Do Go On - Do Go On Presents: Arty Facts - Shearing the Rams

Episode Date: September 19, 2022

An English-Born painter helped birth Australian Impressionism and along the way created perhaps the most iconic work of that movement. This is the story of Tom Roberts’ Shearing the Rams! Matt Stewart tells Shearing the Rams' story in this episode of Arty Facts. Watch the video of this podcast: https://www.youtube.com/watch?v=bbBwMXTIVoc 'Do Go On Presents: Arty Facts' is a joint production from Stupid Old Studios and the Do Go On podcast. Do Go On are Dave Warneke, Jess Perkins and Matt Stewart. Stupid Old Studios is an independent production house based in Melbourne Australia who specialise in making fine, handcrafted nonsense. Twitter: http://twitter.com/stupidoldInstagram: http://instagram.com/stupidoldFacebook: http://facebook.com/stupidoldstudios This production was made possible with support from the Community Broadcasting Foundation. Find out more at http://cbf.org.au Hosted on Acast. See acast.com/privacy for more information.

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English-born painter Tom Roberts helped birth Australian Impressionism and along the way created one of the movement's masterpieces. Yeah, I said it. This week we're talking about Sheeran the Rams. Welcome to Artefacts. I'm Matt Stewart and I'm here with my very good friends Dave Warnicke and Jess. Jess. Hello, thanks for having us. Thank you so much for having us. Thanks so much for joining me here.

In your house. In my house. What a beautiful home. The Ian Potter Centre is my lounge room. I think of it as Melbourne's lounge room. How comfy is it? It's beautiful. Is the Yarra your toilet?

No, no. The Yarra's my bar. So we're here today to talk about this painting, which is a beautiful coincidence as we are sitting right in front of it now. Are you familiar with it? Yes. I can actually say that most of the ones that we've done in this series, no, but this one, yes, I am familiar with this one. It feels blasphemous, but for me, no. Yeah, interesting. Well, you're gonna learn a bit about it now, Dave. It's an icon.

I'm loving what I'm seeing. It's like an icon meeting an icon. Thanks. And magic's been made. So, your name? So, I'm going to tell you a bit about the artist, Tom Roberts, and then we'll get onto this icon of the art world, Shearing the Rams. Can you tell?

Great title. Yeah. It is what it says it is. But we'll start with the artist Tom Roberts. He was born on either the 8th or the 9th of March in 1856. They're not sure which one. It depends on whether you trust his birth certificate or his tombstone. Personally when it comes to births, I got the birth certificate. Feels like that's right in its area of expertise. Yeah. But the birth certificate didn't say anything about his date of death.

No, it didn't. You can trust the team's name for that one. Exactly. So he was born in Dorchester in England. After his father Richard died, his mother Matilda immigrated with Tom and his two siblings to Australia where they lived in Collingwood, a suburb of Melbourne from 1869. Nice. The first years in Australia were tough,

with the family struggling to make ends meet. Tom started becoming interested in art and by 1873 he was studying at the Collingwood and Carlton Artisans School of Design. He quickly showed promise and was awarded a prize for landscape painting. Huh? How many of them have you got? Three.

Only two. Oh. I don't have any. Don't ask me to do people though. I cannot even do stick figures. Landscapes? I'm amazing. Harder noses.

Don't get me started. He's done so many of them too. Heaps of noses. Nearly all of them have a nose. There's a guy at the back with a hat covering his nose. Yeah. That's the trick I use. Stuff the nose up. There's a guy at the back with a hat covering his nose. Yeah. Stuff the nose up. In 1874 he enrolled at the National Gallery of Victoria's Art School. So this part of what is now the Dean Potter Centre, NGV, he'd studied. It's

interesting the NGV has such a long history which is kind of cool. And there he became friends with another future legend of Australian painting, Frederick McCubbin. Ring any bells? Yes. He did that one there for instance. Wow. I'm still getting over but that was a little print of that painting was in our lounge room when I was a kid and it's so wild to be sitting near the real one. You've never seen it? No, I've never seen it. How cool! Yeah, so cool. While studying at the NGV school, McCubbin was nicknamed the Prof. He loved to read

and the other students loved to hear what he'd learnt. So they called him the Prof. Roberts, on the other hand, was nicknamed Bulldog. So we had Bulldog and the Prof. I love that and I'm buying that album. From 1881 to 1884. They were split up because Bulldog travelled to London where he was selected to study at the Royal Academy of Arts.

He was one of the first Aussie artists to get the call up over there. While he was over in London, he also spent a few weeks in Spain and while he was travelling, he was introduced to the principles of Impressionism and plein air painting. You familiar with plein air painting? No. Don't have any idea what it was? I... Have you not got it written down? I'm freaking out.

Matt did that tell me actually before but I thought that was supposed to play along. You were going to explain what I was... I said to you at the time, I'm like, this will give you a chance to look smart. And you hooked it. But what I would have done is gone, oh, I think that's where, when you're out in the open, you're painting a landscape out in the open. And you would have said, I told you that before. No, I wouldn't have.

No, you wouldn't. Now, I'm really enjoying the story of this piece, but to be honest, I don't really trust Matt and what he's saying so far. So I thought I'd bring in a couple of experts from the NGV to really set the record straight. And hello to Angela Hessen and David Hurlston. Hello. Thank you so much for joining me. First of all, I just wanted to ask you about the artist Roberts and where he fits into the Australian landscape.

So Tom Roberts is a really important figure for Australian art. He's certainly one of the most loved Australian artists at NGV. We think about Roberts' Australian precursors, people like Eugène von Gerard, who were very much in the kind of romantic tradition where they are removed from the landscape. They're looking at it as something wondrous and sublime. Roberts and his friends were all about embedding themselves in it,

getting to know it really intimately. So we see landscapes that have no horizon line, a new sense of real familiarity with Australian bushes and trees. And there's that sense of this is something that is familiar, that is home, but that's being painted in a really revolutionary way. And in fact, that was the start of what we know now or we refer to as the Australian Impressionism Movement where the artists would get together and go on these camps into the bush.

And actually it's interesting to note that Victorian ideas around propriety and gender played a real part in this. So Sutherland and other women artists weren't able to stay overnight at the camps because that was seen as indecent when there were men staying there. So they would trek out on the train, they'd take all their canvases and their materials and they'd spend the day painting with the men and then they'd have to go home again in the evening. And then do it all again the next day.

And it's for this reason, actually. The painting behind us is an unusually large example of Sutherland's work, but a lot of these women were painting most of the time on a smaller scale, in part just because they had to carry all of those materials. And materials were really expensive and they were paid less too so it was a difficult time but they made a go of it. So plein air painting basically it's the practice of painting landscape pictures out of doors or outside as you might say today. I would say out of doors. It's a French term, I believe.

So you're out in the landscape while you paint the landscape that you're in. Picture it. You're out there. Yeah, doing a bit of this. That's right. You've got the big easel out. You just look slightly over one side of the canvas and go, ah, yes. Back to it.

That's right. That's plein air. Yeah, nice. The things he learnt in Europe helped shape his style. And according to the Australian Dictionary of Biography, one of my favourite websites. Great source. It's a great source. Love the ADB.

He returned to Melbourne in 1885 at precisely the right moment to instigate a new school of painting based on plein air practice, which was allied to notions of nationalism and regionalism. I love that you precisely at the right moment, like you stepped off the boat and someone was saying, I reckon we need a new school, and he went, I've got an idea. And they went, all right. That's pretty much what happened.

But yeah, it was interesting because around that time, it was the first time there were more Australian-born people than European immigrants living in Australia. You know what I mean? And apparently, they were starting to go, all the old Europeans were starting, all the young Europeans were going, we need to start getting our own identity here. Forget the motherland. We're a country now, or we're about to be. Still weren't, but it was moving that way. So they wanted the art to reflect

it. The ADB goes on. Robert's Melbourne colleagues immediately benefited from his experience. Arthur Streeton, for one, later claimed that Bulldog's example was crucial for him. It was a big deal. In the following years, after his return, Roberts and McCubbin aka the Prof, Prof and the Bulldog, Roberts and McCubbin started going on painting trips with others including Streeton as well as Charles Condor. You can see a Condor just sort of. They would camp in places like Box Hill, Mentone and later in the Heidelberg area. A couple of those paintings over there from the Mentone trips. Looks very different these days. Does look a little different.

Quite different, yeah. Yeah, it was before the Edgy was there, for instance. That famous pub. That we've all been to. We've all been to. Dollar Pots Wednesday nights. That's a good deal. That's too good a deal. That's a dangerous deal. It was a good deal. That's too good a deal. That's a dangerous deal. It was a dangerous deal. Roberts later said, we went to the bush and tried to get it down as truly as we could.

And that was always his ambition. Roberts' 1886 painting, as you can see here, The Artist's Camp, portrays one of their camping trips to Box Hill. That's Frederick McCubbin seated by the tent and another artist, Lewis Abrahams in the hat. Lewis has just cooked some chops and what he's doing here is showing Frederick McCubbin the freshly cooked chops. Look at this. Hey, Fred. Look at this. Check out me chop.

Yeah. No truer representation of that will you find. No, it's his nickname, the Hat. Yeah, it was The Hat. No, it was Chop. Bulldog, The Prop, and The Hat. Some people call me Chop. You know why. These plein air trips were the beginning of what would come to be known as the Heidelberg School.

Art critic Sydney Dickinson coined the term, the Heidelberg School, in 1891 when reviewing works by Arthur Streeton and Walter Withers. Since then the term has evolved to incorporate all painters who went on these plein air artist camps around Melbourne and Sydney in the 1880s and 1890s. So we don't camp. If we went there now it doesn't. You could go to an artist camp in Box Hill now, but I'm afraid you don't make the cut. It doesn't qualify.

It's both time and place. Sorry, mate. So if I went to play some laser tag at Dark Zone in Box Hill, that wouldn't count? That doesn't count. Are you kidding me? Well, you'd come up with another thing. Laser tag can be art.

It could be the laser tag Box Hill school. A lot of the artists we've mentioned, Rob's included, have often been referred to as being part of the Heidelberg School. David, can you tell us more about that term? I mean certainly the artists painted in Heidelberg, but they painted in lots of other locations around Melbourne, but also in Sydney. So that's a commonly used term, but we like to use the term Australian Impressionism to

more accurately capture that sort of movement. I think one of the things that was really important for them was finding new areas of inspiration. After the turn of the century, several of them go back to Europe again. So Roberts, after sort of 1901, is back in London for a number of years. They're really quite nomadic. According to the Art Gallery of New South Wales, in 1889, along with McCubbin, Streeton, Conda and others, Roberts staged the 9 x 5 Impression Exhibition in Melbourne, which

consisted of impressions of bush and city life rapidly painted on cigar box lids. So I think it was in part because they didn't have a lot of cash for canvases and whatever, so they just reused these cigar box lids, little paintings, and they had this, it became quite an influential exhibition. Although art critic for the Argus newspaper James Smith condemned most of the paintings as a pain to the eye. Just too small? I can't see it properly. A pain to the eye. Yeah. Okay. That's pretty rough. Yeah. That's rough feedback. It's like he poked himself in the eye with a cigar. Yeah. I think it was unrelated to the art.

Despite being scorned by our conservative critics, this groundbreaking show reinforced the group's claim that they were creating a new type of art in Australia. Cup that Smith, you dog. What do you know? According to the State Library of New South Wales, the success of the wool industry made many squatters and pastoralists immensely wealthy, and by the 1880s, the wool business was booming.

Hey, we're getting on to wool. That feels relevant. Yeah, that's why I mentioned it. Oh, OK. According to the Wheeler Centre, when Tom Roberts painted Shearing the Rams, he wanted to create a painting that would represent Australian life. What do you reckon?

Is that how you see Australian life? Yeah, pretty much, yeah. It's like a bloody house in Fitzroy, am I right? Yeah, my life is reflected in this painting, very much so. In 1888, Roberts visited Brocklesby Sheep Station north of the Murray River. Here's a photo of the shearing shed from the NGV archives. Roberts took that himself. So this is the outside of what

he painted here. Observing the shearers, Roberts drew around 80 sketches on his first trip there. A few of them are still in existence you can see. He returned there twice more to continue work on what would become Shearing the Ramps. According to Lee Asprey in an essay featured on the NGV website, Roberts picked out the most characteristic and picturesque of the shearers. Imagine how brutal that would have been. Line up Phil. Line up. You're cut. You're cut. You're going. You've got a great personality mate but that doesn't come across in paint. We'll come back tomorrow in case he falls through. Yeah. Can you have a bath tonight and come back tomorrow? Not in those through. Yeah. Can you have a bath tonight and come back tomorrow?

Not in those shoes. Well, a few of them aren't wearing shoes. It's a bit of an OHS issue. This young chap down here in the bottom there. No protective shoes. No. No shoes at all. No.

What do you think about that? Yeah. Look over there, smoking his pipe with a bushy beard. That's a recipe for disaster. Good to know that these are the hotties. Yes, this is the hottest of the hot. He wanted it to represent Australia. Yes.

And we're a nation of hotties. Absolutely. We went through a similar process casting the show. Yeah, absolutely. You should see the echoes behind the camera. They suck, They're disgusting. A couple of interesting things. The shearing shed stood until 1965. It was burnt down unfortunately

in a bushfire. But before it was burnt, someone went up and reclaimed some of the panels from the walls where Roberts had actually cleaned his brushes, wiped the brushes on the wood from the wall. And we've got those now in the collection. Oh, wow.

We've done the tests and the paint matches exactly the paint in the painting. So we know that there is an element at least that he painted in situ on location. He was right there. He was right there. After the Shearers went home at the end of the day, Roberts continued painting, paying a couple of local girls to kick up dust in the empty shed to recreate the hectic atmosphere of shearing time. They just got paid to just kick dust around.

Kick up dust. That's a job I can get behind. But what's the hourly rate for a dust kicker? Oh, I'd charge nine. Nine bucks? Yeah, even back then. Oh my god. Back then.

Back then. I believe the tar boy here was one of the girls. What did you call him, sorry? Tar boy. The tar boy. So the tar boy was a job, I think. Yeah, they had to patch up maybe wounds or something. That is grim.

Yeah. Look, I can't believe how happy he is about it. Having a great time. He's a psychopath. Yeah. I can't wait till they cut one of these shit. I love it when a sheep bleeds. It's possible because she wasn't actually a tar boy.

Maybe that's why she hadn't seen the grim reality of it. She's posing there in an empty room. Asprey continues, It was not until sometime in May 1890 that Roberts eventually finished the painting in his Melbourne studio. Shearing the Rams was a carefully and consciously formulated painting executed over a long period, not an informal slice of life glimpsed in an Australian shearing shed.

So you might be like, oh, this is just a little snapshot. But he really, I mean, there's models, he picked out the prettiest. It's carefully put together. And put together over a few years. Yeah. Some sketches too. He's cast this. It's a little play. That's right. This is what Neighbours was based on.

That's Joe Mangle. Deep cut that one. What makes Robert's treatment of the shearing theme unique is the conscious attempt to achieve the heroization of pastoral labor and his rendering of the light and atmosphere in the shearing shed. Look at them. They look heroic. One of the criticisms I read that people had at the time was that they used the old manual shears, even though the electrical motorised or whatever shears had come in a couple of years earlier. But it's already like a slightly nostalgic look. That's what happens when it takes you years to paint something.

Yeah. Stuff becomes obsolete. We don't have a tar boy anymore. That's a tar man. When Robert showed Shearing the Rams in 1890, James Smith, you'd remember mentioning before. Oh yeah. Here we go. What did he think? Not only was he a leading art critic at the Argus, but he was also a trustee here at the NGV. And he found the painting too naturalistic, saying... Oh, my God. It's a little too real.

A little too real. I mean, where are the spaceships? Yeah. Where are they? I mean, I could go and see this on a farm. You're an artist. Make it more interesting. Yeah.

Sorry, what did he actually say? Well, he said, art should be of all times, not of one time, of all places. You're an artist, make it more interesting. Yeah. Sorry, what did he actually say? He said, art should be of all times, not of one time, of all places, not of one place. I don't know what he wants to see. But then if it was somehow a piece of art from all places and all times, he'd be like, I want a more specific experience. A bit busy. Yeah. Yeah.

Apparently, Roberts countered Smith's criticism, saying, by making art the perfect expression of one time and one place, it becomes for all time and for all places. He was basically like, yeah, Smith? Cop that. Smith also said, we did not go to an art gallery to see how sheep are shorn. Oh my. OK. What does this guy go to a gallery for? Yeah, what do not go to an art gallery to see how sheep are shorn. Oh my, okay.

What does this guy go to a gallery for? Yeah, what does he go for? Yeah, it's everything. I don't know. It just feels like he didn't like Roberts that much. I think he did review Roberts favourably at some point, but yeah, seemed to have a few digs at him as well. Roberts was keen to sell the painting to the NGV but they passed and I think this

was due to Smith's influence as well as the director of the time George Follingsby he also wasn't a fan but there were there were people who wanted it and there were other journalists who were like this is great you'd be it'd be silly not to purchase at NGV and then you'd be like this people don't go to galleries to see sheep they want to see paintings and then you'd be like this people don't go to galleries to see sheep they want to see paintings and then someone's like it's a painting of a sheep oh well it's too late i've already said no it'll look silly if i call it yeah now i'll be embarrassed others as i say viewed the painting much more favorably a glowing article in table tale magazine from May 1890 wrote, the whole work is alive with action and animation. Every figure suggests life and motion and each point in the picture worthily

forms a picture of itself. Like there's a bunch of art in the art. Also the same review also says it is strikingly representative of the life of the country and as such will unquestionably achieve distinction. They were big raps on it. They were saying it's the life of the country. That is everything, everywhere, all at once. Yes.

Okay, I'm getting confused now. They said Mr. Roberts painting is always strong, but in the present case it is masterly. They loved it. That's a rave review. Yeah that's a five star. That's a five star. That's five star. At least well it reads like a five. Reads like a five yeah for sure. It eventually was sold privately after the NGV passed on it to Edward Trenchard who worked in the wool industry and it was displayed in his Melbourne office. I think also the Paris end of Collins Street. That's a big office.

Yeah. In the following years, Roberts continued to focus on the Australian bush, with further paintings depicting life on sheep stations as well as bush ranging. According to Art Gallery of New South Wales, his increasingly large-scale paintings paid homage to rural life and pastoral industry. As the Golden Fleece from 1894 or the dangers and romance of bush ranging as in baled up. You can see how posed that is. Look at the poses. It would be hard to get horses to pose wouldn't it? You've got to super glue them to the ground. That's right which they're made of

that so it's easy. They're sort of self-sourcing in thatourcing, self-gluing. He was commissioned to paint the opening of the first federal parliament of Australia. So it's funny, he's not that well respected, not particularly. Some of his contemporaries were much more beloved in their lifetimes, but he was commissioned to paint the opening of the federal parliament, which was dubbed the Big Picture. That was sort of what it's become known as. This painting was completed in London in 1903 and yet is still displayed at Parliament House up in Canberra today.

After further travel in Belgium, the Netherlands and Italy and some modest successes at the Royal Academy of Arts in London, Roberts returned to Australia in 1919. He settled in Callista outside Melbourne where he continued to paint small evocative landscapes until his death in 1931. But it was sort of seen as a decline. Most biographies talk about these last 30 years as a bit of an artistic decline. He hit patches where he didn't paint anything at all for years at a time. That's quite a decline. Yes. In output anyway. Yeah, yeah. He was sort of didn't paint anything at all for years at a time. That's quite a decline. Yes. In output anyway. Yeah, yeah. He was sort of, because he wasn't getting the acclaim,

he wasn't getting that much work, so he was sort of struggling to know which direction to go in, not realising that a lot of the work he'd done were already bona fide classics. Yeah, so the same as well as him, his painting was also not seen as necessarily as the classic until later. Joy of Museums describes the work as one of the best known and most loved pictures in Australia. It is a masterpiece of Australian Impressionism and an iconic representation of Australia's significant wool industry. And according to the Wheeler Centre, his image of men hard at work in

a shearing station has endured since as a symbol of iconic national values like hard work and mateship and of the characters who live and work in country Australia. In time the painting became ubiquitous, at least to everyone but Dave, in Australian culture as David Hampton wrote in 2007, this is the picture we all recognise from school books, calendars, jigsaw puzzles, matchboxes and postage stamps. Probably the only Australian picture well enough known to be used in an advertisement for men's underpants. It was also used in a hardware ad at one point. That's how you know you've made it. Yeah. During his life, the NGV only purchased one

of his works, a 1919 painting named Penelope. But since then, they've become big fans and they now own 60 of his works. Wow. Yeah. While the painting is seen as a representation of Australian identity, it's clearly through a particularly white, European and masculine lens. Many artists have since subverted it in different ways,

an example being Diane Jones's Shearing the Rams from 2001. Of her work, Jones wrote, I have used this iconic painting by Tom Roberts to highlight that Indigenous people were shearers too. I have kept the original title of Tom Roberts' painting, Shearing the Rams, because I did not think that I needed to change it in any way, because this is a portrayal of history that I know is true. My father was a gun shearer and my brother was also a shearer. In 1979, Pam Debenham created an altered version of the work titled Strong Feminine Labour as a feminist recreation.

Other works that are thought to directly reference Robert's iconic painting include George Washington Lambert's 1921 work Weighing the Fleece and Marcus Bealeby's Sir John Sulman Prize winning Crutching the Yews from 1987. So this iconic Australian painting's influence has lived on for many generations after Robert's journeyed out to the Brocklesby sheep station. journeyed out to the Brocklesby Sheep Station. I think it's probably one of our most recognisable paintings. Certainly, you know, it's one of our most loved. When something is set up as a national narrative, you know, when you paint something as an intentional icon,

which Roberts really did, that almost kind of occupy the place of religious painting or history painting in a way, those kinds of images are really ripe for appropriation and parody and you think who is privileged and celebrated in these kinds of images you know and we think very much this is an image of white masculinity, a particular rugged version of that, that of course doesn't necessarily represent what we would see as as the kind of national identity that we want to exclusively embrace today. So I think in a way it's kind of inevitable that that happens to images like these.

To celebrate its 130th anniversary, in 2020 the NGV loaned the painting to the Wangaratta Art Gallery about an hour down the road from the sheep station it was painted at. Keith Wise, the grandson of one of the shearers in the painting, Jack Wise, this guy here. Oh, cool. He had drink coasters with the painting on his dining table for as long as he could remember. But it wasn't until 2020 that he actually saw the painting in real life, which you can see him doing. That's so nice. That's him on the left there. That's the story of Shearing the Rams. What do you reckon? Love it.

Shout out to the Tar Boy. Oh, yeah. Tar Boy's the real star, I think. Second maybe only to this ram that really looks like it's accepted its fate. It's just kind of like, all right, let's get it over and done with. Yeah, it's so sad but it's interesting how maybe if you're an artist, right, you can just go, look, I know I'm not a big deal now but you just wait until I die. Then I'll show them.

That's really a pep talk for you, don't you think? If I was an artist, do you know what I'd do? I would fake my own death. Oh. Wait for my art to get really popular. Ra-da! Come back. Come back.

Money, money, money, money. And that's the ultimate artistic performance. Exactly, yeah. It would be performance art. That's great. So you can't be mad at me because I was just doing art. Yeah. Do Go On Presents Artifacts has been made with the support

of the Community Broadcasting Foundation and is available nationwide on the Community Radio Network. We'll see you next time. eats. Get almost almost anything. Order now. Product availability may vary by region. See app for details. We can wait for clean water solutions. Or we can engineer access to clean water. We can acknowledge indigenous cultures. Or we can learn from indigenous voices. We can

demand more from the earth. Or we can demand more from ourselves. At York University, we work together to create positive change for a better tomorrow. Join us at yorku.ca slash write the future.