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Artist > Arthur Streeton (38 paintings.) |
The following paintings by Arthur Streeton can be viewed as part of this collection.
Arthur Streeton - At Templestowe, 1889
Arthur Streeton - Golden Summer, Eaglemont, 1889
Arthur Streeton - Eaglemont, 1889
Arthur Streeton - The Selectors Hut: Whelan On The Log, 1890
Arthur Streeton - Above Us The Great Grave Sky, 1890
Arthur Streeton - Still Glides The Stream And Shall Forever Glide, 1890
Arthur Streeton - Near Heidelberg, 1890
Arthur Streeton - Spring, 1890
Arthur Streeton - Fire's On, c. 1891
Arthur Streeton - Australia Felix, 1907
Arthur Streeton - Golden Afternoon, Olinda, c. 1924
Arthur Streeton - View From Farmer's, Olinda, c. 1928
Arthur Streeton - Silvan Dam, c. 1930-31
Arthur Streeton - The Cloud, 1936
Heidelberg School Bibliography
Arthur Streeton Memorabilia
Letter from Arthur Streeton to Frederick McCubbin from Glenbrook, New South Wales. Late 1891.
Beaconsfield Tower, Doncaster Hill 1880
Photograph Walter Withers and Jack Whelan c. 1889
View of Mount Eagle from Yarra River c. 1900
Arthur Streeton and Tom Roberts
Roberts and Streeton spent the last years of their lives living only kilometres apart in the picturesque Dandenong Ranges, to the east of Melbourne. Their closeness as friends and artists and their shared empathy with the environment of this special area is one of the untold stories of the Heidelberg School.
In 1888 in his painting of the Yarra River valley, Still glides the stream and shall forever glide (1888), Streeton shows a winding river in the middle of the picture and a landscape of bright yellowish goldish colour, very typically Australian. The painting was the first of his landscapes which was bought by a large art gallery, with the Art Gallery of New South Wales purchasing it in the same year that it was painted.
In 1897 Streeton sailed for London on the Polynesien, stopping at Port Said before continuing on via Cairo and Naples. He held an exhibition at the Royal Academy in 1900 and became a member of the Chelsea Arts Club in 1903. While Streeton had developed a considerable reputation in Australia, he failed to achieve the same success in England. His trips to London were financed by the sales of his paintings at home in Australia. His time in England reinforced a strong sense of patriotism towards the British Empire and, like many, anticipated the coming war with Germany with some enthusiasm.
Streeton returned to Australia in 1906 and completed some paintings at Mount Macedon in February 1907 before returning to London in October. Streeton painted in Venice in September 1908 and the resulting works were exhibited in Australia in July 1909 as "Arthur Streeton's Venice".
Streeton returned to Australia in April 1914 to conduct exhibitions in Sydney and Melbourne. He returned to England in early 1915 and, along with other members of the Chelsea Arts Club, including Tom Roberts, he joined the Royal Army Medical Corps (British Army) at the age of 48. He worked at the 3rd London General Hospital in Wandsworth and reached the rank of corporal. Streeton was deeply affected by the sights he encountered in the hospital and was discharged in February 1917 as medically unfit.
Having recovered, Streeton was made an Australian Official War Artist with the Australian Imperial Force, holding the rank of lieutenant, and he travelled to France on 14 May 1918 and was attached to the 2nd Division. As a war artist, Streeton continued to deal in landscapes and his works have been criticised for failing to concentrate on the fighting soldiers. Unlike the more famous wartime works depicting the definitive moments of battle, such as George Lambert's Anzac, the landing 1915, Streeton produced "military still life", capturing the everyday moments of the war. Streeton observed that, "True pictures of battlefields are very quiet looking things. There's nothing much to be seen, everybody and thing is hidden and camouflaged."
His most famous war painting, Amiens, the key of the west, a landscape of the Amiens countryside with dirty plumes of battlefield smoke staining the horizon, remains a powerful image of war. A similar scene is depicted in Streeton's The Somme valley near Corbie with a peaceful rural setting in the foreground and the smoke of an artillery bombardment in the distance.
Streeton returned to Australia in December 1919 and resumed painting in the Grampians and Dandenong Ranges. Streeton built a house on five acres (20,000 m²) at Olinda in the Dandenongs where he continued to paint. He won the Wynne Prize in 1928 with Afternoon Light, Goulburn Valley. He was an art critic for The Argus from 1929 to 1935 and in 1937 was knighted for services to the arts. He married Esther Leonora Clench, a Canadian violinist, in 1908. Streeton died in September 1943. He is buried at Fern Tree Gully cemetery.
Streeton's paintings are amongst the most collectible of Australian artists and attracted high prices during his life time. Golden Summer, Eaglemont was sold for around 1000 guineas in 1924 and in the 1980s it was bought in a private sale by the National Gallery of Australia for US$3.5 million, a price since considered excessive. In 1985, Settler's Camp sold at auction for AU$800,000 and this remained the record auction price for Streeton's work until 23 May 2005, when his 1890 painting, Sunlight Sweet, Coogee, was sold for AU$2.04 million (AU$1.853 Million before tax), becoming only the second painting by an Australian artist to exceed the AU$2 million mark at auction (after Frederick McCubbin's Bush Idyll which sold for AU$2.3 million in 1998).The painting was part of the Foster's Group collection and was sold at auction by Sotheby's.
Streeton's works appear in many major Australian galleries and museums, including the Australian War Memorial, National Gallery of Victoria, the Art Gallery of New South Wales and the National Gallery of Australia.
