Relevant bibliographies by topics / Painters, australia

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Painters, australia'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 February 2023

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Journal articles on the topic "Painters, australia"

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Matthews, David. "Peter Sculthorpe at 60." Tempo, no. 170 (September 1989): 12–17. http://dx.doi.org/10.1017/s004029820001799x.

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Peter Sculthorpe's career has been one of remarkable unity of vision and consistency of purpose. From the start, he set out to create a music which, while universal in content, would be specifically Australian in its idiom. At the time he was growing up, this was not an over-simplistic aim, especially when Sculthorpe looked at the music then being written in Australia and saw that, by and large, it was hopelessly dependent on European manners and cultural traditions that could only be acquired at second-hand. Australians were then, and still are, in the process of self-discovery; the best Australian artists have learned that their own country can provide them with richer material for their work than can distant Europe. Painters, especially, have found the extraordinary Australian landscape, where trees shed their bark instead of their leaves, and prehistoric animals roam in a red desert, a potent source of inspiration. Even in the 19th century the painters of the Heidelberg school, in responding to the glaring Australian light, produced work quite different in feeling from the French Impressionists who were their models. In the 20th century a true national school has come into being, whose major figures have all helped to define the Australian landscape's peculiar strangeness – Lloyd Rees, Russell Drysdale, Fred Williams, Arthur Boyd, Sidney Nolan.
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Watchman, Alan, and Noelene Cole. "Accelerator radiocarbon dating of plant-fibre binders in rock paintings from northeastern Australia." Antiquity 67, no. 255 (June 1993): 355–58. http://dx.doi.org/10.1017/s0003598x00045415.

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During the late Holocene, Aboriginal rock painters in north Queensland selected and combined various natural inorganic and organic materials in paint recipes – possibly to increase the longevity of their paintings. The organic materials make direct radiocarbon dating possible.
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Brady, Veronica. "Towards an Ecology of Australia: Land of the Spirit." Worldviews: Global Religions, Culture, and Ecology 3, no. 2 (1999): 139–55. http://dx.doi.org/10.1163/156853599x00117.

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AbstractEcology has to do with the realisation of the relationships between human beings and the larger fabric of life. But the strangeness of the Australian environment as seen by the first European settlers, together with the exploitative ideology of colonisation, have posed particular problems for the development of ecological awareness. This paper argues, however, that writers, painters and musicians have kept the possibility of developing ecological awareness open from the beginnings of settlement. It also maintains that increasing sensitivity to the significance of Aboriginal culture, the oldest living culture on earth, will be perhaps the most crucial factor in this transformation.
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Hunt, Jane E. "The ‘intrusion of women painters’: Ethel Anderson, modern art and gendered modernities in interwar Sydney, Australia." Women's History Review 21, no. 2 (April 2012): 171–88. http://dx.doi.org/10.1080/09612025.2012.657885.

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Baxter, Paula A. "ARTISTS IN EARLY AUSTRALIA AND THEIR PORTRAITS: A GUIDE TO THE PORTRAIT PAINTERS OF EARLY AUSTRALIA WITH SPECIAL REFERENCE TO COLONIAL NEW SOUTH WALES AND VAN DIEMEN'S LAND TO 1850. Eve Buscombe." Art Documentation: Journal of the Art Libraries Society of North America 10, no. 3 (October 1991): 167. http://dx.doi.org/10.1086/adx.10.3.27948379.

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Mudd, Gavin M. "The Legacy of Early Uranium Efforts in Australia, 1906 - 1945: From Radium Hill to the Atomic Bomb and Today." Historical Records of Australian Science 16, no. 2 (2005): 169. http://dx.doi.org/10.1071/hr05013.

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The existence of uranium minerals has been documented in Australia since the late nineteenth century, and uranium-bearing ores were discovered near Olary ('Radium Hill') and in the Gammon Ranges (Mount Painter) in north-eastern South Australia early in the twentieth century. This occurred shortly after the discovery of radioactivity and the isolation of radium, and a mining rush for radium quickly began. At Radium Hill, ore was mined and concentrated on site before being transported to Woolwich in Sydney, where the radium and uranium were extracted and refined. At Mount Painter, the richness of the ore allowed direct export overseas. The fledgling Australian radium industry encountered many difficulties, with the scale of operations generally much smaller than at overseas counterparts. Remoteness, difficulties in treating the ore, lack of reliable water supplies and labour shortages all characterized the various attempts at exploitation over a period of about 25 years to the early 1930s. Hope in the potential of the industry, however, was eternal. When the British were working with the Americans during the Second World War to develop the atomic bomb, they secretly requested Australia to undertake urgent and extensive studies into the potential supply of uranium. This led to no exports but it did lay the groundwork for Australia's post-war uranium industry that has dominated the nation's nuclear diplomacy ever since. Some three decades later, the modest quantity of radioactive waste remaining at Woolwich was rediscovered, creating a difficult urban radioactive waste dilemma. The history of both the pre-war radium–uranium industry and Australia's involvement in the war-time exploration work is reviewed, as well as the radioactive waste problems resulting from these efforts, which, despite their relatively small scale, persist and present challenges in more modern times.
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KERR, JOAN. "THE DICTIONARY OF AUSTRALIAN ARTISTS Painters." Art Book 1, no. 2 (March 1994): 28. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00034.x.

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Wolff, Leon. "Litigiousness in Australia: Lessons from Comparative Law." Deakin Law Review 18, no. 2 (December 1, 2014): 271. http://dx.doi.org/10.21153/dlr2013vol18no2art39.

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How litigious are Australians? Although quantitative studies have comprehensively debunked the fear of an Australian civil justice system in crisis, the literature has yet to address the qualitative public policy question of whether Australians are under- or over-using the legal system to resolve their disputes. On one view, expressed by the insurance industry, the mass media and prominent members of the judiciary, Australia is moving towards an American-style hyper-litigiousness. By contrast, Australian popular culture paints the typical Australian as culturally averse to formal rights assertion. This article explores the comparative law literature on litigiousness in two jurisdictions that have attracted significant scholarly attention — the United States and Japan. More specifically, it seeks to draw lessons from this literature for both understanding litigiousness in modern Australia and framing future research projects on the issue.
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Quijano Martínez, Jenny Beatriz. "Hugh Ramsay’s Self-Portrait: Re ections on a Spanish Master Painter." Boletín de Arte, no. 36 (October 30, 2017): 155–63. http://dx.doi.org/10.24310/bolarte.2015.v0i36.3328.

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The interest in European masters from the past was a phenomenon related to the development of the artistic careers of many artists in Australia at the end of the nineteenth and beginning of the twentieth century. More than that, the copying or emulation of great works of art was seen to be a necessary part of an artist’s training1. This paper looks at Hugh Ramsay and his fascination with the painting Las Meninas (1656) by Velázquez as part of a larger study into understanding how the Spanish in uence was re ected in Australian art. Ramsay introduced elements from Las Meninas into his Portrait of the artist standing before easel, which took him to personify the role of the painter as Velázquez.
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Kallioinen, RUO, JM Hughes, and PB Mather. "Significance of Back Colour in Territorial Interactions in the Australian Magpie." Australian Journal of Zoology 43, no. 6 (1995): 665. http://dx.doi.org/10.1071/zo9950665.

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In eastern Australia, two forms of the Australian magpie occur: a white-backed form and a black-backed form. These two forms hybridise across northern Victoria and into South Australia. In this study the response of territorial magpies to caged intruders was examined. Pairs of adult male magpies were introduced into territories. Both were adult black-backed birds, but in each case one of them had its back painted white. The pair was introduced to each territory twice, with the bird that was painted white differing between times. The experiment was run in a population of black-backed birds and a population in the hybrid zone containing white-backed, black-backed and hybrid birds. In both cases, the residents were more aggressive towards the intruder with the white-back than they were to the black-backed intruder. We suggest that this may be because a white-backed bird posed more of a threat to residents than a black-backed bird.
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Dissertations / Theses on the topic "Painters, australia"

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Ottley, Dianne. "Grace Crowley's contribution to Australian modernism and geometric abstraction." Thesis, The University of Sydney, 2007. http://hdl.handle.net/2123/2254.

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Grace Crowley was one of the leading innovators of geometric abstraction in Australia. When she returned to Australia in 1930 she had thoroughly mastered the complex mathematics and geometry of the golden section and dynamic symmetry that had become one of the frameworks for modernism. Crowley, Anne Dangar and Dorrit Black all studied under the foremost teacher of modernism in Paris, André Lhote. Crowley not only taught the golden section and dynamic symmetry to Rah Fizelle, Ralph Balson and students of the Crowley-Fizelle Art School, but used it to develop her own abstract art during the 1940s and 1950s, well in advance of the arrival of colour-field painting to Australia in the 1960s. Through her teaching at the most progressive modern art school in Sydney in the 1930s Crowley taught the basic compositional techniques as she had learnt them from Lhote. When the art school closed in 1937 she worked in partnership with fellow artist, Ralph Balson as they developed their art into constructive, abstract paintings. Balson has been credited with being the most influential painter in the development of geometric abstraction in Australia for a younger generation of artists. This is largely due to Crowley’s insistence that Balson was the major innovator who led her into abstraction. She consistently refused to take credit for her own role in their artistic partnership. My research indicates that there were a number of factors that strongly influenced Crowley to support Balson and deny her own role. Her archives contain sensitive records of the breakup of her partnership with Rah Fizelle and the closure of the Crowley-Fizelle Art School. These, and other archival material, indicate that Fizelle’s inability to master and teach the golden section and dynamic symmetry, and Crowley’s greater popularity as a teacher, was the real cause of the closure of the School. Crowley left notes in her Archives that she still felt deeply distressed, even forty years after the events, and did not wish the circumstances of the closure known in her lifetime. With the closure of the Art School and her close friend Dangar living in France, her friendship with Balson offered a way forward. This thesis argues that Crowley chose to conceal her considerable mathematical and geometric ability, rather than risk losing another friend and artistic partner in a similar way to the breakup of the partnership with Fizelle. With the death of her father in this period, she needed to spend much time caring for her mother and that left her little time for painting. She later also said she felt that a man had a better chance of gaining acceptance as an artist, but it is equally true that, without Dangar, she had no-one to give her support or encourage her as an artist. By supporting Balson she was able to provide him with a place to work in her studio and had a friend with whom she could share her own passion for art, as she had done with Dangar. During her long friendship with Balson, she painted with him and gave him opportunities to develop his talents, which he could not have accessed without her. She taught him, by discreet practical demonstration the principles she had learnt from Lhote about composition. He had only attended the sketch club associated with the Crowley- Fizelle Art School. Together they discussed and planned their paintings from the late 1930s and worked together on abstract paintings until the mid-1950s when, in his retirement from house-painting, she provided him with a quiet, secluded place in which to paint and experiment with new techniques. With her own artistic contacts in France, she gained him international recognition as an abstract painter and his own solo exhibition in a leading Paris art gallery. After his death in 1964, she continued to promote his art to curators and researchers, recording his life and art for posterity. The artist with whom she studied modernism in Paris, Anne Dangar, also received her lifelong support and promotion. In the last decade of her life Crowley provided detailed information to curators and art historians on the lives of both her friends, Dangar and Balson, meticulously keeping accurate records of theirs and her own life devoted to art. In her latter years she arranged to deposit these records in public institutions, thus becoming a contributor to Australian art history. As a result of this foresight, the stories of both her friends, Balson and Dangar, have since become a record of Australian art history. (PLEASE NOTE: Some illustrations in this thesis have been removed due to copyright restrictions, but may be consulted in the print version held in the Fisher Library, University of Sydney. APPENDIX 1 gratefully supplied from the Grace Crowley Archives, Art Gallery of New South Wales Research Library)
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Ottley, Dianne. "Grace Crowley's contribution to Australian modernism and geometric abstraction." University of Sydney, 2007. http://hdl.handle.net/2123/2254.

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Master of Philosophy
Grace Crowley was one of the leading innovators of geometric abstraction in Australia. When she returned to Australia in 1930 she had thoroughly mastered the complex mathematics and geometry of the golden section and dynamic symmetry that had become one of the frameworks for modernism. Crowley, Anne Dangar and Dorrit Black all studied under the foremost teacher of modernism in Paris, André Lhote. Crowley not only taught the golden section and dynamic symmetry to Rah Fizelle, Ralph Balson and students of the Crowley-Fizelle Art School, but used it to develop her own abstract art during the 1940s and 1950s, well in advance of the arrival of colour-field painting to Australia in the 1960s. Through her teaching at the most progressive modern art school in Sydney in the 1930s Crowley taught the basic compositional techniques as she had learnt them from Lhote. When the art school closed in 1937 she worked in partnership with fellow artist, Ralph Balson as they developed their art into constructive, abstract paintings. Balson has been credited with being the most influential painter in the development of geometric abstraction in Australia for a younger generation of artists. This is largely due to Crowley’s insistence that Balson was the major innovator who led her into abstraction. She consistently refused to take credit for her own role in their artistic partnership. My research indicates that there were a number of factors that strongly influenced Crowley to support Balson and deny her own role. Her archives contain sensitive records of the breakup of her partnership with Rah Fizelle and the closure of the Crowley-Fizelle Art School. These, and other archival material, indicate that Fizelle’s inability to master and teach the golden section and dynamic symmetry, and Crowley’s greater popularity as a teacher, was the real cause of the closure of the School. Crowley left notes in her Archives that she still felt deeply distressed, even forty years after the events, and did not wish the circumstances of the closure known in her lifetime. With the closure of the Art School and her close friend Dangar living in France, her friendship with Balson offered a way forward. This thesis argues that Crowley chose to conceal her considerable mathematical and geometric ability, rather than risk losing another friend and artistic partner in a similar way to the breakup of the partnership with Fizelle. With the death of her father in this period, she needed to spend much time caring for her mother and that left her little time for painting. She later also said she felt that a man had a better chance of gaining acceptance as an artist, but it is equally true that, without Dangar, she had no-one to give her support or encourage her as an artist. By supporting Balson she was able to provide him with a place to work in her studio and had a friend with whom she could share her own passion for art, as she had done with Dangar. During her long friendship with Balson, she painted with him and gave him opportunities to develop his talents, which he could not have accessed without her. She taught him, by discreet practical demonstration the principles she had learnt from Lhote about composition. He had only attended the sketch club associated with the Crowley- Fizelle Art School. Together they discussed and planned their paintings from the late 1930s and worked together on abstract paintings until the mid-1950s when, in his retirement from house-painting, she provided him with a quiet, secluded place in which to paint and experiment with new techniques. With her own artistic contacts in France, she gained him international recognition as an abstract painter and his own solo exhibition in a leading Paris art gallery. After his death in 1964, she continued to promote his art to curators and researchers, recording his life and art for posterity. The artist with whom she studied modernism in Paris, Anne Dangar, also received her lifelong support and promotion. In the last decade of her life Crowley provided detailed information to curators and art historians on the lives of both her friends, Dangar and Balson, meticulously keeping accurate records of theirs and her own life devoted to art. In her latter years she arranged to deposit these records in public institutions, thus becoming a contributor to Australian art history. As a result of this foresight, the stories of both her friends, Balson and Dangar, have since become a record of Australian art history. (PLEASE NOTE: Some illustrations in this thesis have been removed due to copyright restrictions, but may be consulted in the print version held in the Fisher Library, University of Sydney. APPENDIX 1 gratefully supplied from the Grace Crowley Archives, Art Gallery of New South Wales Research Library)
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Gerard-Austin, Anne. "The greatest voyage: Australian painters in the Paris salons, 1885-1939." Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/10462.

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From the 1880s, the first generation of Australian artists began to travel abroad and many chose Paris, the undisputed capital of the arts in the nineteenth century, as their final destination. With them began a long tradition to go to the French capital to complete one’s artistic training and obtain acceptance in official artistic circles there. This thesis attempts to reveal the extent of Australian artists’ engagement with Parisian artistic practices from 1885 to 1939. The argument is divided into two main sections: the first section investigates the notions of expatriatism, migration and sense of belonging among the Australian community in the French capital, while the second section explores the responses Australian artists brought to Parisian artistic institutions. The research pays particular attention to their participation in the major Paris Salons and the rare Australian solo exhibitions organised in Paris in the early twentieth century. The result underlines the predominant position of Rupert Bunny, the most successful and best-integrated into Parisian art circles during the five decades he spent in France. A crucial component of this research is a dictionary of artists active in Paris and an illustrated catalogue of their works in colour. If the predominance of the Salon system slowly attenuated during the twentieth century, the tradition prospered until the Second World War among foreign artists. The thesis is not an exhaustive account of the Australian presence in Paris and does not take in account some Australian artists such as John Power and Anne Dangar who took alternative paths in the early 1920s, the focus here is rather on the painters who exhibited at least once in the official Paris Salons.
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Huston, Matthew. "The kinematic evolution of the northern Mt. Painter Inlier, South Australia /." Title page, contents and abstract only, 1995. http://web4.library.adelaide.edu.au/theses/09SB/09sbh971.pdf.

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Slade, John V. "Metamorphism of a northern segment of the Mount Painter Inlier, South Australia /." Adelaide, 1995. http://web4.library.adelaide.edu.au/theses/09SB/09sbs631.pdf.

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Sherwin, Fiona Gill Harry P. "Harry Pelling Gill, a practising artist /." Title page, table of contents and abstract only, 2003. http://web4.library.adelaide.edu.au/theses/09ARAHM/09arahms5541.pdf.

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Godsmark, Bruce Nye. "Metamorphism and hydrothermal history of the Yudnamutana Copper Field, Mount Painter province, South Australia /." Title page, table of contents and abstract only, 1993. http://web4.library.adelaide.edu.au/theses/09SB/09sbg589.pdf.

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Thesis (B. Sc.(Hons.))--University of Adelaide, Dept. of Geology and Geophysics, 1994.
National grid reference: Yudnamutana sheet (SH-54) 6737 I. Includes bibliographical references (leaves 22-24).
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Ellsmore, Donald. "Nineteenth-century painted decorations in Britain and Australia : an approach to conservation." Thesis, University of York, 1993. http://etheses.whiterose.ac.uk/2525/.

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Weisheit, Anett [Verfasser], and Paul [Akademischer Betreuer] Bons. "Structural and hydrothermal evolution of the Mount Painter Inlier, South Australia / Anett Weisheit ; Betreuer: Paul D. Bons." Tübingen : Universitätsbibliothek Tübingen, 2013. http://d-nb.info/1162844736/34.

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Weisheit, Anett Verfasser], and Paul [Akademischer Betreuer] [Bons. "Structural and hydrothermal evolution of the Mount Painter Inlier, South Australia / Anett Weisheit ; Betreuer: Paul D. Bons." Tübingen : Universitätsbibliothek Tübingen, 2013. http://d-nb.info/1162844736/34.

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Books on the topic "Painters, australia"

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Sturgeon, Graeme. Australia, the painters vision. Sydney: Bay Books, 1987.

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Jones, Shar. Early painters of Australia, 1788-1880. Edited by Phipps Jennifer. Sydney: Bay Books, 1988.

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Sidney Nolan: A life. Sydney, N.S.W: NewSouth Publishing, 2015.

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Australian watercolour painters, 1780 to the present day. Roseville, NSW, Australia: Craftsman House, 1989.

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Klepac, Lou. Russell Drysdale. Sydney: Murdoch Books, 2009.

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1868-1909, Conder Charles Edward, ed. Charles Conder: The last Bohemian. Carlton South, Vic: Miegunyah Press, 2002.

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Denise Green: An artist's odyssey. South Yarra, Vic: Macmillan Art Pub., 2012.

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Kinnane, Garry. Colin Colahan: A portrait. Carlton South, Vic: Melbourne University Press, 1996.

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Timothy Cook, dancing with the moon. Crawley, Western Australia: UWA Publishing, 2015.

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The birth of love: Dus̆an and Voitre Marek, artist brothers in Czechoslovakia and post-war Australia. Norwood, S. Aust: Moon Arrow Press, 2008.

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Book chapters on the topic "Painters, australia"

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Mauger, A. J., and S. Hore. "Integrating Mineralogical Interpretation of HyLogger Data with HyMap Mineral Mapping, Mount Painter, South Australia." In Lecture Notes in Geoinformation and Cartography, 271–80. Berlin, Heidelberg: Springer Berlin Heidelberg, 2009. http://dx.doi.org/10.1007/978-3-540-93962-7_21.

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Bellamy, Suzanne. "The Reception of Virginia Woolf and Modernism in Early Twentieth-Century Australia." In The Edinburgh Companion to Virginia Woolf and Contemporary Global Literature, 62–78. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474448475.003.0004.

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This chapter surveys Woolf’s reputation in Australia from the 1920s to the 1970s as it was moulded by colonial cultural politics. The competing influences of cosmopolitanism and nationalism shaped the ebb and flow of Woolf’s reception in Australia during these decades. The rise of the more nationalist Leavisite curriculum in Australian universities from the later 1930s, coupled with ambivalent responses to Woolf’s death in 1941, led to more a more divisive reception of Woolf and modernism in Australia in the mid-century. Australian literary critics Nettie Palmer and Margaret (Margot) Hentze espoused a cosmopolitanism that they found reflected in Woolf’s work, a focus also embraced by Nuri Mass, who, in 1942, submitted the first student thesis on Woolf at University of Sydney. Finally, the chapter examines how three women Australian painters, including Grace Cossington Smith, were influenced by Woolf and the Bloomsbury group.
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"Painted-snipe." In Birds of Australia, 148. Princeton University Press, 2014. http://dx.doi.org/10.1515/9781400865109.148a.

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Joyce, Rosemary A. "Interlude 5." In The Future of Nuclear Waste, 192–99. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190888138.003.0011.

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LAND ART MAKERS AND Australian aboriginal painters were not the only artists whose work became entangled with proposals to mark nuclear waste disposal sites. In 2002, the director of the Desert Space Foundation in Nevada, Joshua Abbey, carried out an art competition for designs for a possible marker system for the Yucca Mountain site....
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Blondel, Jacques, and Frédéric Médail. "Biodiversity and Conservation." In The Physical Geography of the Mediterranean. Oxford University Press, 2009. http://dx.doi.org/10.1093/oso/9780199268030.003.0039.

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The biodiversity of Mediterranean-climate ecosystems is of particular interest and concern, not only because all five of these regions (the Mediterranean basin, California, central Chile, Cape Province of South Africa, western and southern parts of Australia) are among the thirty-four hotspots of species diversity in the world (Mittermeier et al. 2004), but they are also hotspots of human population density and growth (Cincotta and Engelman 2000). This relationship is not surprising because there is often a correlation between the biodiversity of natural systems and the abundance of people (Araùjo 2003; Médail and Diadema 2006) and this, inevitably, raises conservation problems. Within the larger hotspot of the Mediterranean basin as a whole, ten regional hotspots have been identified. They cover about 22 per cent of the basin’s total area and harbour about 44 per cent of Mediterranean endemic plant species (Médail and Quézel 1997, 1999), as well as a large number of rare and endemic animals (Blondel and Aronson 1999). A key feature of these Mediterranean hotspots as a whole is their extraordinarily high topographic diversity with many mountainous and insular areas. Not surprisingly this results in high endemism rates and they contain more than 10 per cent of the total plant richness (see the recent synthesis of Thompson 2005). However, of all the mediterranean-type regions in the world, the Mediterranean basin harbours the lowest percentage (c.5%) of natural vegetation considered to be in ‘pristine condition’ (Médail and Myers 2004; Chapter 7). With an average of as many as 111 people per km2, one may expect a significant decline in biological diversity in the Mediterranean basin—a region that has been managed, modified, and, in places, heavily degraded by humans for millennia (Thirgood 1981; Braudel 1986; McNeill 1992; Blondel and Aronson 1999; Chapter 9). There are two contrasting theories that consider the relationships between humans and ecosystems in the Mediterranean (Blondel 2006, 2008). The first one is the ‘Ruined Landscape or Lost Eden’ theory, first advocated by painters, poets, and historians in the sixteenth and seventeenth centuries, and later by a large number of ecologists.
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Hung, Sheng. "Irene Chou (周綠雲) (1924–2011)." In Routledge Encyclopedia of Modernism. London: Routledge, 2018. http://dx.doi.org/10.4324/9781135000356-rem2092-1.

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Irene Chou was an acclaimed modern ink painter and an active participant in the ink painting movement in Hong Kong in the 1960s and 1970s. The ‘impact structural stroke’ and blob-splashes are some of her signatures in her paintings. Born in Shanghai, she graduated from St. John’s University with a degree in economics in 1945. She then moved to Hong Kong in 1949 with her husband Evan Yang (1920–78) who was a writer and film director. Chou migrated to Australia in 1992, and passed away there.
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Sergi, Anna. "Wine, Cannabis And Ancestors: Rural Australia." In Chasing the Mafia, 20–45. Policy Press, 2022. http://dx.doi.org/10.1332/policypress/9781529222432.003.0002.

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‘Calabrian painted plaster statue of the Lady of Loreto mounted on a carved wooden stand with concealed wheels, topped with an arch of electric light bulbs, decorated with plastic flowers. Holy card depicting the original statue in Platì Catholic community.’ ‘Where is this statue again?’, I asked my friend Marie, with whom I was sharing the trip from Sydney to Griffith. ‘The Italian Museum, we’ll get there tomorrow, right after you finish your meeting.’ One of my first times driving in Australia, and I am not a confident driver. ‘This is going to be interesting’, I had told myself that morning; it was 6 August 2017. I was nervous, I recall. I don’t know how to easily do some things many people do, like rent a car and drive. I always feel slightly anxious. I had to take lessons back in London because I hadn’t driven for a long time and the idea of going cross-country down under for a good six- or seven-hour drive was not a comfortable thought. We had taken Marie’s car; we were going to split the driving time. And we had booked a room for two nights, which had not been an easy thing, either. ‘Your surname, you know, your surname here in Australia … you know, right?’ I had been asked that question by an agent of the Australian Federal Police (AFP), in Melbourne, in 2015, my first trip down under. ‘It might be better if you don’t book under your own name, and even better if you book somewhere at the edge of the city, a chain hotel, maybe, the Quest?’ – had been the comment of another AFP agent prior to my trip in 2017.
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David, Bruno, Jean-Jacques Delannoy, Robert Gunn, Emilie Chalmin, Géraldine Castets, Fiona Petchey, Ken Aplin, et al. "Dating painted Panel E1 at Nawarla Gabarnmang, central-western Arnhem Land plateau." In The Archaeology of Rock Art in Western Arnhem Land, Australia. ANU Press, 2017. http://dx.doi.org/10.22459/ta47.11.2017.11.

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Phimister, Ian. "Frenzied Finance." In Global History of Gold Rushes, 139–62. University of California Press, 2018. http://dx.doi.org/10.1525/california/9780520294547.003.0006.

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This chapter, by Ian Phimister, examines the global financial dynamics of the southern African and “Westralian” gold-mining share manias of the 1890s. Examination of both mining share markets suggests that, contrary to the conventional portrait painted of gold rushes, the defining picture is less one of prospectors rushing to pan for gold or peg claims than it is one of company promoters scurrying to fleece investors. The most frenzied activity was on the floor of the London Stock Exchange, not on the South African Highveld or the dry, dusty plains of Western Australia. More minted gold was found in London and the Home Counties than mined gold was located in Southern Africa or Western Australia. It is an exercise that once again questions the efficiency of late Victorian capital markets, even as it points to the consequences of the “portal of globalization” opened by finance.
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Fry, Gavin. "Tucker, Albert (1914–1999)." In Routledge Encyclopedia of Modernism. London: Routledge, 2018. http://dx.doi.org/10.4324/9781135000356-rem2070-1.

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Albert Tucker was a modern Australian painter, known best for his series of works depicting the horrors of wartime and harsh images of the Australian landscape. Tucker was an artist of seemingly irreconcilable contrasts. He was a social conservative who in his youth flirted with the Communist Party. He was a master draughtsman and charming illustrator, yet produced challenging works that are, to many viewers, dense and unfathomable. A child of the Depression, he knew hardship, yet clung firmly to his middle-class values and maintained fierce determination to succeed financially. With an often forbidding public persona, he was also known as a man of great charm and personal warmth. Largely self-educated, he worked first as a commercial artist, illustrator, and cartoonist before falling in with young modernist contemporaries Sidney Nolan and Arthur Boyd and the Heide Circle surrounding John and Sunday Reed. An artist of uncompromising determination, he was to gain the reputation and financial reward he always saw as his due. As the mythos surrounding the world of Heide and the Angry Penguins continues to grow, so does Tucker’s place in Australian art, now firmly recognised in a permanent gallery in his name at the Heide Museum of Modern Art in Melbourne.
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Conference papers on the topic "Painters, australia"

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Marfella, Giorgio. "Seeds of Concrete Progress: Grain Elevators and Technology Transfer between America and Australia." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4000pi5hk.

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Modern concrete silos and grain elevators are a persistent source of interest and fascination for architects, industrial archaeologists, painters, photographers, and artists. The legacy of the Australian examples of the early 1900s is appreciated primarily by a popular culture that allocates value to these structures on aesthetic grounds. Several aspects of construction history associated with this early modern form of civil engineering have been less explored. In the 1920s and 1930s, concrete grain elevator stations blossomed along the railway networks of the Australian Wheat Belts, marking with their vertical presence the landscapes of many rural towns in New South Wales, Queensland, Victoria, and Western Australia. The Australian reception of this industrial building type of American origin reflects the modern nation-building aspirations of State Governments of the early 1900s. The development of fast-tracked, self-climbing methods for constructing concrete silos, a technology also imported from America, illustrates the critical role of concrete in that effort of nation-building. The rural and urban proliferation of concrete silos in Australia also helped establish a confident local concrete industry that began thriving with automatic systems of movable formwork, mastering and ultimately transferring these construction methods to multi-storey buildings after WWII. Although there is an evident link between grain elevators and the historiographical propaganda of heroic modernism, that nexus should not induce to interpret old concrete silos as a vestige of modern aesthetics. As catalysts of technical and economic development in Australia, Australian wheat silos also bear important significance due to the international technology transfer and local repercussions of their fast-tracked concrete construction methods.
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Miles, Elaine, Nicole Tse, Robyn Sloggett, and Ann Roberts. "Application of ESPI to painted canvas." In 2006 Australian Conference on Optical Fibre Technology (ACOFT). IEEE, 2006. http://dx.doi.org/10.1109/acoft.2006.4519325.

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Tobin, Genevieve Mary. "The silver lining: preliminary research into gold-coloured varnishes for loss compensation in two 19th C silver gilded frames." In RECH6 - 6th International Meeting on Retouching of Cultural Heritage. València: Editorial Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/rech6.2021.13498.

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Golden varnishes appear on frames, furniture, wall hangings, leatherwork, panel paintings, mural paintings, and polychromy, and were applied to white metal gilding to imitate gold and other semi-precious materials. Despite the number of examples in cultural heritage there are few publications that discuss the ethical considerations of treating coloured silver gilded surfaces. The chromatic reintegration of gold-coloured varnishes on white metal gilding present specific material and technical challenges. In 2021 the Art Gallery of New South Wales (AGNSW) treated two identical late 19th century silver gilded frames for portraits by Joseph Backler from the Australian collection. In addition, a third portrait required the fabrication of a reproduction frame identical to the others. Conservation of the frames presented an opportunity for carrying out experiments into coloured coatings for loss compensation on silver gilding exploring applications for select conservation paints, dyes, and synthetic resins as substitutes for shellac. The results of experiments demonstrate that with the right application Liquitex Soluvar Gloss Varnish, Laropal A81 and Paraloid B72, present gloss levels and visual film forming properties comparable to shellac coatings when applied to burnished gilding. Additional tests with various dye colours illustrate that Orasol ® dye mixtures in colours Yellow 2GLN, Yellow 2RL, and Brown 2GL are reliable colour imitations for traditional gold-coloured varnishes. Although this research is preliminary, it may inform the selection and application of appropriate retouching materials for compensating losses to burnished silver leaf and golden varnishes in gilding conservation.
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Zhang, Xi-Ying, Charles Loader, Spencer Schilling, Vicente Hernandez, Kevin McSweeney, and Hai Gu. "3D Laser Scanning for Thickness Measurements of Hull Structures." In ASME 2021 40th International Conference on Ocean, Offshore and Arctic Engineering. American Society of Mechanical Engineers, 2021. http://dx.doi.org/10.1115/omae2021-63178.

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Abstract 3D scanning technology uses lasers to scan and capture object surfaces without physical surface contact. Laser scanning is gaining acceptance by many, including owners of marine or offshore assets as a viable inspection and validation method. Laser technology reduces operational times compared to traditional pit gauging techniques, particularly for large areas of widespread wastage or pitting. This paper studies the use of 3D scanning technology for inspection, thickness gauging, and steel wastage measurements of hull structures. Pilot tests were conducted on coated and uncorroded plates in Houston, USA, and uncoated and corroded plates and uncoated and deformed plates in Perth, Australia. Manual Ultrasonic Testing (UT) was conducted, which is the method currently accepted by International Association of Classification Societies (IACS) for thickness measurements of hull structures. For the coated plate, the coating thickness was measured on both sides of the plate. The coating thickness was deducted from the total thickness from 3D scanning before the plate thickness was compared with the UT results. Acceptance criteria are proposed to compare the Manual UT measurements with the 3D scanning measurements to determine if 3D laser scanning is a possible alternative thickness measurement method. The difference of thickness measurements from 3D scanning on coated and uncorroded plates is within 13% when compared with those from UT. The discrepancy is attributed to equipment accuracy tolerances, errors from data post-processing, and measurement errors due to coating surface roughness. For uncoated and corroded plates, the difference reduces to 3%, making the results of 3D scanning acceptable based on acceptance criteria. In addition, the higher accuracy of using 3D scanning to measure plate deformation is demonstrated over traditional methods which use stringlines or laser levels to create a reference surface. Comparisons of the coefficient of variation (CV) on all plates demonstrate the higher precision of 3D scanning technology than that of manual UT. The main limitation of 3D laser scanners is their inability to directly obtain steel thickness for structures that have been coated or painted, especially in watertight/oil-tight structures. The study identifies capabilities, accuracy, and limitations of using 3D scanning technology for thickness measurements of hull structures in the marine or offshore industries. Scanning technology can support inspections providing fast and precise means of thickness measurements of corroded plates without coating. It provides the potential for producing 3D models and analysis for follow-up inspections. Plausible use cases in the maritime industry include defect analysis, fitness for service assessment, damage assessment, and corrosion monitoring.
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