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Victorian Artists Society
M AR C H 2 0 1 3 - M AY 2 0 1 3

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The

Journal

VAS C a le n d a r p a c k e d
with Eve n t s f o r 2 0 13

S cu l p tu r e C l a s s e s h a v e
ar r ived a t t h e V A S !
The Victorian Artists Society 430 Albert St. East Melbourne 3002
Ph: 03 9662 1484 E: admin@victorianartistssociety.com.au W:victorianartistssociety.com.au ABN: 75 004 046 824

The Presidents Message march 2013

CONTENTS:
Treasurers Solution
page 4

Calling All Painters

page 6-7

Location-LocationLocation
page 8-9

The Business Man

Painter - WD Knox
page 10-11

Sunday
Afternoon
with Joyce McGrath
page 12-13

From start,
O

ne
of
the
final
pleasantries
I
performed as President
in 2012, was to open the VAS
Students Exhibition.

the VAS School. This was my own

experience as an eager student.
An introduction to our magnificent
organization some thirty years
ago.

One hundred and thirty paintings

and drawings were on show in the
upstairs galleries. The opening
was attended by up to 100
students and guests including the
majority of the VAS teachers.

Within the exhibition itself were

students of a quality far beyond
the standard of a beginner. On
the other hand we had given some
people the opportunity to exhibit
their creations for the very first
time.

As Teaching Convenor, Ray Wilson

spoke of the progress to date and
the prospects for the future.
With additional classes and the
Summer Workshops being popular
all looks very promising for 2013.
The evening certainly had the feel
of a Christmas Breakup Party.
Julian Bruere not only ran the
sausage sizzle downstairs in the
courtyard but added a small quiz
to entertain the troops. Eileen
Mackley prepared a delicious
spread of food which was greatly
appreciated by all.
As President my speech included
a brief history of the studio where
classes have always been run,
to the best of my knowledge.
It was easy to mention how a
large number of members were
introduced to the Vics through

Most great artists, I believe,

enjoy the thought of remaining a
student forever. There is no end
to learning and developing your
craft. I also spoke of the pleasure
found in the journey of being a
student especially when guidance
through experience comes via
quality teaching.
Wisdom also comes from sharing.
Most activities run by the VAS
offer an educational tilt. Painting,
drawing or sculpting alongside
others creates an environment that
can only be reagrded as beneficial
to the participants. Exhibiting with
your peers is regarded as a must by
some when it comes to measuring
your own progress. Lessons in
presentation never end, constantly
assessing the message conveyed
by your artwork.

to Art
Sharing your art with others is as
much for your own knowledge
as for the viewer.
One event I regard as a must
see for any student of painting is
the two days of portrait painting
in July by a series of dedicated
artists. It is an absolute watch
and learn program. (See pages
6,7 for more details.)
There is no doubt the students of
today will play a very important
role in the Society of tomorrow.
Future promotion of the School
on Eastern Hill is greatly assisted
by the teachers and our strong
membership of artists.
Developing stronger educational
activities is a focus accepted by
the Council and staff and aims
to expand on all that we offer to
the general community.
One will need to keep a keen eye
on the VAS Activities Calendar
as we have a program packed
with events for 2013.

Countryside. To those artists or

their families who have suffered
recent loses due to the fires, our
thoughts are with you.
Days of plein air painting
throughout January often had
a smoke haze to contend
with. It wasnt that long ago
we were giving aid to the flood
victims. The almighty strength
of character shown by the
thousands of volunteers during
times of need is nothing short of
miraculous.

that we all so dearly love.

Whether indoors or outside with
your art gear I wish you every
enjoyment and success for
2013 and beyond.
Enjoy your art and have fun.
Gregory R. Smith
VAS President

As a not for profit organization

we are well aware of the need
of volunteers for ongoing
assistance but thankfully in a far
less dramatic way.
Historic events such as floods
and fires are often recorded
in paint and always add to the
interest of exhibitions.

FLOODS AND FLAMES

Last winter I witnessed some

of the greenest paddocks Id
seen for many years. Where
as this summer Ive painted the
complete opposite, bone dry
ground of bleached ochres.

One of the harsh realities of

our long hot summers is the fire
prone nature of the Victorian

No doubt the many VAS

Exhibitions to come will display
the ever changing landscape

Cover Image: Gray Nicol Sculpture

work, see new Friday night class in
Term two!
3

reasurers Solution:

Outlined below is a proposed

business model intended
to attract and retain at least
a 25 % increase in student
and member numbers in
the medium term, in order
to rebuild a customer base
more appropriate to the VAS
operating expenses.

The purpose of this note is to

outline and seek responses to
a solution intended primarily to
reduce the workload on staff
and the council, to maintain the
stability of the Council and to
focus especially on the wants
of active members. We have an
estimated total of between 150 to
200 regular exhibiting members
and students. This is the core
group that we need to build up and
to generate additional promotion
through word of mouth.
The how, who and managing
risks would be explained in a later
plan, assuming sufficient support
emerges from our members.
One requirement is to redirect
resources from hiring multiple
galleries to creating and utilising
multiple
improved
studios.
Studios create the opportunity for
an active and supportive precinct
for the making of art and sharing
art making experiences. We
can apply part of the business
model of The Arts Students
League in NY: http://www.
theartstudentsleague.org
Twenty something years ago
the VAS council was apparently
troubled by the decline of
members and students. Ernst &
Young, management consultants
were
commissioned
to
investigate and report to the VAS
council. The conclusion offered
to revitalise the business was to
concentrate efforts on increasing
student numbers.
Either the
advice was not useful or there
was no will and capability to
implement the advice.
Nine years ago VAS experienced
severe financial stress.
I
facilitated and guided the VAS
council through a process of
many Sunday workshops and
fund raising events over a period
of six months. Fortunately, the

Society pulled out of the financial

nose dive. However, the recovery
process was very demanding
and a number of council
resignations occurred along the
way. It was clear that the council
was not ready to participate in
the bigger challenge of changing
the business. I decided that there
was nothing further that I could do
to contribute. A short time later a
financial bequest was received
by VAS and this money relieved
the short term financial pressure
to adapt the VAS business to
suit the much changed business
environment.
The VAS Business strategy over
the last nine years has been
to reduce operating costs and
diversify income sources. VAS
now obtains a substantial portion
of its income from sources other
than class and membership fees.
The income from painting sales
declined to major extent. Recent
council attempts have not
arrested the long term general
decline in VAS membership
numbers (dipping below 500
in 2012) and a larger rate of
decline in student numbers.
However, some increase in
student numbers was achieved
last year through concentrated
efforts. Our generally limited and
transient volunteer resource is a
challenge to running a business
with a broader range of services.
A more troubling issue is the high
turnover of council members
every few years. The churn is
associated with a change of
direction by a new President.
The attrition rate of councillors
appears to be due to primarily
to exhaustion and fatigue
connected with additional fund
raising activities and exhibitions.
The work environment for staff is
also more difficult. VAS requires
a minimum equivalent of three
or four active and experienced
council members contributing up
to three or more days per week
to support our regular program of
events, fund raisers and to assist
with the smooth running of the
business.
VAS is now well positioned
with cash reserves following
record results over recent years
to accept some risk and to
redevelop the VAS income base

to concentrate on class and

workshop fees, members studio
session fees and additional
member exhibitions entry fees.
A critical success factor is
attracting a small number of
experienced and somewhat
charismatic member artists to
regularly use the VAS facilities in
order to attract other members.
The principal member benefit
is the opportunity to share the
expense and effort of setting
up painting subjects. The idea
is based on the successful
business model of the Arts
Students League and the VAS
Friday Group.
Creating the
appropriate incentives to attract
the regular participation of the
right professional or committed
member artists is the key to the
proposal. There is an opportunity
to offer largely non-cash benefits
including,
attractive
studio
arrangements,
promotional
services and discounted sales
commissions.
Additional Investment will be
required to improve VAS facilities
- lighting and members storage
lockers for the studio. The
Hammond Gallery will require
modification with mobile screens
and lighting for the creation of
three temporary studios. A dual
alternating use of gallery and
studio is possible. Upgrading the
lighting and the hanging system
in the Frater gallery will also be
required. VAS would then have
available three or four studios
able to support the additional
classes, workshops and enable
multiple
untutored
member
painting sessions.
The aim is to substantially
increase member participation at
VAS. A good outcome over the
next few years is that there will
be a demand for VAS facilities
to justify opening 10/7. These
hours could accommodate small
groups of members happily
occupied in classes, participating
in workshops or working in
groups in up to four studios.
The above comments are
those of Ian Wilson and are not
necessarily views shared by the
VAS council.
Ian Wilson CPA
Honorary Treasurer VAS

Paul McDonald Smith & Carol Allen

Tutors: Paul, Annie & Ray Hewitt

VAS Critique Night 2012

he VAS members and friends that

attended this night were very well
rewarded.

The event held on Friday 23 November 2012 was

a very successful night and supplied learnings for a

similar evening in 2013. Our three critique teachers
Ray Hewitt, Paul McDonald Smith and Annie
Finkeld and president Greg Smith, were extremely
professional and giving of themselves.

Not having much expectation I was struck by the

artistic knowledge that was either confirmed or
realised. The positive criticism was encouraging
yet constructive. The teachers provided a deal
of considered thought to their critiques and the
breadth of their knowledge was evident to those
who attended. As an observer and artist, this was
an extremely valuable opportunity to efficiently
gather knowledge and not least network with fellow
members over nibbles and drinks with a backdrop
of inspiring exhibition of works of our teachers in
the Cato gallery. It just brings to mind how lucky
we are in having such a valuable resource in our
current group of teachers.

2013 Critique Night

Friday 22nd March
6.30pm onwards
Please register your interest RSVP to VAS Office 9662 1484
Entry $5 nibbles and refreshments
provided. BYO painting to be critiqued
by VAS Tutors.
A social evening of guidance.

Nathan Moshinsky & Maurice Glover

I would strongly encourage all to attend, and if

brave enough participate in supplying paintings to
be critiqued, in a similar, expanded social event
to be held later this year. See above for details on
the scheduled bigger and better Critique Night in
March 2013.
Ray Wilson
Education Convenor

Annie Finkelde & Greg Smith

5

Calling all VAS Painters!!!!

PORTRAIT WEEK 10 July to 28 July

NEW PAINTER JOINS THE LIST OF VAS TUTORS

AND PEOPLE PAINTING PEOPLE TEAM FOR 2013

Paint Yourself * Paint Each Other

Paint a Model * Paint Your Mother

We want to show what VAS Artists can do Even those who dont believe they are portrait artistshave a go!
We want your work on the wallstherell be prizes and fun!
2-3 entries per person @ $5 an entry to be hung in the Frater and Cato Galleries.
Mon 8th & Tues 9th July send in days for VAS Portrait Exhibition.

PROGRAM FOR THE WEEK Emerging Faces

.
11 July Evening Official Opening 6pm to 9pm
Nada Hunter VAS Portrait Artist Award
Norma Bull Scholarship Winner Announced
Demonstrations, music and fun
Cocktails and Canapes
Special fee for VAS Members $30 Guests $40
Full-time secondary students $20

14 July Ghosts of the Past & Smike Night

2pm -5pm High Tea at the Vics
Presentations by Anne Scott-Pendlebury & Oliver Streeton
Special fee for VAS Members is a gold coin and Guests $10

20 & 21 July People Painting People

Afternoon Tea at the Vics 2pm 5.30pm
VAS Portrait Painters will be painting prominent men & women achievers.
4 Painters per person. Sitters have first choice to purchase their preferred painting.
All paintings will be for sale on the day.
VAS Members $30 Guests $40 each afternoon
full-time secondary students $20

Collection days: Mon 29th and Tues 30th July

N.B. Bookings are essential & open on 11 June at VAS Office
for Opening Night and People Painting People

Jian Xiang Wu is keen to participate in Emerging Faces 2013!

An enthusiastic new member, and tutor
on Thursday nights at the VAS, Jian (John
Wu) will have work on display and take
part in the Portrait week 11 to 24 July and
the People Painting People weekend on
the 20 and 21 July. Diarise it now, as all
members portraits will be hung in the VAS
Galleries for consideration for the Nada
Hunter Award and high-level students
work will qualify for entries for the Norma
Bull Scholarship Award. An overall event
which cannot be missed!

LOCATION

LOCATION

LOCATION

The Hammond
Gallery overflowing on
Opening Night.

The race is on to make

the top bid (below).

ocation Upstairs at the Victorian Artists

Society. Time 6.30pm Onwards. Date
- Monday 18 February 2013. Weather
Extremely hot

Presidents Auction on the Bargain

Sale Opening Night led by special
guest REIV Auctioneer Andrew
Ryan and Anne Scott Pendlebury.

The weather, however, did not deter nearly 100

loyal buyers, visitors, members and volunteers who
braved the hot evening temperature and turned out
to support our first Exhibition for 2013 the Annual
Bargain Sale.

Fans, plenty of iced drinks and light refreshments

were on hand and in spite of the heat there was
plenty of interest and positive bidding particularly
during the first hour.

Greg and Council members are to be thanked

also for their hard work a few days earlier in
handling and stapling onto the timber frames the
hundreds of entries.

To break up the evening, REIV Auctioneer Andrew

Ryan generously offered his services to run a small
Auction in the Hammond Gallery of two fine little
paintings by Greg R Smith.

The setting up of the Bargain sale is labour

intensive, involves much planning and physical
work and is undertaken by a number of good and
helpful members. They also are to be thanked for
their help along with the daily teams of volunteers
who supervise the Galleries for the duration of the
Exhibition.

These were donated towards our ongoing fundraising

it was a generous gesture on Gregs part and
Andrew conducted no nonsense but entertaining and
light hearted Auction.

The Silent Auctions were successful also and

a number of very strong works were snapped
up throughout the evening at bargain basement
prices. Because it was unusually hot the evening
concluded a little earlier than former years and we
decided to put all works on the market at 8.30pm
at the reserve figures. This encouraged many to
stay on and purchase at the artists prices.
A hot night indeed but it wouldnt be a true
VICs Bargain Sale Opening if it wasnt a sticky
summers evening. All part of our long tradition
Special thanks to Eileen Mackley Council
Member who organised everything from the
drinks and supper to the pens, pencils, volunteer
roster, ironing of the red shirts, cleaning of the
front steps and the overall supervision of the
entire evening.

Eileen Mackley and the army of Red Shirt volunteers

worked tirelessly to make sure everyone was made
not only welcome but also as cool as possible.

Bids came thick and fast for both works and just under
$1000 was raised. Two very fortunate and happy
buyers were seen leaving with their paintings two
still life studies one of fruit and the other flowers
both lovely examples of Greg Smiths style.

Photos by Ian Wilson.

Rosie Wilson - first time guest

to Bargain Sale Opening Night.

But all of us involved know it is hugely worthwhile

effort and we look forward to coming back same
time.. Next year.
Anne Scott Pendlebury.

OPENING NIGHT
Sales
After Sales
Presidents Auction
TOTAL SALES:

$12,315
$10,500
$970
$23,785

REVENUE
Entry Fees
Commission
TOTAL REVENUE:

$2360
$6274
$8634

EXPENSES
Antiques & Art
Gallery Mag
Art Almanac
Flyers
Postage
Cashiers
Security
Refreshments
TOTAL EXPENSES:

$764
$364
$470
$53
$127
$300
$330
Donated
$2380

TOTAL PROFIT:

$6,254
9

THE BUSINESS MAN PAINTER :

W. D. KNOX

Article by Ian Hobbs

W. D. Knox, Australian 1880-1945, Mentone beach c.1925, oil on cardboard, 24.2 x 33.3 cm, National
Gallery of Victoria, Melbourne, Purchased with a Government grant, 1925 (above).

aily lives of the artists

of yesteryear conjure
up romantic images of
painters working with their
models by day and often
as not by night, of hand-tomouth existences in foreign
garrets, occasional casual
employment and seemingly
endless debauchery.

If there was one artist in

particular to run counter to such
notions it was the religious
businessman-painter
William
Dunn Knox. Largely hidden in the
late shadows of the Heidelberg
School, W.D. Knox, as he was
known, managed a large steel
company in Melbourne yet at the
same time produced land and
seascapes with such a lightness
of touch and atmosphere that
today he is represented in the
national galleries of Victoria and
Australia and many others.
Born in Adelaide in 1880 to the
Rev. Alexander Knox and Elise,
the Swiss-born daughter of Rev.
Francois and Aimee Ronget,
William was orphaned at the age
of 11, placed under the care of
his parents Scottish maid, Mary
Dunn, from whom his middle name
derived, and soon removed from
10

Melbourne Grammar School.

After a brief, prize-winning stint
at South Melbourne College he
started earning a wage. Little
wonder then that the youngster
developed a strong Protestant
work ethic and adherence to
religious teachings given such
a heritage and his straitened
circumstances. Those school
prizes too, for Bookkeeping
and for French, offer an early
indication of the occupational
bipolarity that followed.
For most of his working life this
strict teetotaller was employed
by the Sheffield-based Eagle
and Globe Steel Company in
Swanston St, eventually rising
to state manager and it is said
that his religious faith prevented
any transition to full-time painting
and furthermore even precluded
painting on Sundays. Knox
sadly died at the age of 64 in
1945 along with the prospect of
a long and fruitful retirement in
front of his beloved easel but his
legacy should be one that forever
inspires all amateur painters.
After his parents moved to
Melbourne William was reared
in the halcyon days of Australian
Impressionism at Chelsworth

Farm, Ivanhoe, within sight of

the Eaglemont camp of Arthur
Streeton, Tom Roberts, Charles
Conder and others; the camp
later to be associated with Walter
Burley Griffins innovative Mount
Eagle housing estate. This milieu
of creativity, in addition to the
influence of the free-spirited
nature of his Reverend father,
seemingly awakened the natural
sketching talent in the young lad
before his teenage years.
As business success materialised
at the steel factory Knox built
a now heritage-listed Arts and
Crafts style home for his family
wife Vera and children John
and Janet - in unsurprisingly
Mount St, Heidelberg. The
harness of business conformity
and consequent time restraints
initially restricted his artistic
progress but as art critic and
painter of the day, Alexander
Colquhoun, so eloquently wrote:
the suppressed aesthetic
proclivities of a young man
dedicated to a responsible
business
career
and
the
smouldering desire to be a painter
continued to burn in obscurity...
At the age of 37, reportedly

before having attended formal art

classes, W.D. Knox exhibited for
the first time in 1918 at exhibitions
of both the Victorian Artists
Society (VAS) and the Australian
Art Association (AAA). The
favourably-received landscapes
hung comfortably among the
works of notables such as
Penleigh Boyd, Clarice Beckett,
William Beckwith McInnes, Clara
Southern and the then recently
late Fred McCubbin. Certainly
earlier Knox had befriended
younger
neighbour
W.B.
McInnes, then a landscapist
and later a seven-time winner
of the Archibald Prize, and
painted under his influence in his
formative years. From 1918 on
Knox flourished, exhibited often
and widely in Australia in his
signature impressionistic style,
held solo showings, frequently at
the prestigious Sedon Galleries in
Melbourne, and even exhibited in
London and New York to become
grouped with the best landscape
artists of the interwar generation.

Yet his operations here show an

intimate aesthetic and structural
understanding of the small craft
ketches, barges and nondescript
river boats which he portrays,
and also of their limpid rippling
reflections in still waters.

When the last employee clocked

off for the day at the Swanston
St steel factory, now known as
Storey Hall and ironically the art
gallery space of RMIT University,
suited W.D. often strolled down
to Little Dock, near Spencer
St Bridge with painting case in
hand. This area of the Yarra River
where the Melbourne Convention
Centre now stands magnetically
drew artists looking for dockside
scenes prior to its demise in the
1930s. Knox proved more than
capable of anatomically sketching
boats but it was his mastery
of translating such lifeless
architecture into atmospheric oil
impressions in often fading light,
added to his landscape work,
that distinguished him from more
celebrated painters. One critic of
a solo exhibition in the 1920s put
it this way:

As he was often sketching

and painting en plein air at the
end of the day due to lifelong,
full-time employment, Knoxs
quickly-made poetic nocturnes
accounted for some of his best
work as evidenced by the 2011
Mornington Peninsula Regional
Gallery exhibition, W.D. Knox:
Nocturnes
and
harmonies.
Hence the occasional reference
to the influence of foremost
exponent of the transitional
light genre, David Davies,
in addition to reminiscences
of Walter Withers. Yet it was
probably Streetons approach
that informed Knox most before
he eventually developed his own
post-Heidelberg School style
and it was Streeton who wrote
in the foreword to Knoxs 1929
Exhibition of Oils catalogue:

It is not given to even the painter

of mountains and valleys to
be also a painter of boats, and
indeed, it is given to comparatively
few painters of any description to
excel in this particular. Mr Knoxs
excursions in this direction lead
him to Little Dock, and the wharf
sides, rather than the deep sea.

He devoted every spare moment

of his leisure time into this
passion for painting, adding
finishing touches late into the
night at home. Works signed
W.D. Knox (and occasionally
Ronget, a family appellation) sold
well, although the artist was not
one to seek the limelight. At that
first exhibition, at the VAS in the
autumn of 1918, Moonrise and
Evening after Rain were each
offered for two guineas ($4.20),
the National Gallery of Victoria
acquired its first of three Knoxes,
Mentone Beach, for eight
guineas ($16.80) in 1925 while
the listed record price paid for a
Knox painting is $60,000 for the
panoramic Summer Pastoral at a
Leonard Joel auction in 1987.

There is something alluring and

almost lyrical about many of Mr
Knoxs small canvases such
gems as these one would like
to possess and hang around a
favoured room.
Streetons 1931 review of a
Sedon
Galleries
exhibition
maintained that Knoxs The

White Schooner was a beautiful

impression of twilight and in
a later display of Australian
painters at the same gallery a
Little Dock scene was regarded
as one of the best canvasses in
the whole show - the sensation
of colour and vibrant atmosphere
described as excellent. More
recognition followed in 1934 when
The Centenary All-Australian
Art Exhibition featured Louis
Buvelot, Rupert Bunny, Hans
Heysen, Norman Lindsay and
others including those already
aforementioned in a Whos Who
of Australian painting. Earlier, in
1927, a Knox landscape hung in a
Canberra exhibition to celebrate
the royal opening of the new
federal parliament building.
In the 1983 art of W.D. Knox
exhibition at the McClelland
Gallery, Langwarrin, the first two
paintings listed in the catalogue
were executed when the artist was
just 13 years of age, prompting
commentary in the catalogue
notes on the rare maturity of
one so young. From that time as
an early teenager it was to be
around another 25 years though
before the precocious talent first
attended art classes for a short
prize-winning time at the National
Gallery School at night under
Bernard Hall.
From his preferred locations
around Heidelberg, the quayside
and Port Phillip Bay (where
today he is represented on
the Art Coastal Trail), Knox
also ventured deep into the
countryside of Victoria in the
1920s and 30s for fresh subject
material, especially in the way of
vast panoramas. It is difficult to
say when he got the time for such
travel, as work and extended
family commitments aside during
the Great Depression, Knox also
sat on the committees of the
VAS and the AAA (a long-serving
treasurer), initially concurrently,
and was accepted as a foundation
member of the Robert Menziesinspired Australian Academy of
Art in 1937. Just how did a man
working all day in the rigidity of
steel manufacture paradoxically
and so prolifically produce such
intimate, colourful impressions?
11

Sunday Afternoon, a Nicecuppatea with

Joyce McGrath - All Good!

Of course the Knox name

in general is well-known in
Victorian artistic circles. W.Ds
brother Tully Knox exhibited with
the VAS and nephew, Elthams
celebrated Alistair Knox, the
leading Australian environmental
architect and builder of his
generation, and an array of
related
painters,
sculptors,
writers,
dancers,
designers
etc comprise something of
a Victorian artistic dynasty.
Only last year a Knox family
descendant, Christabel Wigley,
won the Montalto Sculpture Prize
at Red Hill on the Mornington
Peninsula.

Meldrum, who thought there was

a science to art - that science
being a method.

McCullochs Encyclopaedia of
Australian Art records that:
W.D. Knoxs paintings of
landscapes and harbour scenes
attained a jewel-like quality, and
on a modest scale matched the
work of better-known Australian
Impressionists.
From all reports, Knox was a
shy man. For this professional
amateur though, his paintings
did all the talking.

:Here are a
few
questions for you
Joyce: How long
have you been painting and
when did you start ?How
would you classify your
style and Joyce, whats
your story?

W.
D.
Knox
Australian
18801945,
River
landscape
c.1920,
oil on canvas on
cardboard, 34.6 x
44.5 cm, National
Gallery of Victoria,
Melbourne, Bequest
of Mr Ebenezer Ivey,
1980 (above).

Well, I have been interested

in art since I was a teenager
and started to draw in hospital
school as a child I didnt like
the formal drawing sessions
much but we drew a snow drop
and people said mine was the
best I havent forgotten! As
well as my art interest I have
always had a job, retiring finally
in 1990. I worked from the age
of 17 apart from the 2 years I
travelled Europe in my 20s.
That was an adventure taking
in the European countries and
countryside, visiting galleries as
well as meeting father Pio whom
I found inspirational.

W.D. Knox: The side

road at Dromana, oil,
undated. Courtesy of
the artists daughter
(right).

W.D. Knox: White Boat, Little Dock, c.1925,

oil on canvas, 24 x 44.5 cm. Courtesy of
Menzies Art Brands (above).
W.D. Knox: Little Dock, Melbourne, oil on
canvas, 35 x 45 cm. Courtesy of Menzies
Art Brands (left).
12

During the war I was clerking

in the city at the Department of
Labour and National Service
in the Commonwealth Public
Service. When I came back
from Europe Id given up the
idea of working in radio (which
was my dream) and went back
to work at the State Library and
was accepted there as a cadet
attendant, retiring in 1990 as
Art Librarian. It was while I
was working at the library that I
moved into Meldrums studio in
Kew and lived there for 18 years.

I joined the VAS around the

1950s sending pictures in, and
took heart from Arnold Shore
admiring my work. I seriously
returned to the VAS in the
1990s when Connie Walker was
president. She invited me to join
the council. From then on I
exhibited regularly. During the
2nd WW I used to go to as many
galleries as were available. Also
Gino Nibbi had a bookshop that
imported modern European art
books introducing local artists
to what was happening in art in
Europe.
After the war Tucker, Eric
Thake and others of equal later
acclaim, used to go to the VAS
for life drawing and it was about
that time that I thought about
painting things as they are. I
came across Archie and Amalie
Colquhoun who were of that
persuasion and I studied under
Archie for approx. 5 years. He
recommended I concentrate on
what I liked that he was doing
he was a tonal painter and I
loved it. I too am a tonal painter
and feel its best to stick to what
you love to do rather than get
distracted by fashions in art.
Tonal style, for me, lends very
well to portrait painting and over
the years I have painted about
90 commissioned portraits and
completely enjoyed the process.

from Meldrum and my teachers

Amalie and Archie Colquhoun,
were Ron Crawford, Harley
Griffiths, Rex Bramleigh and
Shirley Bourne. But to each his
own and at my age I do the things
I enjoy which includes portrait
miniatures, still life, portraits, and
landscape painting, TONALLY
rendered, of course. My other
interest was sculpture much
too physical for me now.
Q: And now for a very difficult
question: Is painting its own
reward or do you think there is a
final goal to being a painter?
A:
Yes, I consider painting to
be its own reward. Most painters
make their living by means other
than their painting but that does
not detract from the totality of
painting. I finally retired from the
library in 1990 painting all the
while and am painting still.

Thank you Joyce, all good!
Interview by Raffealla Torrenson
Photo and painting (below,
2005) by Raffealla Torrenson.
Joyce McGrath is Archives
Convenor for the VAS.

Q Who are your favourite

painters in history Joyce?
A: My major historical love
is Velazquez but I also love
the Impressionists, especially
Manet. The present art practices;
avant
garde,
abstraction,
conceptualism and such, really
isnt for me tonal painting
is my preference good tonal
painters whom over the years
I have
collected
apart
13

Not a bite, but plenty of sight

Photos by Robyn Pridham

A JEWEL IN EMERALD

he final paint out for

2012 ended on a
very positive note.
Seventeen of us attended
Emerald Lake on a beautiful
November day.

before they did. Im sure the

birds felt safer with us because
within no time the lake was
covered with colour and action
of the paddle boats splashing
across the lake.

Drawings, oils and watercolours

of many and varied subjects
aligned the Treganowen Lake.
Besides the many visitors to the
idyllic setting, Colin the Park
Ranger was very impressed
by our efforts and couldnt
resist watching our progression
throughout the day.

By the end of the day we had

just about painted every square
inch of the lake, while others had
captured the train, the bush, the
bridge and even the old changing
rooms commonly known as the
toilet block.

Emerald Lake Park also happens

to feature the Lakeside Railway
Station where historic Puffing
Billy arrives a number of times
during the day. Often the whistle
would catch you off guard while
placing that important stroke on
your painting. But the romantic
mood of the release of steam
and high pitched toots certainly
added to our day.
Lunchtime came and our
gathering under the trees next
to the swimming pool lakeside
was very memorable as well.
We spoke of the year just past
and the very promise of the year
ahead especially for the VAS.
The many water fowl and ducks
and ducklings added to the mix
while we ate our sandwiches

f youre unable to be
at the beach on a hot
summers day the next
best thing is on the banks
of a river somewhere.

The opening Paint out for 2013

was in Yarraville on the banks
of the Yarra River, a spot really
only known to anglers and now
painters of the VAS. The views
on display towards the city are
spectacular enough while a
little southward is the Westgate
Bridge and a sweeping corner
in the river.
The morning was rather calm
but soon after lunchtime the
14

river became a freeway of all

types of water craft including
monster container ships that
seemed to appear out of
nowhere. Immediately across
the river were a number of
boats moored. These acted as
floating models for our artists.
All under the watchful eye of
the Harbour Authority Tower
only a stones throw away.
With two dozen of us in
attendance it was standing
room only. The fishermen were
very impressed with our efforts
although not one of them
caught a thing. It was our turn
to make use of the jetty so we

could capture something of

our own. Our artists certainly
did. It was wonderful to meet
many new members. All were
introduced at our picnic lunch
under the shade of the trees
out of a very hot sun.
A gentle breeze arrived
soon after lunch and was
very appreciated as our
onsite exhibition increased in
numbers. A great day, delightful
company and ideal for what
plein air painting is all about.
Outdoor Convenor
Gregory Smith

All looked good on canvas and

paper and fit for any exhibition
especially if you were promoting
a jewel in Emerald.

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Call Anita McNab today.
Ph: 9379 9544
Fax: 9374 2295
Proud Sponsor of the

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designframing@optusnet.com.au

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Outdoor Convenor.

Public Art
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& exhibition

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15

Victorian Artists Society

Maritime Exhibition 2013
Wed 8h May to Sun 12th May

Works of a general maritime genre will be received

at the Victorian Artist Society on the
send in day 10am to 3pm Tuesday 7th May.
(or by arrangement with Julian Bruere)
Label the back of entries with your name, address,
phone contact, title and price.
You may enter up to 6 entries; $20 per entry, there
is no commission on painting sales.

THANKS!
Thank you to all our volunteers
who helped out on Bargain Sale
night and to gallery sit during
the show. Also to those of you
who helped at reception while
Kate was away, Gemma really
appreciated it!

Featuring the
Thomas Somerscales Marine Art Award
1 7/11/2012
PM
the best Marine Work
in 12:11:17
the Exhibition.
forHalfPageAdvert-VAS-Nov2012.pdf

Enquiries directed to Julian Bruere

m: 0419 529 390, e: studioartist@optusnet.com.au

landscape in oils or acrylic at no smaller than

3 ft x 2 ft (92cm x 61cm) painted surface.
The VAS Autumn Exhibition is selected by exhibiting

CONGRATULATIONS

members of Council. Although the prize has specific

Congratulations
Janice
Mills (painting above) who
won a Commended at the
Mornington Penninsula Art
Show for her oil painting
Pt Leo - Morning sunshine to
come.

conditions the exhibition is open to ALL media and

Wednesday Portrait and Life

Group 5.30pm - 7.30pm,
8pm - 10pm
$8 Members per session or $12
for both sessions
$12 Non member per session,

or $16 both sessions

Saturday Life Group 12-3pm

$12 Members $18 Nonmembers

CM

MY

CY

Featuring The Undine Award for landscape

The Undine Award is $2,000 Acquisition for a

Life Classes

Opening Night Thursday 11th April 7pm

Judge: Do Noble, Artist

Entry is a YO HO HO and a bottle of wine to

compliment the traditional fish and chips provided.
You may be brave enough to dress as a pirate, some
certainly will. An Exhibition Roster will be set up on
the send in day and your assistance in manning the
gallery for some of the show is requested.

The Victorian Artists Society Galleries

430 Albert Street, East Melbourne 3002
Weekdays 10am to 4pm Weekend 1pm to 4pm

VAS AUTUMN 2013 EXHIBITION 8-22 APRIL

painting sponsored by Mr Colin Jones.

You and all your crew are invited to the

official opening at 7pm on Thurs 9th May.

Collection of works: 10am to 4pm Monday 13th May.

INVITATION TO ALL VAS MEMBERS

MY

ALL subject matter including sculpture. All artwork

selected to exhibit is eligible to receive votes, by
members only, towards the Artist of the Year award.
We encourage all members to
participate in the voting.
Send in Days: April 3rd & 4th, 11am-3pm
Collection Day: Tuesday 23rd April, 11am-3pm
* see insert for entry form

Paint Outs
Sun 31st Mar - 10am
West Melbourne - Eades Park, King
Street & Chetwynd Street, Melway
Ref 2A J12

amazing temples,

village markets and wonderful vistas

across mighty lakes and rivers.
Beautiful boutique hotel with
outstanding food. Award winning
artists, Visit local artist studios and
galleries, go on, Temple tours, dine, paint with time to relax.

Just a great holiday!

16

Sun 28th April - 10am

*VAS Early Bird discounts
available until March 2013.
Rates do not include
airfares or accommodation

Enquiries (+613) 9879 1923

info@therivergarden.info
www.therivergarden.info/paintingholidays.html

TERM DATES
Term two runs from
Monday 15th April to Friday
28th June (11 weeks)

Rupertswood Gatehouse Sunbury 1 Macedon Street,

Melway Ref 382 E3

16-19th May
Lorne 4 days staying Ocean Lodge
Motel, 6 Armytage Street (book
direct with motel 5289 1330)
17

- Coming Up -

Gallery Hire

MARCH

Rental: Prices include GST

Mems

Non Mems

Frater Gal. pw
$ 785

$605

2 weeks
$1490

$1130

Hammond Gal. pw
$ 785

$605

2 weeks
$1490

$1130

*McCubbin Gal. pw
$440

$330

2 weeks
$770

$550

Cato Gallery pw
$ 730

2 weeks
$1360

20-26 Mr He
22-28 Chinese Artist Show
22 Critique Night 6.30pm

28 - Term One ends

29-1 April Easter Weekend - VAS closed

$550
$1020

13-19 Paul Laspagis

Human Presence
Opening 6-8pm
Wednesday 13th March
20-24 VAS @ Flower & Garden Show

APRIL
8-22 Autumn Exhibition

Additional costs: Security staffing for

opening night (If held at night) and one half
of the cost to the Security during the periods
when the exhibition is open on any Saturday,
Sunday or public holiday.
*The McCubbin Gallery is available for hire
only as an adjunct to either the Frater or
Hammond Galleries.
Booking Period
Minimum one week. Commence Wednesday
10.00 am Close Tuesday
2.00 pm.
Hours
Weekdays 10 am to 4.00 pm. Weekends &
Public Holidays 1.00 pm to 4.00 pm
Extra hours by arrangement.
Rate $30 per hour.
Exhibitions must close at 2pm on last day.
Council requires the attendance of a security
guard if the building would otherwise be
closed.

Send in days 3 & 4 April

Collection day 23 April
15 - Term two starts

To discuss or book your next exhibition

contact the office on 9662 1484

Patron - Special Representative:

Noel Waite ao fvas
Council Members:
President
Gregory R. Smith fvas
Treasurer
Ian Wilson
Exhibiting
Meg Davoren-Honey
Ray Hewitt FVAS
Michelle Hollis
John Hurle
Ann Jolivet
Eileen Mackley
Beatrice Melita
Joyce McGrath oam fvas
Ray Wilson
Non Exhibiting
Dinny Birrell
Soraya Pickard

19 - Film Night @ VAS

Secretary/Manager:
Gemma Catley

MAY

Asst Secretary:
Kate Galea

1-7 Guest Artists from China

8-14 Maritime Exhibition
Send in day 7 May
Collection day 14 May
15-28 Bernard Peasley Photography
23-31 Teresa Mrena - Retrospective and Recent works
Opening 2pm Saturday 25 May
JUNE
11-24 Winter Exhibition
Opening 7pm Thursday 11th June

Bookings

Patrons in Chief:
The Honourable Alex Chernov, AC, QC
Governor of Victoria,
and Mrs. Elizabeth Chernov

Send in days 5 & 6 June

Collection day Tuesday 25 June

Hon. Architect:
Allan Willingham fvas
Hon. Solicitor: TBA

Newsletters 2013

The VAS Newsletter will be pleased to consider

publication of literary or photographic
contributions on subjects of general interest.
Contributions will be published on a strictly
honorary basis and no payment will be made.

June - Aug 2013

Copy/Post Dates
Copy May 14, Post June
Newsletter Editor
Gregory R. Smith fvas President
All correspondence to: the VAS Office
430 Albert St. East Melbourne 3002
The VAS Newsletter is designed, typeset and printed by the
Office of the Victorian Artists Society. Opinions expressed
herein are not necessarily those of the VAS Council.

18

WANTED
VAS ARTIST OF 2013

AWARD $5,000
Showcase your artistic talent and tenacity
The 40th Victorian Artists Society
Artist of the Year Award is $5,000 (acquisitive)
Additional Awards offered

Become a member and be eligible to enter

Full details - www.victorianartistssociety.com.au/AOTY or 03 9662 1484