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In 1940 she painted ''Australian Beach Scene (1940), a feminised response to Meere's famous 1940 work Australian Beach Patter.'' In Robertshaws' work, the gender roles are reversed and women subjects predominate. This could reflect the changing Australian society as WWII evolved in 1940.<ref name=":1" /> In 1940 she painted ''Australian Beach Scene (1940), a feminised response to Meere's famous 1940 work Australian Beach Patter.'' In Robertshaws' work, the gender roles are reversed and women subjects predominate. This could reflect the changing Australian society as WWII evolved in 1940.<ref name=":1">Philip McCouat, "The origins of an Australian Art Icon", Journal of Art in Society, http://www.artinsociety.com</ref>


In 1944, Robertshaw completed a standing nude self-portrait which she submitted to the New South Wales Travelling Art Scholarship competition. This was her third and last attempt at the competition. The painting reflects her training, with classical modeling, and composition over colour. And at the time there was no controversy about her nudity, probably because the figure is somewhat impassive. <ref>{{Cite book|last=Quin|first=Sally|title=Know My Name|publisher=National Gallery of Australia|year=2020|isbn=9780642334879|location=Canberra, ACT, Australia|pages=314-315}}</ref> In 1944, Robertshaw completed a standing nude self-portrait which she submitted to the New South Wales Travelling Art Scholarship competition. This was her third and last attempt at the competition. The painting reflects her training, with classical modeling, and composition over colour. And at the time there was no controversy about her nudity, probably because the figure is somewhat impassive. <ref>{{Cite book|last=Quin|first=Sally|title=Know My Name|publisher=National Gallery of Australia|year=2020|isbn=9780642334879|location=Canberra, ACT, Australia|pages=314-315}}</ref>
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⚫ In 1998, ''Australian Beach Scene'' (1940), a feminised response to Meere's famous 1940 work ''Australian Beach Pattern'', sold at ] for $]475,500, a record for an Australian woman artist at the time.<ref>Maslen, Geoff (30 July 2002). , ''The Sydney Morning Herald''. Retrieved 16 November 2012.</ref><ref name=":1">Philip McCouat, "The origins of an Australian Art Icon", Journal of Art in Society, http://www.artinsociety.com</ref>


== Collections == == Collections ==
Robertshaw works are held in the ]<ref name=":2">{{Cite web|title=Studio still life, circa 1940 by Freda Robertshaw|url=https://www.artgallery.nsw.gov.au/collection/works/121.2015/|access-date=2021-01-02|website=www.artgallery.nsw.gov.au}}</ref> , the ] <ref>{{Cite web|last=Robertshaw|first=Freda|title=Composition|url=https://cs.nga.gov.au/detail.cfm?irn=167239|access-date=2021-01-02|website=Item held by National Gallery of Australia}}</ref> the Gruthers Collection of Women's Art, ], Perth.<ref>{{Cite book|last=Quin|first=Sally|title=Know My Name|publisher=National Gallery of Australia|year=2020|isbn=9780642334879|location=Canberra, ACT, Australia|pages=314}}</ref>, the collection of the National Art School <ref>{{Cite web|date=2020-07-12|title=NAS Retake: Freda Robertshaw|url=https://nas.edu.au/nas-retake-freda-robertshaw/|access-date=2021-01-03|website=National Art School|language=en-US}}</ref> Robertshaw works are held in the ]<ref name=":2">{{Cite web|title=Studio still life, circa 1940 by Freda Robertshaw|url=https://www.artgallery.nsw.gov.au/collection/works/121.2015/|access-date=2021-01-02|website=www.artgallery.nsw.gov.au}}</ref> , the ] <ref>{{Cite web|last=Robertshaw|first=Freda|title=Composition|url=https://cs.nga.gov.au/detail.cfm?irn=167239|access-date=2021-01-02|website=Item held by National Gallery of Australia}}</ref> the Gruthers Collection of Women's Art, ], Perth.<ref>{{Cite book|last=Quin|first=Sally|title=Know My Name|publisher=National Gallery of Australia|year=2020|isbn=9780642334879|location=Canberra, ACT, Australia|pages=314}}</ref>, the collection of the National Art School <ref>{{Cite web|date=2020-07-12|title=NAS Retake: Freda Robertshaw|url=https://nas.edu.au/nas-retake-freda-robertshaw/|access-date=2021-01-03|website=National Art School|language=en-US}}</ref>, the Art Gallery of South Australia <ref>{{Cite web|last=st|first=Visit North Terrace Adelaide SA 5000 Australia T. +61 8 8207 7000 E. infoartgallery sa gov au www agsa sa gov au AGSA Kaurna yartangka yuwanthi AGSA|last2=l|first2=s on Kaurna|last3=Maps|first3=Open in|title=Freda Robertshaw|url=http://www.agsa.sa.gov.au/collection-publications/collection/creators/freda-robertshaw/8154/|access-date=2021-01-03|website=AGSA - Online Collection|language=en}}</ref>

⚫ In 1998, ''Australian Beach Scene'' (1940), a feminised response to Meere's famous 1940 work ''Australian Beach Pattern'', sold at ] for $]475,500, a record for an Australian woman artist at the time.<ref>Maslen, Geoff (30 July 2002). , ''The Sydney Morning Herald''. Retrieved 16 November 2012.</ref><ref name=":1" />


== Further reading == == Further reading ==

Revision as of 06:34, 3 January 2021

Freda Rhoda Robertshaw
Born1916 (1916)
Sydney, Australia
Died1997 (aged 80–81)
Sydney, Australia
NationalityAustralian
Known forPainting
Movementstylised art deco

Freda Rhoda Robertshaw (1916–1997) was an Australian artist and painter of neoclassical figures and landscapes.

Biography

Born in Sydney in November 1916. Her parents had migrated from England during WWI. She attended primary school in Rose Bay, Darlinghurst and Paddington before attending high school in Burwood. At age 16, she left shool and she enrolled at the East Sydney Technical College. She studied in their commercial art program until 1937, studying drawing, life drawing, oil painting and watercolour.

Robertshaw wanted to compete for the NSW Travelling Scholoarship, which required figure painting, To learn more about figure painting she became an apprentice and partner of artist Charles Meere who had been her life drawing teacher. Both were conservative academic artists, painting the human figure in a studied neoclassical style. Some of Robertshaw's paintings from this period have been mistaken for Meere's work.

Painters Arthur Murch and Napier Waller, and photographers Max Dupain and Olive Cotton were Australian contemporaries with a similar vision.

Career

In 1940 she painted Australian Beach Scene (1940), a feminised response to Meere's famous 1940 work Australian Beach Patter. In Robertshaws' work, the gender roles are reversed and women subjects predominate. This could reflect the changing Australian society as WWII evolved in 1940.

In 1944, Robertshaw completed a standing nude self-portrait which she submitted to the New South Wales Travelling Art Scholarship competition. This was her third and last attempt at the competition. The painting reflects her training, with classical modeling, and composition over colour. And at the time there was no controversy about her nudity, probably because the figure is somewhat impassive.

In 1940, the arts writer for The Bulletin declared that Robertshaw's nude painting "the best in the show". Robertshaw was the first Australian woman artist to paint a fully nude self-portrait with Standing Nude (1944), which was also her last figure painting, representing her break from Meere's influence. Standing Nude was regarded as "the star attraction" of the 2001 Modern Australian Women exhibition, which debuted at the Art Gallery of South Australia.

After completing this work, Robertshaw left Meere's studio.

Robertshaw later experimented with landscape and surrealism; one of her surrealist works, Composition (1947), was acquired by the National Gallery of Australia.


Collections

Robertshaw works are held in the Art Gallery of New South Wales , the National Gallery of Australia the Gruthers Collection of Women's Art, The University of Western Australia, Perth., the collection of the National Art School , the Art Gallery of South Australia

In 1998, Australian Beach Scene (1940), a feminised response to Meere's famous 1940 work Australian Beach Pattern, sold at Sotheby's for $A475,500, a record for an Australian woman artist at the time.

Further reading

  • Sun, Sea and Standing Tall, Leanne Santorro, LOOK, Art Gallery of NSW

References

  1. ^ Robertshaw, Freda Thoda. "Freda Rhoda Robertshaw". Design and Art Australia Online. Retrieved 31 August 2020.{{cite web}}: CS1 maint: url-status (link)
  2. ^ "Trove". trove.nla.gov.au. Retrieved 3 January 2021.
  3. "NAS Retake: Freda Robertshaw". National Art School. 12 July 2020. Retrieved 3 January 2021.
  4. ^ "Studio still life, circa 1940 by Freda Robertshaw". www.artgallery.nsw.gov.au. Retrieved 3 January 2021.
  5. ^ Philip McCouat, "The origins of an Australian Art Icon", Journal of Art in Society, http://www.artinsociety.com
  6. Quin, Sally (2020). Know My Name. Canberra, ACT, Australia: National Gallery of Australia. pp. 314–315. ISBN 9780642334879.
  7. "Vol. 61 No. 3161 (11 Sep 1940)". Trove. Retrieved 31 August 2020.
  8. James, Bruce (18 June 2003). "Pictures of restraint make an impact all their own", The Sydney Morning Herald. Retrieved 16 November 2012.
  9. ^ "Studio still life, circa 1940 by Freda Robertshaw". www.artgallery.nsw.gov.au. Retrieved 2 January 2021.
  10. ROBERTSHAW, Freda | Composition, National Gallery of Australia. Retrieved 16 November 2012.
  11. Robertshaw, Freda. "Composition". Item held by National Gallery of Australia. Retrieved 2 January 2021.
  12. Quin, Sally (2020). Know My Name. Canberra, ACT, Australia: National Gallery of Australia. p. 314. ISBN 9780642334879.
  13. "NAS Retake: Freda Robertshaw". National Art School. 12 July 2020. Retrieved 3 January 2021.
  14. st, Visit North Terrace Adelaide SA 5000 Australia T. +61 8 8207 7000 E. infoartgallery sa gov au www agsa sa gov au AGSA Kaurna yartangka yuwanthi AGSA; l, s on Kaurna; Maps, Open in. "Freda Robertshaw". AGSA - Online Collection. Retrieved 3 January 2021.{{cite web}}: CS1 maint: numeric names: authors list (link)
  15. Maslen, Geoff (30 July 2002). "Women push through the canvas ceiling", The Sydney Morning Herald. Retrieved 16 November 2012.

External links

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