Jump to content

Barbara Brash: Difference between revisions

Edit links
From Wikipedia, the free encyclopedia
Browse history interactively
← Previous editNext edit →
Content deleted Content added
VisualWikitext
→‎Group: wikilinks
Line 30: Line 30:


== Style ==
== Style ==
Brash's early output, mostly linocuts and etchings, was in a Classical Modernist style and her love to animals and the environment inspires much of the subject matter. In the 1960s she adopted the new medium of [[Screen printing|silkscreen]], which artists were taking up from industrial applications in which it had been used since the turn of the century, and she explored its effects of solid or translucent colour in boldly graphic abstract works, enhanced with innovations such as embossing and textured inks, as seen in her complex print of 1967 ''Promontory''.<ref>{{Cite web |last=Brash |first=Barbara |date=1967 |title=Promontory |url=https://nga.gov.au/template/search-the-collection/ |access-date=2022-07-07 |website=National Gallery of Australia |language=en}}</ref> After a quiescence in the 1980s, Brash was excited anew by the advent of digital printmaking which she experienced while attending the workshops of Bashir Baraki with whom in 1996 she published the collaborative editions comprising their ''The Image Makers''.<ref name=":4" /> Works such as ''Fossilised'' of 1993 exemplify the freedom afforded her in these highly coloured abstractions.<ref>{{Cite web |last=Brash |first=Barbara |date=1993 |title=Fossilised |url=https://nga.gov.au/template/search-the-collection/ |access-date=2022-07-07 |website=National Gallery of Australia |language=en}}</ref> Her 1997 series of digital prints ''Sludge'' is intended as an insight into destruction of the environment.
Brash's early output, mostly linocuts and etchings, was in a Classical Modernist style<ref>{{Cite book |last=Moore |first=Felicity St. John |url=https://www.worldcat.org/oclc/27548944 |title=Classical modernism : the George Bell circle |date=1992 |publisher=National Gallery of Victoria |others=George Bell, National Gallery of Victoria |isbn=0-7241-0155-1 |location=Melbourne |oclc=27548944}}</ref> and her love to animals and the environment inspires much of the subject matter. In the 1960s she adopted the new medium of [[Screen printing|silkscreen]], which artists were taking up from industrial applications in which it had been used since the turn of the century, and she explored its effects of solid or translucent colour in boldly graphic abstract works, enhanced with innovations such as embossing and textured inks, as seen in her complex print of 1967 ''Promontory''.<ref>{{Cite web |last=Brash |first=Barbara |date=1967 |title=Promontory |url=https://nga.gov.au/template/search-the-collection/ |access-date=2022-07-07 |website=National Gallery of Australia |language=en}}</ref> After a quiescence in the 1980s, Brash was excited anew by the advent of digital printmaking which she experienced while attending the workshops of Bashir Baraki with whom in 1996 she published the collaborative editions comprising their ''The Image Makers''.<ref name=":4" /> Works such as ''Fossilised'' of 1993 exemplify the freedom afforded her in these highly coloured abstractions.<ref>{{Cite web |last=Brash |first=Barbara |date=1993 |title=Fossilised |url=https://nga.gov.au/template/search-the-collection/ |access-date=2022-07-07 |website=National Gallery of Australia |language=en}}</ref> Her 1997 series of digital prints ''Sludge'' is intended as an insight into destruction of the environment.


== Reception ==
== Reception ==
Line 114: Line 114:
* 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>
* 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.
* 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>
* 1982, 21 November–12 December: ''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>
* 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>
* 1992, to 3 August: ''Classical modernism : the George Bell Circle'', National Gallery of Victoria<ref>{{Cite news |last=Heathcote |first=Christopher |date=24 June 1992 |title=New light on a neglected era |pages=14 |work=The Age}}</ref>
* 1993, 27-28 February: ''The Estate Of Anne Montgomery'': Bernard Hall, [[Blamire Young|W. Blamire Young]], [[Charles Wheeler (painter)|Charles Wheeler]], J. Muntz-Adams, George Bell, [[Eveline Winifred Syme|Eveline Syme]], [[Kenneth Jack]], [[Jessie Traill]], Len Annois, Barbara Brash, Alex Colquhoun, Edith Alsop, [[Lionel Lindsay]], [[Lucy Newell]], Cedric Flower, Jocelyn Priestley, T. Langlois, Anne Scott, Ron Center, Ellen Rubbo, E. M. Abeel, Margaret Pestall, Myrtle Fasken, [[Mary Macqueen|Mary MacQueen]], William Montgomery, Rosemary Thurber, and selected works by [[Anne Montgomery (artist)|Anne Montgomery]]. Eastgate Gallery, 158 Burwood Rd Hawthorn<ref>{{Cite news |date=27 February 1993 |title=Advertisment |pages=152 |work=The Age}}</ref>
* 1993, 27-28 February: ''The Estate Of Anne Montgomery'': Bernard Hall, [[Blamire Young|W. Blamire Young]], [[Charles Wheeler (painter)|Charles Wheeler]], J. Muntz-Adams, George Bell, [[Eveline Winifred Syme|Eveline Syme]], [[Kenneth Jack]], [[Jessie Traill]], Len Annois, Barbara Brash, Alex Colquhoun, Edith Alsop, [[Lionel Lindsay]], [[Lucy Newell]], Cedric Flower, Jocelyn Priestley, T. Langlois, Anne Scott, Ron Center, Ellen Rubbo, E. M. Abeel, Margaret Pestall, Myrtle Fasken, [[Mary Macqueen|Mary MacQueen]], William Montgomery, Rosemary Thurber, and selected works by [[Anne Montgomery (artist)|Anne Montgomery]]. Eastgate Gallery, 158 Burwood Rd Hawthorn<ref>{{Cite news |date=27 February 1993 |title=Advertisment |pages=152 |work=The Age}}</ref>
* 1993, 2–16 October: Lasssetters Gallery, Canberra
* 1993, 2–16 October: Lasssetters Gallery, Canberra

Revision as of 23:33, 7 July 2022

Portrait of Barbara Brash by Dorothy Braund, 1967, oil on canvas

Barbara Nancy Brash (3 November 1925 – 25 February 1998) was a twentieth-century post-war Australian artist known for her painting and innovative printmaking. In an extensive career she contributed to the Melbourne Modernist art scene, beside other significant women artists including: Mary Macqueen, Dorothy Braund, Anne Marie Graham, Constance Stokes, Anne Montgomery (artist) and Nancy Grant.[1]

Biography

Barbara Nancy Brash was born in Melbourne on the 3 November 1925 to Elsa and Alfred Brasch. The Brasch family had established Brasch Brothers and Salenger partnership in 1866 and opened Braschs music store at 108 Elizabeth Street. Reacting to prejudice against German names during and after the First World War, Alfred anglicised his surname.[2]

Barbara and her brother Geoffrey went to primary school at St. Margarets, Melbourne after which Barbara attended secondary school at the all-girls college St Catherine's School, Toorak. While Geoffrey inherited Brashs in the 1970’s, Barbara did not join the business, instead caring for her ageing parents at the family home in Toorak until her father’s death, though she produced several record covers for Brashs in the 1980’s. She lived in the Toorak home briefly before moving to her own home in Kooyong in 1967, and lived there for the remainder of her life.[2]

Barbara had family connections in the visual arts; cousin Golda Figa Brasch married Louis Abrahams in 1888, a founding member of the Heidelberg School, and another cousin Reuben Brasch set up Curlew Camp, visited by Tom Roberts and Arthur Streeton in the early 1880s.[2]

In late 1949 Brash travelled in Europe with Dorothy Braund, returning to Melbourne from London in 1951.[2]

Brash's lifelong concern was for the environment and animals, and she willed large sums from her shares to support animal welfare; Wildlife in Secure Environment, The Animal Welfare League of Victoria, The Lost Dogs Home and Animal Hospital, and the International Fund for Animal Welfare were beneficiaries.

Career

During a 50-year career, Barbara Brash (1925-1998) experimented to extend the limits of the graphic medium, working in and combining woodcuts, linocuts, lithographs and screenprints, 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."[3]

Brash began printmaking in 1947 when she studied etching in informal classes run by Harold Freedman at the Melbourne Technical College (now RMIT), simultaneous with her training in painting and drawing at the National Gallery School under its first Modernist instructor, Alan Sumner in 1946, the analytical approach taught by the Gallery School assisted her to find her simplistic, rich, and dynamic style. Furthermore, as an avid student she undertook additional classes with George Bell at his private school, where she formed close relationships with fellow women artists Dorothy Braund and Evelyn Syme. Her work began to reflect the ideas and practices of Modernism including the principle of dynamic symmetry. As part of the George Bell Group, consisting of Russell Drysdale, Geoffrey Jones, Edwin Robinson, Dorothy Braund, Alan Warren, Roma Thompson, Barbara Brash, Peter Cox, Constance Stokes, Anne Montgomery, Ron Center, George Bell, Sali Herman, and Alan Sumner,[4] 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, including screenprinter Senbergs and etcher Kluge-Pott, transmitted new techniques to eager local practitioners.

The Herald newspaper art reviewer 'L.T.’, surveying the year’s exhibitions of 1949, 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.”[5]

She also was a foundational member of a group, Studio One Printmakers, which formed in Melbourne in 1961 from the Print Studio in the Art School of the Royal Melbourne Institute of Technology [RMIT], after head of the art school Victor Greenhalgh had established for selected artists to have access to RMIT's print facilities. Its other members were Tate Adams, Hertha Kluge-Pott, Grahame King, Janet Dawson, Fred Williams, and Jan Senbergs.[6] Tate Adams included her in an exhibition of Studio One Printmakers; Forty Prints by Seven Artists, which during 1963 toured the National Gallery of Victoria, Newcastle Region Art Gallery, Castlemaine Gallery, Rudy Komon Gallery (Sydney), Douglas Gallery (Brisbane), Bonython Gallery (Adelaide), Skinner Gallery (Perth) and Yoseido Gallery, Tokyo. Subsequently he opened Crossley Gallery, in Crossley Street, Melbourne, the first private gallery in Australia to be devoted exclusively to showing artists' prints, in 1966, and continued to show her work.[7] Also that year Stuart Purves took on managment of Australian Galleries for the next five decades and during the 1970s, included Brash in its 'stable' alongside George Baldessin, Jeffrey Smart and Brett Whiteley.[8]

On 23 October 1965 in the print room of the National Gallery of Victoria twelve people met with curator prints Dr Ursula Hoff to establish a national body to promote printmaking in Australia. The result was The Print Council of Australia; in 1981 Lillian Wood recorded that 'from 22 June 1967 the first elected committee took over and it is interesting to note that of this first committee, three members continue to serve...Barbara Brash, Robert Grieve and Grahame King."[9]

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.

Style

Brash's early output, mostly linocuts and etchings, was in a Classical Modernist style[10] and her love to animals and the environment inspires much of the subject matter. In the 1960s she adopted the new medium of silkscreen, which artists were taking up from industrial applications in which it had been used since the turn of the century, and she explored its effects of solid or translucent colour in boldly graphic abstract works, enhanced with innovations such as embossing and textured inks, as seen in her complex print of 1967 Promontory.[11] After a quiescence in the 1980s, Brash was excited anew by the advent of digital printmaking which she experienced while attending the workshops of Bashir Baraki with whom in 1996 she published the collaborative editions comprising their The Image Makers.[2] Works such as Fossilised of 1993 exemplify the freedom afforded her in these highly coloured abstractions.[12] Her 1997 series of digital prints Sludge is intended as an insight into destruction of the environment.

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…,"[13] 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.”[14] In 1954 The Age art critic called attention to the "decorative effect" of two-dimensional pattern in her colored lino-cuts,”[15] an observation that The Herald critic repeated; “Barbara Brash is boldly decorative in a series of color lino-cuts.[16] 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.[17]

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."[18] 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,"[19] 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”[20] 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.”[21]

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“[22] 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,"[23] 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."[24]

Awards

  • 1948: 2nd prize (a landscape) Jewish Competitions Society series of competitions[25]
  • 1949: Sara Seri Scholarship, judged by A.M.E. Bale, Eric Thake, Douglas Dundas and Daryl Lindsay[26][27]
  • 1951: Victorian Jewish Competitions Society 1at Prize, Art Division[28]
  • 1975: Warrnambool[29]
  • 1980: Stanthorpe[29]
  • 1981: Mornington[29]
  • 1984: Victor Harbor Drawing Prize[30]
  • 1988: selected award, 5th International Miniature Print Exhibition, Seoul, Sth Korea[29]

Collections

National and state

Regional galleries

Tertiary collections

Exhibitions

Group

  • 1948, April: Victorian Artists' Society[41]
  • 1952, October: Victorian Artists' Society[42]
  • 1953, August: George Bell group, with Anne Montgomery, Roma Thompson, Dorothy Braund and Constance Stokes, Peter Bray Gallery[43][13]
  • 1953, October: Victorian Artists' Society Autumn Exhibition[44]
  • 1954, from 27 April: Forty Prints by Ten Artists (3 women, Brash with F. Higgs and Jennifer Purnell)),[45] opened by Ursula Hoff, Peter Bray Gallery[15][46][16][47]
  • 1954, May: Forty Prints by Ten Artists, Johnstone Gallery, Brisbane[18]
  • 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[48]
  • 1954, October: Painting, Melbourne Contemporary Artists at Vic Artists Society 1 Albert St East Melbourne[49]
  • 1954, 22 November–2 December: George Bell Group, Peter Bray Gallery[50][51][52][19][20]
  • 1955, 20 May–2 June: Thirty-Six Prints by Twelve Melbourne Artists: Tate Adams, Christine Aldor, Ian Armstrong, Geoff Barwell, Barbara Brash, David Allen, William Gleeson, Florence Higgs, Kenneth Jack, Verdon Morcom, Harry Rosengrave, Guenter Stein. Peter Bray Gallery[21][53][22][54]
  • 1955, 8–20 June: Thirty-Six Prints by Twelve Melbourne Artists. Johnstone Gallery, Brisbane[54]
  • 1955, 25 July–1 August: Thirty-Six Prints by Twelve Melbourne Artists. Riverside Gallery, Canberra[54]
  • 1955, October: Victorian Artists Society[55]
  • 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[56]
  • 1956, June: with Dorothy Braund, Helen Ogilvie, Guelda Pyke, Roma Thomson, Phyl Waterhouse, and six male artists, Paintings for Seven Guineas, Peter Bray Gallery[57]
  • 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[58][59]
  • 1956, October: six artists - with Douglas Annand, Michael Shannon, Ronald Millar, Richard Chriton, Helen Maudsley[60]
  • 1960, from 27 May: Melbourne Prints 1960, Canberra Art Club[61]
  • 1960, December: Melbourne Prints, Royal South Australian Society of Arts
  • 1961, 21 August: 50 members in Melbourne Contemporary Artists 1962 Exhibition, including women Mary McQueen, Edith Wall, Clothilde Atyeo, Valeria Albiston, Christine Aldor, Mignonne Armstrong, Barbara Brash, Margaret Benwell, Yvonne Cohen, Joyce Donovan, Margaret Dredge, Dorothea Francis. Peggy Fauser, Marion Fletcher, Nancy Grant, Rosa Garlick, Inez Hutchison, Evelyn McCutcheon, Joan Marks, Maidie McGowan, Lucy Newell, Yvonne Pettengell, Guelda Pyke and Ellen Rubbo. opened by Prof. Joseph Burke[62] Argus Gallery Melbourne [63]
  • 1963, 12 August: Melbourne Contemporary Artists 1963 Exhibition, with women artists including Anne Montgomery, Evelyn McCutcheon, Mary McQueen, Edith Wall, Barbara Brash, Margaret Dredge, Marion Fletcher, Marjorie Woolcock, Constance Stokes and Guelda Pyke. Argus Gallery Melbourne [64][65]
  • 1963, September: Prints' 63: Tate Adams, Barbara Brash, Janet Dawson, Grahame King, Hertha Kluge-Pott, Fred Williams, John Senbergs. National Gallery of Victoria[66]
  • 1963, 1 September: Prints '63, Studio One Printmakers, Tate Adams, Barbara Brash, Janet Dawson, Grahame King, Hertha Kluge-Pott, Jan Senbergs, Fred Williams. Castlemaine Art Gallery and Historical Museum[67]
  • 1966: Barbara Brash, Mary Macqueen, Lesbia Thorpe. Crossley Gallery, Crossley St., Melbourne
  • 1969, December: 3rd Print Prize Exhibition of the Print Council[68]
  • 1977, 22 February–16 March: Clive Parry Galleries, Beaumaris
  • 1978, April: Recent Australian Prints, Caulfield Arts Centre[69]
  • 1978, August: Annual exhibition of the Print Council of Australia, Meyers Blaxland Gallery[70]
  • 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[71]
  • 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.
  • 1982, 21 November–12 December: Women potters and printmakers: Barbara Brash, Kim Martin, Fran Clarke, Tina Banitska, Dianne Mangan, Yvonne Boag, Noela Hjorth, Mary McQueen. Golden Age Galleries[72]
  • 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[73]
  • 1992, to 3 August: Classical modernism : the George Bell Circle, National Gallery of Victoria[74]
  • 1993, 27-28 February: The Estate Of Anne Montgomery: Bernard Hall, W. Blamire Young, Charles Wheeler, J. Muntz-Adams, George Bell, Eveline Syme, Kenneth Jack, Jessie Traill, Len Annois, Barbara Brash, Alex Colquhoun, Edith Alsop, Lionel Lindsay, Lucy Newell, Cedric Flower, Jocelyn Priestley, T. Langlois, Anne Scott, Ron Center, Ellen Rubbo, E. M. Abeel, Margaret Pestall, Myrtle Fasken, Mary MacQueen, William Montgomery, Rosemary Thurber, and selected works by Anne Montgomery. Eastgate Gallery, 158 Burwood Rd Hawthorn[75]
  • 1993, 2–16 October: Lasssetters Gallery, Canberra
  • 1996, to 26 May: Insights into Image Making : Bashir Baraki, Barbara Brash and Jean Knox, Limited edition laser copy prints and cibachrome photographs Mornington Peninsula Regional Gallery[76]

Solo

  • 1969: Barbara Brash survey exhibition. Crossley Gallery, Melbourne[7]
  • 1969, 2–23 August: Barbara Brash survey exhibition Eastgate Gallery[77]

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[78]
  • 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
  • 2000-2001, to 14 January: Australian identities in printmaking. The Australian print collection of Wagga Wagga Regional Art Gallery. Wagga Wagga Art Gallery[79]
  • 2006, 25 July 24 September: “From Tuesday to Tuesday”: Barbara Brash, Nancy Clifton, Mary Macqueen and Lesbia Thorpe, Mornington Peninsula Regional Gallery [80][81]
  • 2011, 1 June–2July: Australian etchings featuring works from the collection of Ron Nott. Bridget McDonnell Gallery, Hampton[82]
  • 2012, 20 October–15 December: LOOK. LOOK AGAIN, survey exhibition of historic and contemporary works of art made by women in Australia drawn from the Cruthers Collection of Women’s Art. Lawrence Wilson Art Gallery, UWA[83]
  • 2022, 25 June – 9 October: Barbara Brash—Holding Form, Geelong Art Gallery[84]

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

  1. ^ Art Nomad, "Dorothy Mary Braund" Art Nomad, accessed 6 July 2022
  2. ^ a b c d e f Kerr, Joan; Mills, Emma (2 November 2019). "Barbara Brash : Biography". Design and Art Australian Online.
  3. ^ "In town and out". Herald. 1953-06-08. Retrieved 2022-07-05.
  4. ^ George Bell Group, [George Bell Group : Australian Gallery File], retrieved 5 July 2022
  5. ^ "'Tidal Wave' Of Art Shows". Herald. 1950-01-09. Retrieved 2022-07-05.
  6. ^ Studio One Printmakers, [Studio One Printmakers : Australian Gallery File], retrieved 5 July 2022
  7. ^ a b Zimmer, Jenny; Crossley Gallery (Melbourne, Vic.) (2003). The Crossley Gallery 1966-1980 / editor: Jenny Zimmer, with an introduction by Patrick McCaughey. Melbourne, Vic.: Macmillan Art Publishing. ISBN 978-1-876832-72-8. OCLC 1322328895.
  8. ^ Grishin, Sasha (2016). "For your enjoyment". Art Monthly Australasia. 295: 24–25.
  9. ^ Grishin, Sasha; King, Grahame E; Bright, Libby; Field, Caroline (2005). The art of Grahame King. South Yarra, Vic.: Macmillan Art Publishing. p. 42. ISBN 978-1-876832-59-9. OCLC 69676613.
  10. ^ Moore, Felicity St. John (1992). Classical modernism : the George Bell circle. George Bell, National Gallery of Victoria. Melbourne: National Gallery of Victoria. ISBN 0-7241-0155-1. OCLC 27548944.
  11. ^ Brash, Barbara (1967). "Promontory". National Gallery of Australia. Retrieved 2022-07-07.
  12. ^ Brash, Barbara (1993). "Fossilised". National Gallery of Australia. Retrieved 2022-07-07.
  13. ^ a b "ART REVIEW". Herald. 1953-08-04. Retrieved 2022-07-05.
  14. ^ "Sundry Shows : Artbursts". The Bulletin. 74 (3821): 19. 6 May 1953.
  15. ^ a b "ART NOTES". Age. 1954-04-27. Retrieved 2022-07-05.
  16. ^ a b "ART REVIEW". Herald. 1954-04-28. Retrieved 2022-07-05.
  17. ^ "Print Exhibition". Age. 1954-04-28. p. 7. Retrieved 2022-07-05.
  18. ^ a b "Versatility in technique". Courier-Mail. 1954-05-19. Retrieved 2022-07-05.
  19. ^ a b "Exciting color, feeling, in newly open art shows". Argus. 1954-11-23. Retrieved 2022-07-05.
  20. ^ a b "ART REVIEW". Herald. 1954-11-24. Retrieved 2022-07-05.
  21. ^ a b "Interesting Show By Twelve Artists". Argus. 1955-12-06. Retrieved 2022-07-05.
  22. ^ a b "Sundry shows". The Bulletin. 76 (3957). 14 Dec 1955.
  23. ^ ""MELBOURNE PRINTS 1960" STIMULATING". Canberra Times. 1960-05-28. Retrieved 2022-07-05.
  24. ^ Dutton, Geoffrey (14 December 1960). "Adelaide Art Shows". The Bulletin. 81 (4218): 26.
  25. ^ "REV. CHERRICK AT COMPETITION FINALE". Australian Jewish News. 1948-04-23. Retrieved 2022-07-05.
  26. ^ Scholarship In Art, The Age 19 December 1947, p.2
  27. ^ "NATIONAL GALLERY ART SCHOOL AWARDS". Argus. 1947-12-19. Retrieved 2022-07-05.
  28. ^ "Victorian Jewish Competitions Society GRAND JUBILEE NIGHT". Australian Jewish News. 1951-04-20. Retrieved 2022-07-05.
  29. ^ a b c d e f g h i j k l m n o p q r s McCulloch, Alan, McCulloch, Emily; McCulloch, Susan (2006). The new McCulloch's encyclopedia of Australian art (4th ed.). Fitzroy, Vic: Aus Art Editions in association with the Miegunyah Press. p. 208. ISBN 978-0-522-85317-9. OCLC 836536664.{{cite book}}: CS1 maint: multiple names: authors list (link)
  30. ^ "Rotary Art Show paints a rosy picture". Victor Harbour Times. 1984-01-11. Retrieved 2022-07-05.
  31. ^ Brash, Barbara. "National Gallery of Australia Collection : Barbara Brash". National Gallery of Australia. Retrieved 2022-07-05.
  32. ^ "2008/2009, PP no. 381 of 2009". Trove. Retrieved 2022-07-05.
  33. ^ "Works by Barbara Brash | Art Gallery of NSW". www.artgallery.nsw.gov.au. Retrieved 2022-07-06.
  34. ^ "Barbara BRASH". Art Gallery WA Collection Online. Retrieved 2022-07-06.
  35. ^ "NGV Collection : Barbara Brash". National Gallery of Victoria. Retrieved 2022-07-06.
  36. ^ "BRASH, Barbara | QAGOMA Collection Online". collection.qagoma.qld.gov.au. Retrieved 2022-07-06.
  37. ^ Furby, Paula (2001). "Resurrecting a war memorial". Journal of the Australian War Memorial (Online) (35). OCLC 7128404772.
  38. ^ "Barbara Brash". Heide Museum of Modern Art. Retrieved 2022-07-06.
  39. ^ "Pot Plant". Castlemaine Art Museum Collection Online. Retrieved 2022-07-06.
  40. ^ "Cruthers Collection of Women's Art : Lawrence Wilson Art Gallery : The University of Western Australia". www.lwgallery.uwa.edu.au. Retrieved 2022-07-06.
  41. ^ "Woman Artists at Exhibition Opening". Age. 1948-04-27. Retrieved 2022-07-05.
  42. ^ "ART REVIEW". Herald. 1952-10-14. Retrieved 2022-07-05.
  43. ^ "Woman Painters". Age. 1953-08-05. Retrieved 2022-07-05.
  44. ^ "ART REVIEW". Herald. 1953-10-13. Retrieved 2022-07-05.
  45. ^ "3 women artists". Herald. 1954-04-27. Retrieved 2022-07-05.
  46. ^ "Artists design, execute prints". Argus. 1954-04-27. Retrieved 2022-07-05.
  47. ^ "Print Exhibition". Age. 1954-04-28. Retrieved 2022-07-05.
  48. ^ "Fine vigor in this art show". Argus. 1954-10-12. Retrieved 2022-07-05.
  49. ^ "Melb. Contemporary Artists Exhibition". Australian Jewish News. 1954-10-22. Retrieved 2022-07-05.
  50. ^ "George Bell". The Bulletin. 75 (3903): 19. 1 December 1954.
  51. ^ "ADELAIDE GRAN. MAY BE A REDEX ENTRANT". Herald. 1954-11-22. Retrieved 2022-07-05.
  52. ^ "Exhibition of pottery". Argus. 1954-11-23. Retrieved 2022-07-05.
  53. ^ "Old And New In City Art Shows". Argus. 1956-03-06. Retrieved 2022-07-05.
  54. ^ a b c "36 prints by 12 Melbourne artists. at Multiple venues (1955) · Australian Prints + Printmaking". www.printsandprintmaking.gov.au. Retrieved 2022-07-06.
  55. ^ "Accent on design at art shows". Argus. 1955-10-04. Retrieved 2022-07-05.
  56. ^ "Sculpture, paintings on show". Argus. 1955-11-22. Retrieved 2022-07-05.
  57. ^ The Age Thursday 14 Jun 1956, p.8
  58. ^ "Six new art Shows in town". Argus. 1956-09-25. Retrieved 2022-07-05.
  59. ^ 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.
  60. ^ "Design Is Featured In Artists' Work". Argus. 1956-10-23. Retrieved 2022-07-05.
  61. ^ ""Melbourne Prints 1960" Stimulating". Canberra Times. 1960-05-28. Retrieved 2022-07-05.
  62. ^ Palmer, Sheridan, "Burke, Sir Joseph Terence (1913–1992)", Australian Dictionary of Biography, Canberra: National Centre of Biography, Australian National University, retrieved 2022-04-04
  63. ^ "Contemporary Art Exhibition". The Age. 14 Aug 1962. p. 10.
  64. ^ Cite error: The named reference :6 was invoked but never defined (see the help page).
  65. ^ "Contemporary art on show". The Age. 13 August 1963. p. 10.
  66. ^ National Gallery of Victoria (1963). Prints' 63: Tate Adams, Barbara Brash, Janet Dawson, Grahame King, Hertha Kluge-Pott, Fred Williams, John Senbergs. Melbourne: National Gallery of Victoria. OCLC 271774555.
  67. ^ "Prints '63. Studio One Printmakers. at Multiple venues (1963 – 1964) · Australian Prints + Printmaking". www.printsandprintmaking.gov.au. Retrieved 2021-09-22.
  68. ^ "Sydney Life & Times Art: Refreshing Variety". Australian Jewish Times. 1969-12-18. Retrieved 2022-07-05.
  69. ^ "Prints on show". Australian Jewish News. 1978-04-21. Retrieved 2022-07-05.
  70. ^ "The Original Source". Australian Jewish Times. 1978-08-17. Retrieved 2022-07-05.
  71. ^ Raya Gallery; Raya Gallery, [Raya Gallery : Australian Gallery File], retrieved 5 July 2022
  72. ^ Golden Age Fine Art Gallery; Golden Age Fine Art Gallery, [Golden Age Fine Art Gallery : Australian Gallery File], retrieved 5 July 2022
  73. ^ 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.
  74. ^ Heathcote, Christopher (24 June 1992). "New light on a neglected era". The Age. p. 14.
  75. ^ "Advertisment". The Age. 27 February 1993. p. 152.
  76. ^ Stewart, Kay (26 May 1996). "What's On : Galleries". The Age. p. 36.
  77. ^ Brash, Barbara; Eastgate Gallery (Vic.) (1989). Survey exhibition. Armadale, Vic.: Eastgate Gallery. OCLC 781583925.
  78. ^ Eastgate Gallery (1991). Works on paper: November 28th - December 18th 1991. Hawthorn, Vic.: Eastgate Gallery. ISBN 978-1-875517-05-3. OCLC 781543843.
  79. ^ "Australian identities in printmaking. The Australian print collection of Wagga Wagga Regional Art Gallery. at Wagga Wagga Art Gallery [3] (2000 – 2001) · Australian Prints + Printmaking". www.printsandprintmaking.gov.au. Retrieved 2022-07-06.
  80. ^ National Gallery Of Australia Annual Report 2006-07. National Gallery Of Australia. 2007.
  81. ^ 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.
  82. ^ "Australian etchings featuring works from the collection of Ron Nott. at Bridget McDonnell Gallery Hampton. (2011) · Australian Prints + Printmaking". www.printsandprintmaking.gov.au. Retrieved 2022-07-06.
  83. ^ The University of Western Australia. "LOOK. LOOK AGAIN". www.lwgallery.uwa.edu.au. Retrieved 2022-07-07.
  84. ^ "Barbara Brash—holding form | Geelong Gallery". www.geelonggallery.org.au. Retrieved 2022-07-05.
Retrieved from "https://en.wikipedia.org/w/index.php?title=Barbara_Brash&oldid=1096984440"