NGV Magazine

Issue 28
May – Jun 2021

In this issue we introduce the 2021 Melbourne Winter Masterpieces exhibition French Impressionism from the Museum of Fine Arts, Boston and celebrate the French Impressionist artists who pushed the boundaries of convention to discover new and exciting modes of expression with features by Julia Welch, MFA Assistant Curator of Paintings, Art of Europe and others. We also feature the exhibition Big Weather, with essays by Hannah Presley, NGV Curator of Indigenous Art, Dr. Jared M. Field and Siena Stubbs’s.

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Features in this issue

COVER STORY Stories of a collection: how Boston embraced Impressionism

‘This long history of generous collaboration among artists, collectors and the MFA laid the foundation for Boston’s enduring devotion to Monet and his contemporaries that has continued throughout the twentieth century and beyond.’

By Julia Welch

EXHIBITION Big Weather

‘As I studied the Collection, I was drawn to works that I hadn’t seen before on display, works that had big stories and were powerfully connected to Country and culture.’

By Hannah Presley

DEEP READ But Goodways

‘While all of the pieces…speak of Big Weather, they also tell big stories. They show…an understanding of the way we interact with our world–we are not simply in it, but part of it.’

By Dr Jared M. Field

PRINTS & DRAWINGS Establishing a new order: the avant-garde creatives who upturned the art world

‘They wanted to produce a new art for the masses rather than for the elite, an art that would contribute to society and parallel new concepts in economics and politics.’

By Cathy Leahy

AUSTRALIAN IMPRESSIONISM The Australians in France

‘The artistic re-creation of prismatic light (incorporating the colours of the spectrum) was the goal of much painting in the later nineteenth century, integral to the new palette of other Impressionists including Claude Monet, Camille Pissarro and Georges Seurat.’

By Dr Anne Gray, Dr Angela Hesson and Sophie Gerhard

LIFE & TIMES Dora and Françoise

‘Women were less likely to be taken on by art dealers and were often ignored or trivialised by art critics, sometimes reduced to objects of desire for the (male) artistic partners. Those who did achieve fame often did so by operating within the boundaries and expectation of ‘feminine’ artistic styles.’

By Dr. Maria Quirk