Industrial Cathedral

Industrial Cathedral
"Industrial Cathedral" charcoal on paper 131 x 131 cm Jane Bennett. Finalist in 1998 Dobell Drawing Prize Art Gallery of NSW Finalist 1998 Blake Prize Winner 1998 Hunter's Hill Open Art Prize

About Me

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Sydney, NSW, Australia
I'm an Industrial Heritage Artist who paints "en plein air".If it's damaged, derelict, doomed and about to disappear, I'll be there to paint it.
Showing posts with label seascape. Show all posts
Showing posts with label seascape. Show all posts

Monday 10 January 2022

Vale Baragoola

Part of Australia's maritime history has been lost forever when the MV Baragoola, the last Sydney built Manly ferry, finally sank at her mooring at the Coal Loader Wharf, Waverton.
Sadly the ferry was only a couple of weeks short of her centenary.
She was built in Balmain and launched at Morts Dock on 14 February, 1922 for the Circular Quay to Manly service. Originally a steamer, she was converted to diesel-electric in 1961 and was retired in 1983.
For nearly 20 years she was at various moorings around Pyrmont and Blackwattle Bay.
This is a canvas I painted in 1991 from the top floor of the tablet House of the CSR Refinery (now Jackson's Landing). The MV Baragoola is on the left hand side next to Wharf 22-23, which was demolished shortly after I finished this painting.
Plein air oil painting of Manly ferry MV Baragoola at Pyrmont Point painted by maritime heritage artist Jane Bennett 

 
 
 










P243A 'Baragoola and the Water Police painted from the Tablet House of the CSR' 1991 oil on canvas 75 x 100cm

Since 2003, she has been laid up at Balls Head Bay on the north side of Sydney Harbour as attempts to restore the vessel continued.
Plein air oil painting of the MV Baragoola and the Cape Don at the Coal Loader wharf painted by maritime heritage artist Jane Bennett
 
 
 
 
 
 
 
 
 
 
S122 'Cape Don + Baragoola' 2019 oil on canvas 91 x 183cm

This is a large panorama I painted from the Coal Loader in 2019 showing the Cape Don in the foreground.
What a contrast with the wreckage I painted recently!
Jane Bennett, maritime artist, painting the wreck of MV Baragoola from the Coal Loader, en plein air

 
 
 
 
 
 
 
 
 
 
 
 
 
 
The artist painting the wreck of MV Baragoola 
(Photo taken by Catherine Atherton)
Over the last few decades of her life, many people volunteered to attempt to save Baragoola.
Jane Bennett,maritime artist, painting the wreck of MV Baragoola from the Coal Loader
Painting wreck of MV Baragoola from the Coal Loader 31 x 61cm
 
Jane Bennett,maritime artist, painting the wreck of MV Baragoola from the Coal Loader
Painting wreck of MV Baragoola from the Coal Loader 31 x 61cm and 45 x 92cm


For a while restoration attempts seemed to make some headway, but a few years ago the ownership changed and the ship deteriorated noticeably.
Unfortunately it became increasingly obvious that her fate was inevitable.
Jane Bennett,maritime artist, painting the wreck of MV Baragoola from the Coal Loader
Painting wreck of MV Baragoola from the Coal Loader 31 x 61cm  

Jane Bennett,maritime artist, painting the wreck of MV Baragoola from the Coal Loader
Painting wreck of MV Baragoola from the Coal Loader 45 x 92cm

 

 



Friday 28 August 2020

Norfolk Guardian

Today's painting on my deck gallery is a diptych of an unusual visitor to the East Darling Harbour Wharves.
I spent most of the early 2000s as ‘Artist in Residence’ on the East Darling Harbour Wharves before its redevelopment into Barangaroo. 
One day in 2005 I arrived very early on a calm clear morning & a couple of wharfies grabbed me as I signed in.They were very excited & yelled “Quick, get your easel, you must paint the Norfolk Guardian- you don’t see ships like this every day!” 
A smallish vessel was docking at Wharf 5. It had an oddly shaped crane in its centre, which I later found out was known as a ‘derrick’ crane as it looked similar to the old fashioned oil rigs. A Derrick ship’s crane is a relic of the past, harking back to the days before containerization forced uniformity of ship design & changed their lines from sleek to squat & boxy.
The luminous peach tones of the horizon meeting the skyline of Goat Island & the northern suburbs in the background harmonized with the butter yellow ship's crane & sky blue hull, making an odd contrast with the heavy industrial subject matter. 
I watched the complex interplay of the ship's crane with the shore crane with a mixture of fascination & trepidation as rows of pipes were unloaded with consummate skill.
I didn't know how long I'd have to paint it before it left, so I added an extra canvas to the original one, making the total image a square.
Plein air oil painting of Islander ship Norfolk Guardian unloading at East Darling Harbour Wharves painted by Jane Bennett
DH34A-B'The Norfolk Guardian Diptych' 2005





























 
       










 
each panel oil on canvas 91 x 46 cm
Available for sale

The M.V. Norfolk Guardian (IMO: 8600856) is a General Cargo that was built in 1987, sailing under the flag of Tonga, & freighting break bulk cargo to Norfolk Island, New Zealand & the South Pacific. Ports of call include Norfolk Island, Auckland, Lyttleton & Marsden Point, Tasmania. Transhipments can be arranged to various destinations in the South Pacific, including Samoa, Fiji, etc.
Cargo handled by the Norfolk Guardian includes: general cargo, hazardous goods, freezer/cooler, hardwood poles, sawn timber, processed timber products.
They also ship Personal Effects from Norfolk Island & New Zealand to Yamba, Australia.
"Break bulk" is a term used for products which can't be transported in containers. It includes a wide mix of articles- from salt, gypsum, cement to timber, steel coils and heavy machinery as well as cars, trucks and boats.

About 50 years ago, the containerization of shipping modified the wharves dramatically & transformed port cities beyond recognition.

The humble shipping container isn't just a metal box - it created the world as we know it today.

Once goods were loaded and transported around the world as "break bulk" cargo. Container standardization revolutionized global trade, making it easier, quicker and cheaper. However,with the advent of the container, some of the mystery & magic of the shipping industry was lost forever.

John Crowley, the Port Operations Manager, used to describe the East Darling Harbour Wharves (aka Port Jackson) as a ‘boutique’ wharf. 
Port Botany is built on a superhuman scale and only deals with containers, so is huge, homogeneous and increasingly run by robots. Port Jackson, on the other hand, had a mix of break-bulk & containers & therefore was more dependent on the personal skills and judgement of the individual wharf workers. 
Islander ships are dwarfed by the container ships & totally unsuitable for the huge computerized straddle cranes of Port Botany. 
Now that the East Darling Harbour Wharves are closed, most "break bulk" is unloaded at Port Kembla, although Blackwattle Bay and to an increasingly lesser extent Glebe Island and White Bay still handle salt, cement and gypsum. 
Related Posts 
 
 
 
 
 

Tuesday 4 August 2020

Painting Sydney Harbour in the footsteps of Turner

All this winter I've felt something's been lacking.
Vivid.
Due to Covid-19 it couldn't be held this year, and for all I know New Year's Eve and Australia Day celebrations may not be held in the foreseeable future either.
I've often mocked Sydney for valuing style over substance, but I have to confess that I like a mindlessly pretty display of fairy lights against a harbour view as much as anyone.
So for anyone getting withdrawal symptoms, here's one on the easel of my deck gallery.
Oil painting - nocturne of Sydney Harbour with tall ship, fireworks and Sydney Harbour Bridge painted by industrial and marine artist Jane Bennett
U118 Fireship under the Bridge
oil on canvas 2003 61 x 91cm
Available for sale

This canvas of the burning ship against a backdrop of fireworks illuminating the Sydney Harbour Bridge was painted in the studio from a series of quick gouache studies that I did on New Year's Eve 2003, well over a decade before Vivid was ever thought of. I regard this as a sort of 'proto-Vivid'.
It added a new dimension to the usual fireworks and was a startling sight if you weren't aware that it was in fact a special effect, and not a tragic fire on board the 'James Craig'.
The first time I saw it, like hundreds, possibly thousands of others, I rang 000 in a panic to report it. You could almost hear the person from Emergency Services rolling their eyes, as they assured me that it was just a special effect, that , no, the James Craig was just fine, and thanked me for my misplaced concern.
The Fireship apparently commemorated an early 19th century convict ship that had caught fire, and in the weeks after, during the Sydney Festival, there was a 'son et lumiere' show every night for a couple of weeks. I forget the details and the story, and frankly I think everyone else did as well. The images of the fire reflected in the water were all the spectators really were interested in, and the story seemed just a flimsy excuse.
As I painted some quick sketches in gouache and watercolour, I was glad that i'd spent so much of my 1996 Marten Bequest Traveling Art Scholarship holed up in the Print and Drawing Room of the Clore Gallery (the section of the Tate Gallery devoted to the work of Turner, obsessively painting studies of the many fabulous Turner watercolours in their collection. The Petworth series and the burning of the Houses of Parliament were my favourites. I became so good at painting them that the staff became slightly alarmed, and demanded that I sign my studies on the back so that I wouldn't be able to do a bit of a 'switcheroo' while their backs were turned! I took this as a sort of a backhanded compliment, but my goal wasn't to just mindlessly copy, but to try to conquer the mystery of painting sea,sky, storm, night and fire. How to make the intangible, tangible.
When I returned from my Traveling Art Scholarship, I actually exhibited some of these in a couple of exhibitions "The Grand Tour" and "In the Footsteps of the Masters" that acted like a sort of debriefing - a transition phase from the scholarship to the routine of regular commercial exhibitions.
I'd seen a lot of amazing art, and learnt a lot, but how was I going to incorporate this into what I would paint on my return?
Oil painting - nocturne of Sydney Harbour with tall ship, fireworks and Sydney Harbour Bridge painted by industrial and marine artist Jane Bennett
U118 Fireship under the Bridge
oil on canvas 2003 61 x 91cm
Available for sale

Painting the Fireship was a chance to give a virtuoso display of layers of translucent glazes of breathtakingly expensive and exotic colours such as Aureolin, Rose Madder and Alizarin Crimson. These aren't the sort of colours that usually get a work out during plein air painting.
However, as I started to paint lost trades and dying industries, I would get more and more frequent opportunities to use them. Subjects like the Oxycutter at William Wallbank and Sons, or the Blacksmiths at the Eveleigh Railway Workshops provided further connections to the lost world of the Early Industrial Revolution that Turner and his predecessors de Loutherbourg and Joseph Wright of Derby immortalized. The major difference is that these artists were painting the founding of this era - I'm painting its demise.

Related Posts


Vivid

Meltdown, Oxycutting at William Wallbank and Sons

Irons in the fire

Wednesday 29 July 2020

Painting the Svitzer tug Wonga in Sydney Harbour

The 'Wonga' was built in 1983 and was one of the Svitzer 'pusher' tugs.
Their names started with 'W' - Wilga, Wonga, Woona, Walan, Watagan. I've no idea why they picked that particular letter to christen their tugs. As a 'wonga' is a type of pigeon, not a marine bird, I'm not sure why this name was chosen for a marine vessel.
To me, the trio of names 'Wilga', 'Wonga', 'Woona', had a sort of alliterative poetry, and whenever I painted one of the three, I would be asked if I also had paintings of the other two, to make up the set.
Plein air oil painting of the Svitzer tug 'Wonga' in Sydney Harbour with cargo ship 'Mountain Reliance'painted by marine artist Jane Bennett
DH236 'The tug 'Wonga' with 'Victorian Reliance''
2007 oil on board 20 x 25cm
SOLD
Enquiries about other paintings of tugs
This shows the 'Wonga' in action with a cargo ship.
They were once a very common sight in Sydney Harbour, when Sydney Harbour was still a fully working port. As 'Artist in Residence' on the East Darling Harbour Wharves during the first decade of this century, I would see at least one of these tugs everyday. If they weren't accompanying one of the container ships or Ro-ros (roll-on roll-off car vessels) to the East Darling Harbour Wharves, Glebe Island or White Bay, they would be escorting a cruise ship to the Cruise ship terminal at Darling Harbour Wharf 8, or an oil tanker to Gore bay.
Plein air oil painting of the Svitzer tug 'Wonga' in Sydney Harbour passing Goat Island painted by marine artist Jane Bennett
DH241 'The 'Wonga' 2011
oil on board 28 x 35cm
Available
This painting shows the 'Wonga' passing Goat Island. It was on its way to a new task, from its then home in East Balmain next to the ferries.
The number of tugs in Sydney Harbour declined with the closure of East Darling Harbour Wharves and its replacement with the controversial Barangaroo development project.
Plein air oil painting of the Svitzer tug 'Wonga' in Sydney Harbour passing Balmain painted by marine artist Jane Bennett
DH194 The 'Wonga' 2008
oil on canvas 20 x 25cm
SOLD
Enquiries about other paintings of tugs
This earlier painting shows the 'Wonga' passing Balmain.
Now, the 'Wonga' is one of the 2 tugs (the other being the 'Walan') based at Port Pirie which is located 223 kilometres north of Adelaide at the top of Upper Spencer Gulf,
Port Pirie, a small town of 16,000, is still home to the type of heavy industry now removed from Sydney Harbour. The Nyrstar concentrate smelter in Port Pirie is one of the largest smelters in the world.

Related Posts


Tuesday 9 June 2015

Vivid

I have an exhibition of paintings inspired by 'Vivid' now on display at the Four Seasons Hotel, 199 George Street, The Rocks, Sydney.
This hotel is almost 'Vivid Headquarters'.
It is only 100 metres from the best vantage points to view the spectacular lighting the sails of the Opera House, and the facade of the Museum of Contemporary Art.
Oil Painting inspired by Vivid festival- Nocturne of Sydney Harbour Bridge  from Lavender Bay painted by artist Jane Bennett
'Vivid - Sydney Harbour Bridge  from Lavender Bay (Rainbow lights)' 2015 oil on canvas 102 x 200cm
SOLD
Enquiries about other Sydney Harbour paintings
Brett Whiteley often painted the magnificent view from Lavender Bay. 
It looks even better at night, however I don't think that many other artists have painted nocturnes of Sydney Harbour.
Oil Painting inspired by Vivid festival- Nocturne of Sydney Harbour Bridge and lighting the sails of the Opera House  painted by artist Jane Bennett
'Vivid - Lighting the Sails-Luna Park on the Opera House'
2015 oil on canvas 152 x 122cm
Enquiries
Of all the images projected onto the sails of the Opera House, my favourite would be Luna Park.
It revives memories of the cheeky imagery by Martin Sharp, Peter Kingston and other larrikin ratbag artists who revered and helped defend Luna Park.

Oil Painting inspired by Vivid festival hanging in the Four Seasons Hotel The Rocks Sydney- Nocturne of Sydney Harbour Bridge  & Lighting the sails of the Sydney Opera House painted by artist Jane Bennett
Painting inspired by Vivid festival hanging
in the Four Seasons Hotel in The Rocks Sydney -
From left to right :
'Vivid - Lighting the Sails-Luna Park on the Opera House'
2015 oil on canvas 152 x 122cm
'Fireship' oil on paper 136 x 112cm
'Fireship' oil on canvas 61 x 91cm
Oil Painting inspired by Vivid festival- Nocturne of Sydney Harbour Bridge  from Lavender Bay painted by artist Jane Bennett
















The angle of the lighting on the painting has cast a faint rainbow as a halo above the span of the Bridge.
See more at the Ultimate Art Gallery
Four Seasons Hotel Sydney
199 George St, Sydney NSW 2000 Australia
P.O Box 1347, Crows Nest NSW 2065
Phone: +61 (4) 35 844 347
Email: info@ultimateart.com.au


Related Posts


Monday 3 September 2012

Artist in Residence at the Sydney Heritage Fleet Part 1


I am a member of ASMA, the Australian Society of Marine Artists.
In 2008 the Sydney Heritage Fleet in conjunction with the Australian Society of Marine Artists inaugurated an Artist in Residence programme. 
oil painting of SS John Oxley, Sydney Heritage Fleet by artist Jane Bennett Almost finished painting of SS John Oxley
starting my painting of 'SS John Oxley
 2012 oil on canvas 36 x 28cm
$1,200

Enquiries janecooperbennett@gmail.com

 Usually there is a sole artist appointed to be Artist in Residence for a period of 3-4 months. However this time no less than 11 of the female artists of ASMA (Suzanne Alexander,  Jane Bennett, Monika Brookes, Marijke Greenway, Jan Harrington-Johnson,  Christine Hill, Leonora Howlett, Brenda Kitteridge, Gwendolin Lewis,   Elena Parashko, Jan Sindel-Hand ) have been given the opportunity to have a stint as Artist in Residence at the Sydney Heritage Fleet.
oil painting of SS John Oxley, Sydney Heritage Fleet by artist Jane Bennett Almost finished painting of SS John Oxley
starting my painting of 'SS John Oxley
 2012 oil on canvas 36 x 28cm
$1,200
Enquiries: janecooperbennett@gmail.com

 Secure studio space has been provided on the top deck of the 100 year old ferry 'Kanangra', which is berthed adjacent to the Museum’s restoration and maintenance yard off the James Craig Road, Rozelle on Blackwattle Bay. The artists are given freedom of the site as well as other museum locations, to choose and record activities and the opportunity to travel in museum ships when they are operating.
As well as painting at their yard at Rozelle, we have been given the opportunity to paint the vessels moored at Wharf 7 and the Australian Maritime Museum.


oil painting of SS John Oxley, Sydney Heritage Fleet by artist Jane Bennett
With my almost finished painting of 'SS John Oxley'
$1,200

Enquiries: janecooperbennett@gmail.com

The first day was mostly devoted to exploring the yard and to receiving the necessary safety induction.
oil painting of SS John Oxley, Sydney Heritage Fleet by artist Jane Bennett
Almost finished painting of SS John Oxley
$1,200
Enquiries: janecooperbennett@gmail.com

However I managed to squeeze in a little painting time and nearly completed a small study of the 'John Oxley'.
See the ASMA blog "Artist in Residence Programme"
oil painting of SS John Oxley, Sydney Heritage Fleet by artist Jane Bennett
Almost finished painting of SS John Oxley
$1,200

Enquiries: janecooperbennett@gmail.com


There is a bewildering array of vessels to choose from - it's an embarrassment of riches. Some have already been lovingly restored, while others are still dilapidated and waiting for their turn.
 Although there are 11 artists, it will be a miracle if we manage to paint every one.
Our group of artists will hold an exhibition of our completed paintings on the 'tween decks of the tall ship 'James Craig', which is the jewel in the crown of the Sydney Heritage Fleet, from 27th April 2013 - 3rd May 2013.
The official opening will be 2pm on Saturday 27th April by Tanya Plibersek MP.
Everyone is welcome!

Monday 7 March 2011

A Royal Rendevous- Part 2 Farewell to the Queens

plein air oil painting of the 'Queen Elizabeth 2' docking at Circular Quay by maritime artist Jane Bennett
Unfinished painting of 'The Queen Elizabeth docking at Circular Quay '
oil painting on canvas 61 x 76cm
 $4,500 


Enquiries about this painting:
janecooperbennett@gmail.com 

        For information and price list -Artist information page




(Photo is courtesy of Callan Back)
plein air oil painting of the 'Queen Elizabeth 2' docking at Circular Quay by maritime artist Jane Bennett
Completed painting of  'The Queen Elizabeth docking at Circular Quay '
oil painting on canvas 61 x 76cm
 $4,500 

Enquiries about this painting:
janecooperbennett@gmail.com 

        For information and price list -Artist information page