smith, Wesley Penberthey, Samuel Fullbrook, Robert Grieve, Dorothy Braund, John Brack, Leonard French and Barbara Robertson, as the “the nucleus of a new and strong movement.”[3] She was member of a group formed in Melbourne, Victoria in 1961, based at the Print Studio in the Art School of the Royal Melbourne Institute of Technology [RMIT] and its other members were Tate Adams, Hertha Kluge-Pott, Grahame King, Janet Dawson, Fred Williams, and John Senbergs.<ref>{{Citation | author1=Studio One Printmakers | title=[Studio One Printmakers : Australian Gallery File] | url=https://trove.nla.gov.au/work/32485577 | access-date=5 July 2022}}</ref>

Brash often combined or modified existing techniques and materials, developing and exploiting a proficiency that encompassed a broad gamut of technical printmaking processes, such as screenprints which she adopted earlier than most of her contemporaries and exploited for its intensity of opaque or transparent colour. She continued to work into her seventies and embraced the nascent field of digital printmaking technologies as enthusiastically as traditional media.

Reception

It is a reflection of her innovation that Alan McCulloch writing in 1953 in The Herald noted Brash's application of flat, intense hues in "colorful works after the pattern of cut outs…,"[4] while The Bulletin condemned it; “There is Barbara Brash’s “Seated Woman,” whose flesh and nightdress have all the variety of a coat of whitewash applied to a smooth surface.”[5] In 1954 The Age art critic called attention to the "decorative effect" of two-dimensional pattern in her colored lino-cuts,”[6] an observation that The Herald critic repeated; “Barbara Brash is boldly decorative in a series of color lino-cuts.[7] The Age also drew attention in the same Forty Prints by Ten Artists show at Peter Bray Gallery, opened by Ursula Hoff, to Brash's spanning of oil and watercolour painting and printing, noting that "she feels this new medium [lithography] has a wide scope for experiment and is something which should be developed.[8]

The same show traveled to Brisbane where Courier-Mail critic Gertrude Langer recognised "exceptional gifts" that in Brash's "colour linocut Native Dancer (which the group used as their poster), could not be bettered in composition and colour."[9] Another Brisbane report noted that “This lithograph exhibition — the first of its kind in Australia — has aroused considerable interest, buyers coming from as-far afield as New Zealand and Tasmania. Particularly noteworthy is the work of Barbara Brash, Kenneth Jack and Walter Gheradin, although all 10 artists excel at individualised style arid skilful handling of their media.”

Another 1954 exhibition at Peter Bray over November-December prompted Arnold Shore to comment on Brash's "more exciting colours,"[10] and though Alan McCulloch condemned the show for its ‘absence of ideas,’ he conceded “Barbara Brash's Woman Seated has the forthright quality of a vividly stencilled fabric design”[11] while Allan David in the Jewish News affirmed its "decorative" "colour and design.” In 1955 Arnold Shore in The Argus starts to see "romantic suggestion" in the “elusive variety of pattern ... of a Landscape, by Barbara Brash.”[12]

Modernist developments in 1955 still aroused suspicion in some quarters. Of the December show at Peter Bray of the George Bell Group the traditionalist magazine The Bulletin is typically sardonic; "Barbara Brash’s Landscape with Houses is a little looser [in brushwork], as is her Old Farm, which has two trees, two wheels and a ladder, and which is easily recognisable as contemporary“[13] But by 1960 the Canberra Times praised innovation; “Barbara Brash illustrates the use of overprinting in lino cut on rice paper, using many strong, transparent colours. The Peacock is a radiating composition with pattern and line assisting the glowing colours to make it most decorative,"[14] and of the same show "Melbourne Prints," when it traveled to South Australia, The Bulletin's Geoffrey Dutton was prepared to appreciate her experiments; “Barbara Brash lays on color with the most notable effect in the show, in separate blocks in Lighthouse and in gauzy veils in Peacock."[15]

Awards

  • 1948: 2nd prize (a landscape) Jewish Competitions Society series of competitions[16]
  • 1949: Sara Seri Scholarship, judged by A.M.E. Bale, Eric Thake, Douglas Dundas and Daryl Lindsay[17][18]
  • 1951: Victorian Jewish Competitions Society 1at Prize, Art Division[19]
  • 1975: Warrnambool
  • 1980: Stanthorpe
  • 1981: Mornington,
  • 1984: Victor Harbor Drawing Prize[20]
  • 1988: selected award, 5th International Miniature Print Exhibition, Seoul, Sth Korea, .

Collections

National and state

  • NGA, 286 works[21][22]
  • AGNsw
  • AGSA
  • AGWA
  • NGV
  • QAG
  • Artbank

Regional galleries

  • Castlemaine Art Museum https://collection.castlemaineartmuseum.org.au/objects/993/pot-plant
  • McClelland,
  • Mornington,
  • Newcastle,
  • Stanthorpe,
  • Swan Hill,
  • Warrnambool;

Tertiary collections

  • University of Melbourne
  • Adelaide University
  • Flinders University
  • Monash University

Exhibitions

Group

  • 1954, May: Forty Prints by Ten Artists, Johnstone Gallery, Brisbane[33]
  • 1954, October:  Contemporary Art Society exhibition of graphic art, P. W. Cheshire's Bookshop, 338 Little Collins St. with Charles Blackman, Kenneth Jack, and Edith Wall[34]
  • 1954, October: Painting, Melbourne Contemporary Artists at Vic Artists Society 1 Albert St East Melbourne[35]
  • 1954, 22 November – 2 December: George Bell Group, Peter Bray Gallery[36][37][38][39][40]
  • 1955, October: Victorian Artists Society[41]
  • 1955, November: Fine Arts Week exhibition of painting, sculpture, pottery, and allied arts, with William Dobell, Russell Drysdale, Leonard French, Roger Kemp, Constance Stokes, Len Annois, Dawn Sime, Alan Warren, Tina Wentcher, Arthur Boyd, Noel Counihan. Tasmanian Tourist Bureau gallery, 254 Collins St[42]
  • 1955, December: Twelve members of the George Bell Group, Peter Bray Gallery[43][44][13]
  • 1956, 25 September–4 October:  Melbourne Graphic Artists, Mary MacQueen, Kenneth Jack, Christine G. Miller, Harry Rosengrave, Tate Adams, Florence M. Higgs, Verdon Morcom, Lesbia Thorpe, Ian Armstrong, Barbara Brash, David Dalgarno, Anne Scott, William Gleeson, Edith Wall, Robin Hill. Peter Bray Gallery, Bourke St Melbourne[45][46]
  • 1956, October: six artists - with Douglas Annand, Michael Shannon, Ronald Millar, Richard Chriton, Helen Maudsley[47]
  • 1960, from 27 May: Melbourne Prints 1960, Canberra Art Club[48]
  • 1960, December: Melbourne Prints, Royal South Australian Society of Arts
  • 1963, September: Prints' 63: Tate Adams, Barbara Brash, Janet Dawson, Grahame King, Hertha Kluge-Pott, Fred Williams, John Senbergs. National Gallery of Victoria[49]
  • 1969, December: 3rd Print Prize Exhibition of the Print Council[50]
  • 1977, 22 February–16 March: Clive Parry Galleries, Beaumaris
  • 1978, April: Recent Australian Prints, Caulfield Arts Centre[51]
  • 1978, August: Annual exhibition of the Print Council of Australia, Meyers Blaxland Gallery[52]
  • 1981, December: Contemporary Australian printmakers: Veda Arrowsmith, Helen Best, Peter Bond, Barbara Brash, Trisha Carland-Salih, John Coburn, Ruth Faerber, Robert Grieve, Basil Hadlewy, Jean Johnson, Edgars Karabanovs, Ursula Laverty, Alun Leach-Jones, Bill Meyer, Max Miller, Shirley Miller, Lyndal Osborne, Leon Pericles, Robert Trauer. Raya Gallery, Kew<ref>{{Citation | author1=Raya Gallery | author2=Raya Gallery | title=[Raya Gallery : Australian Gallery File] | url=https://trove.nla.gov.au/work/32485200 | access-date=5 July 2022}}</ref>
  • 1982, 21 November–12 December1: Women potters and printmakers: Barbara Brash, Kim Martin, Fran Clarke, Tina Banitska, Dianne Mangan, Yvonne Boag, Noela Hjorth, Mary McQueen.
  • Golden Age Galleries<ref>{{Citation | author1=Golden Age Fine Art Gallery | author2=Golden Age Fine Art Gallery | title=[Golden Age Fine Art Gallery : Australian Gallery File] | url=https://trove.nla.gov.au/work/32484219 | access-date=5 July 2022}}</ref>
  • 1989, from 19 April”  Group exhibition of important modern painters from the 1930s to the present day: Norman Albiston, Valerie Albiston, Ian Armstrong, Yvonne Atkinson, George Bell,Meg Benwell, Barbara Brash, Dorothy Braund, Rod Clarke, Yvonne Cohen, Jack Courier, Frances Derham, Russell Drysdale, Anne Graham, Geoff Jones, Grahame King, Bernard Lawson, Evelyn McCutcheon, Maidi McGowan, Mary MacQueen, Guelda Pyke, Harry Rosengrave, Dorothy Stephen, June Stephenson, Constance Stokes, Eric Thake, Edith Wall. Eastgate Gallery<ref>Group exhibition of important modern painters from the 1930s to the present day. Published: Armadale, Vic.: Eastgate Gallery, 1989. [16 p.]; 25 cm. Notes: Catalogue and price list of an exhibition held April 19th, 1989, extending for two weeks. Artists represented were Norman Albiston, Valerie Albiston, Ian Armstrong, Yvonne Atkinson, George Bell,Meg Benwell, Barbara Brash, Dorothy Braund, Rod Clarke, Yvonne Cohen, Jack Courier, Frances Derham, Russell Drysdale, Anne Graham, Geoff Jones, Grahame King, Bernard Lawson, Evelyn McCutcheon, Maidi McGowan, Mary MacQueen, Guelda Pyke, Harry Rosengrave, Dorothy Stephen, June Stephenson, Constance Stokes, Eric Thake, Edith Wall.</ref>
  • 1993, 2-16 October: Lasssetters Gallery, Canberra

Solo

  • 1969, 2-23 August: Barbara Brash survey exhibition Eastgate Gallery[53]

Posthumous

  • 1991, 28 November– 18 December:  Works on Paper: Ian Armstrong, George Bell, Barbara Brash, Dorothy Braund, Nutter Buzzacott, Jack Courier, Arch Cuthbertson, William Gleeson, Mary Hammond, Geoff Jones, Grahame King, Mary MacQueen, Iain MacNab, Anne Montgomery, Guelda Pyke, Constance Stokes, Alan Sumner, Eveline Syme, Alan Warren, Percy Watson, Fred Williams. Eastgate Gallery[54]
  • 1995, from 30 April: Collector's exhibition: Mary Cecil Allen, Len Annois, George Bell, Barbara Brash, Dorothy Braund,  Lina Bryans, Geoff Brown, George Browning, Rupert Bunny,  Maie Casey, Ron Center, Jack Courier , Peter Cox, Sybil Craig, Russell Drysdale, Raymond, Bill Gleeson, Nancy Grant, Robert Grieve, Harry de Hartog,  Frank Hinder, Kenneth Hood, Roger James, Geoff Jones, Grahame King, Helen Maudsley, Anne Montgomery, Esther Paterson, Peter Purves Smith, Harry Rosengrave, Arnold Shore, Clive Stephen, Constance Stokes, Eric Thake, Louise Thomas, Isabel Tweddle, Murray Walker, Alan Warren , Fred Williams
  • 2006, 25 July 24 September: “From Tuesday to Tuesday”: Barbara Brash, Nancy Clifton, Mary Macqueen and Lesbia Thorpe, Mornington Peninsula Regional Gallery [55][56]

Publications

  • Baraki, Bashir; Knox, Jean; Brash, Barbara (1996). Images: a selection of twelve Canon laser colour prints. Melbourne: Copier Publications. ISBN 978-0-646-27826-1. OCLC 222183970.
  • Eastgate Gallery (1991). Works on paper: November 28th - December 18th 1991. Hawthorn, Vic.: Eastgate Gallery. ISBN 978-1-875517-05-3. OCLC 781543843.
  • Peter Bray Gallery; Melbourne Graphic Artists (1956). Prints by the Melbourne Graphic Artists, Peter Bray Gallery, Bourke Street, 25th September till 4th October [1956. Melbourne: Peter Bray Gallery. OCLC 897205464.
  • Gowing, Ainslie; Mornington Peninsula Regional Gallery (2006). From Tuesday to Tuesday: Barbara Brash, Nancy Clifton, Mary Macqueen, Lesbia Thorpe. Mornington, Vic: Mornington Peninsula Regional Gallery. ISBN 978-0-9757825-2-1. OCLC 225190077.

Bibliography

References

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  2. ^ George Bell Group, [George Bell Group : Australian Gallery File], retrieved 5 July 2022
  3. ^ "'Tidal Wave' Of Art Shows". Herald. 1950-01-09. Retrieved 2022-07-05.
  4. ^ "ART REVIEW". Herald. 1953-08-04. Retrieved 2022-07-05.
  5. ^ "Sundry Shows : Artbursts". The Bulletin. 74 (3821): 19. 6 May 1953.
  6. ^ "ART NOTES". Age. 1954-04-27. Retrieved 2022-07-05.
  7. ^ "ART REVIEW". Herald. 1954-04-28. Retrieved 2022-07-05.
  8. ^ "Print Exhibition". Age. 1954-04-28. p. 7. Retrieved 2022-07-05.
  9. ^ "Versatility in technique". Courier-Mail. 1954-05-19. Retrieved 2022-07-05.
  10. ^ "Exciting color, feeling, in newly open art shows". Argus. 1954-11-23. Retrieved 2022-07-05.
  11. ^ "ART REVIEW". Herald. 1954-11-24. Retrieved 2022-07-05.
  12. ^ "Interesting Show By Twelve Artists". Argus. 1955-12-06. Retrieved 2022-07-05.
  13. ^ a b "Sundry shows". The Bulletin. 76 (3957). 14 Dec 1955.
  14. ^ ""MELBOURNE PRINTS 1960" STIMULATING". Canberra Times. 1960-05-28. Retrieved 2022-07-05.
  15. ^ Dutton, Geoffrey (14 December 1960). "Adelaide Art Shows". The Bulletin. 81 (4218): 26.
  16. ^ "REV. CHERRICK AT COMPETITION FINALE". Australian Jewish News. 1948-04-23. Retrieved 2022-07-05.
  17. ^ Scholarship In Art, The Age 19 December 1947, p.2
  18. ^ "NATIONAL GALLERY ART SCHOOL AWARDS". Argus. 1947-12-19. Retrieved 2022-07-05.
  19. ^ "Victorian Jewish Competitions Society GRAND JUBILEE NIGHT". Australian Jewish News. 1951-04-20. Retrieved 2022-07-05.
  20. ^ "Rotary Art Show paints a rosy picture". Victor Harbour Times. 1984-01-11. Retrieved 2022-07-05.
  21. ^ "Search the Collection". National Gallery of Australia. Retrieved 2022-07-05.
  22. ^ "2008/2009, PP no. 381 of 2009". Trove. Retrieved 2022-07-05.
  23. ^ "Woman Artists at Exhibition Opening". Age. 1948-04-27. Retrieved 2022-07-05.
  24. ^ "ART REVIEW". Herald. 1952-10-14. Retrieved 2022-07-05.
  25. ^ "Woman Painters". Age. 1953-08-05. Retrieved 2022-07-05.
  26. ^ "ART REVIEW". Herald. 1953-08-04. Retrieved 2022-07-05.
  27. ^ "ART REVIEW". Herald. 1953-10-13. Retrieved 2022-07-05.
  28. ^ "3 women artists". Herald. 1954-04-27. Retrieved 2022-07-05.
  29. ^ "ART NOTES". Age. 1954-04-27. Retrieved 2022-07-05.
  30. ^ "Artists design, execute prints". Argus. 1954-04-27. Retrieved 2022-07-05.
  31. ^ "ART REVIEW". Herald. 1954-04-28. Retrieved 2022-07-05.
  32. ^ "Print Exhibition". Age. 1954-04-28. Retrieved 2022-07-05.
  33. ^ "Versatility in technique". Courier-Mail. 1954-05-19. Retrieved 2022-07-05.
  34. ^ "Fine vigor in this art show". Argus. 1954-10-12. Retrieved 2022-07-05.
  35. ^ "Melb. Contemporary Artists Exhibition". Australian Jewish News. 1954-10-22. Retrieved 2022-07-05.
  36. ^ "George Bell". The Bulletin. 75 (3903): 19. 1 December 1954.
  37. ^ "ADELAIDE GRAN. MAY BE A REDEX ENTRANT". Herald. 1954-11-22. Retrieved 2022-07-05.
  38. ^ "Exhibition of pottery". Argus. 1954-11-23. Retrieved 2022-07-05.
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  41. ^ "Accent on design at art shows". Argus. 1955-10-04. Retrieved 2022-07-05.
  42. ^ "Sculpture, paintings on show". Argus. 1955-11-22. Retrieved 2022-07-05.
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  44. ^ "Old And New In City Art Shows". Argus. 1956-03-06. Retrieved 2022-07-05.
  45. ^ "Six new art Shows in town". Argus. 1956-09-25. Retrieved 2022-07-05.
  46. ^ Peter Bray Gallery; Melbourne Graphic Artists (1956). Prints by the Melbourne Graphic Artists, Peter Bray Gallery, Bourke Street, 25th September till 4th October [1956. Melbourne: Peter Bray Gallery. OCLC 897205464.
  47. ^ "Design Is Featured In Artists' Work". Argus. 1956-10-23. Retrieved 2022-07-05.
  48. ^ ""Melbourne Prints 1960" Stimulating". Canberra Times. 1960-05-28. Retrieved 2022-07-05.
  49. ^ National Gallery of Victoria (1963). Prints' 63: Tate Adams, Barbara Brash, Janet Dawson, Grahame King, Hertha Kluge-Pott, Fred Williams, John Senbergs (in Undetermined). Melbourne: National Gallery of Victoria. OCLC 271774555.{{cite book}}: CS1 maint: unrecognized language (link)
  50. ^ "Sydney Life & Times Art: Refreshing Variety". Australian Jewish Times. 1969-12-18. Retrieved 2022-07-05.
  51. ^ "Prints on show". Australian Jewish News. 1978-04-21. Retrieved 2022-07-05.
  52. ^ "The Original Source". Australian Jewish Times. 1978-08-17. Retrieved 2022-07-05.
  53. ^ Brash, Barbara; Eastgate Gallery (Vic.) (1989). Survey exhibition (in Undetermined). Armadale, Vic.: Eastgate Gallery. OCLC 781583925.{{cite book}}: CS1 maint: unrecognized language (link)
  54. ^ Eastgate Gallery (1991). Works on paper: November 28th - December 18th 1991. Hawthorn, Vic.: Eastgate Gallery. ISBN 978-1-875517-05-3. OCLC 781543843.
  55. ^ National Gallery Of Australia Annual Report 2006-07. National Gallery Of Australia. 2007.
  56. ^ Gowing, Ainslie; Mornington Peninsula Regional Gallery (2006). From Tuesday to Tuesday: Barbara Brash, Nancy Clifton, Mary Macqueen, Lesbia Thorpe. Mornington, Vic: Mornington Peninsula Regional Gallery. ISBN 978-0-9757825-2-1. OCLC 225190077.
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