LANDSCAPE ART IN AUSTRALIA 



throughout the Commonwealth as well as in many important private 

 collections. For some years he has lived in England where his work is 

 highly esteemed. 



Arthur E. Streeton, born in Melbourne in 1 867, received his first 

 tuition at the Melbourne Art Gallery schools, afterwards going to 

 Europe for further art training. He possesses a distinctly individual and 

 fine colour sense, and in the various art galleries of the Commonwealth 

 he is represented by several notable works. He secured the first Honour- 

 able Mention awarded to an Australian by the Paris Salon, which also 

 conferred on him a Gold Medal in 1908. For some years past he has 

 made his home in England, revisiting Australia on two occasions and 

 holding successful exhibitions. 



John Longstaff, born in Victoria in 1 862, received his early art training 

 in Melbourne, and in 1887 secured the first travelling scholarship 

 awarded by the trustees of the National Art Gallery of Victoria. He 

 went to Paris, and became a pupil of Fernard Carmore. He is an ex- 

 hibitor at the Royal Academy and Paris Salon. At the Salon he gained 

 an Honourable Mention. It is not as a landscapist, but as a portrait and 

 figure painter that this artist is best known, and the galleries at Sydney, 

 Melbourne, and Adelaide contain many fine portraits and other products 

 of his brush. 



Tom Roberts, born in England in 1 856, came to Australia as a boy, 

 and received his first art training at the Melbourne Art Gallery schools, 

 subsequently studying at those of the Royal Academy. In the Adelaide 

 Art Gallery he is represented by a distinctly Australian landscape The 

 Breakaway and by portraits of Sir Henry Parks and Australia's first 

 Governor-General, the Marquis of Linlithgow. 



The late J. Ford Paterson (p. 73) was born in Scotland and was a constant 

 exhibitor at the Royal Scottish Academy. He came to Melbourne and 

 devoted his talent to the foundation of a national school of landscape 

 painting. His Australian landscapes received their first significant re- 

 cognition abroad in a laudatory article by the well-known art critic, 

 R. A. M. Stevenson. As is the case with most painters, Ford Paterson's 

 work may be divided into different periods, the earlier studies of the 

 Bush being more frankly realistic than his later canvases, which are 

 simpler and more decorative in composition, and more poetic in tone 

 and atmosphere. Besides the works in private collections, Ford Paterson 

 has important pictures in the National Galleries of Melbourne, Sydney, 

 Perth, and Brisbane. 



The late John Mather has done good work as a builder of a national 

 art, and is represented in many private and public collections. 

 Fred McCubbin, who is in the front rank of Australian artists (pp-7 1-2), 

 is a native of Melbourne, where he first saw the light in 1855. Though 

 excellent in portraiture, it is as a landscape painter that he is more 

 38 



