"Her strength is in draftsmanship and sensitive observation of trees and their branching. She discovers lyrical grace in twisting limbs as in 'Bush Moot', 'View of the Lane Cove River', 'Broken Branch'.” ~ Elizabeth Young, The Advertiser (1972)
WATERCOLOURS: Watercolours
The artist favours watercolour for flower and nature studies and has produced countless portrait studies in watercolour, including babies and children. She sometimes combines watercolour with mixed-media, pen, and pencil, using pure watercolour for landscape compositions and more finished portraits. The compositions for the artist’s major acrylic paintings are developed through preliminary watercolour sketches.
Her landscape compositions are influenced by the poetic approach of Chinese masters who capture the essence of a scene after immersing themselves in the environment. This all-encompassing perspective is in direct contrast to the limiting “snapshot” view painted at the scene. In some of her watercolour landscapes she paints on crumpled Japanese paper to create a shimmering textural effect.
"Her strength is in draftsmanship and sensitive observation of trees and their branching. She discovers lyrical grace in twisting limbs as in 'Bush Moot', 'View of the Lane Cove River', 'Broken Branch'.” ~ Elizabeth Young, The Advertiser (1972)
WATERCOLOURS
The artist favours watercolour for flower and nature studies and has produced countless portrait studies in watercolour, including babies and children. She sometimes combines watercolour with mixed-media, pen, and pencil, using pure watercolour for landscape compositions and more finished portraits. The compositions for the artist’s major acrylic paintings are developed through preliminary watercolour sketches.
Her landscape compositions are influenced by the poetic approach of Chinese masters who capture the essence of a scene after immersing themselves in the environment. This all-encompassing perspective is in direct contrast to the limiting “snapshot” view painted at the scene. In some of her watercolour landscapes she paints on crumpled Japanese paper to create a shimmering textural effect.
MEDIA:Watercolours
Watercolours
140 Works to view
Page 1 2
140 Works to view
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Uncle Ted in Dressing Gown, 1960
watercolour, pen and crayon
53 x 36 cm
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Boy from Silverton, 1959
watercolour
32 x 38 cm
Private collection
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Salt Lake (near Port Lincoln), 1959
watercolour
52.5 x 36 cm
Private collection, Australia
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Daffodils and Sword Fern, 1959
watercolour
20 x 25 cm
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Two Gums, Ivymeade, Burnside, 1959
watercolour
26 x 23 cm
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Gulls and Workmen, Outer Harbour, Port Adelaide, 1959
watercolour and pen
25.5 x 27 cm
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Outer Harbour, Port Adelaide, 1959
watercolour and crayon
46 x 33.5 cm
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Off-loading, Outer Harbour, Port Adelaide, 1959
watercolour and pen
24.5 x 40 cm (var.)
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Winter Trees, Second Creek, Ivymeade, Burnside, 1959
watercolour
54 x 37 cm
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Boys Cockling, Port Lincoln, 1959
watercolour
29 x 52 cm
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Spring, Adelaide Foothills, 1959
watercolour
31 x 43 cm
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Aunty Dot's Hens at Grandpa's Workshop, 1958
watercolour
27 x 35 cm
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Red Hibiscus, 1957
watercolour
38 x 28 cm
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Brother Bill, Apprehensive, 1957
watercolour
37 x 27 cm
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Mount Gipps, Broken Hill, 1957
watercolour
23 x 36.5 cm
WATERCOLOURS :
Watercolours
140 Works
Page 1 2
WATERCOLOURS :
Watercolours
140 Works
Page 1 2