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

My photo
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 tall ship. Show all posts
Showing posts with label tall ship. Show all 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

Thursday 20 June 2013

Painters and dockers - Artist in Residence on the tall ship 'James Craig' Part 2


Plein air oil painting of tall ship James Craig in Garden Island Drydock painted by industrial heritage artist Jane Bennett
Starting my plein air painting of
"Painters with 'James Craig ' in Garden Island dry dock"
I had originally stored my paints, brushes, canvases, table, chair and easel in the deckhouse of the James Craig, but I realised that the ritual of unlocking and sorting through all my stuff wasted too much time. Now I keep the half-finished canvases on the 'tween deck of the James Craig, and leave the table and easel in a corner on the floor of the dry dock.

Plein air oil painting of tall ship James Craig in Garden Island Drydock painted by industrial heritage artist Jane Bennett
unfinished plein air painting of
"Painters with 'James Craig ' in Garden Island dry dock"

It's quite a hike down from the ship to the floor of the dry dock.

Plein air oil painting of tall ship James Craig in Garden Island Drydock painted by industrial heritage artist Jane Bennett
unfinished plein air painting of "Painters with 'James Craig '
in Garden Island dry dock"

I choose a position where the ship looms toward me between the walls of the dry dock.
Plein air oil painting of tall ship James Craig in Garden Island Drydock painted by industrial heritage artist Jane Bennett
Unfinished plein air painting of "Painters with 'James Craig '
in Garden Island dry dock"

I try to make sure that I have enough room for the mast, rigging and the dockyard crane overhead.

Plein air oil painting of tall ship James Craig in Garden Island Drydock painted by industrial heritage artist Jane Bennett
unfinished plein air painting of
'James Craig in drydock being painted'
2013 oil on canvas 100 x 75cm

I knew that it would be overcast and so prepared a few canvases with a black imprimatura (underpainting). I find that this gives the clouds a more 3 dimensional quality.

Plein air oil painting of tall ship James Craig in Garden Island Drydock painted by industrial heritage artist Jane Bennett
Artist Jane Bennett with her unfinished plein air painting
of 'James Craig in drydock being painted'
2013 oil on canvas 100 x 75cm
Available

Portrait of the artist in full PPE (personal protective equipment) regalia.


Plein air oil painting of tall ship James Craig in Garden Island Drydock painted by industrial heritage artist Jane Bennett
Artist Jane Bennett with her unfinished plein air painting
of 'James Craig in drydock being painted'
2013 oil on canvas 100 x 75cm
Available

Hard hat, hi res jacket, tinted safety glasses, earmuffs and metal capped boots.

Plein air oil painting of tall ship James Craig in Garden Island Drydock painted by industrial heritage artist Jane Bennett
Unfinished plein air painting of
'James Craig in drydock being painted'
2013 oil on canvas 100 x 75cm
Available

There is another tall ship, the HMB Endeavour, in the dry dock, but I can't get too close to her as she is being sandblasted back to her original wood and can barely be seen in the dust haze.

Plein air oil painting of tall ship James Craig in Garden Island Drydock painted by industrial heritage artist Jane Bennett
Unfinished plein air painting of
'James Craig in drydock being painted'
2013 oil on canvas 100 x 75cm
Available

The dark bulk of the 'James Craig' stands out dramatically in front of the threatening clouds.


Plein air oil painting of tall ship James Craig in Garden Island Drydock painted by industrial heritage artist Jane Bennett
Unfinished plein air painting of
'James Craig in drydock being painted'
2013 oil on canvas 100 x 75cm
Available

I was worried that it was going to rain. It's risky starting such a large canvas as it takes so many trips back up to the top. The dockyard steps are narrow and a wet canvas has to be carried on its own without other luggage.

Plein air oil painting of tall ship James Craig in Garden Island Drydock painted by industrial heritage artist Jane Bennett.
Unfinished plein air painting of
'James Craig in drydock being painted'
2013 oil on canvas 100 x 75cm
Available
Suddenly I realized that I wasn't the only painter on the dock floor, as 2 white clad men started to haphazardly spray patches of red on the prow of James Craig.

Plein air oil painting of tall ship James Craig in Garden Island Drydock painted by industrial heritage artist Jane Bennett
Unfinished plein air painting of
'James Craig in drydock being painted'
2013 oil on canvas 100 x 75cm
Available  

They cheekily "offer" to pose for me. They don't actually mean it, but I paint them in anyway.
Their figures provide a useful gauge to judge scale. This painterly device is known as "staffage" - the size of the figures can be compared and contrasted with the size of the ship
Tim Drinkwater, the dockyard manager of the Sydney Heritage Fleet, told me that the painters would only be there for 8 minutes, but that was long enough for me to block in the basic shapes.
The painters came up later to take photos of my painting of them.
They will be back to finish their painting on Tuesday.
I like the patchy 'work in progress' look of the hull, so I'll try to finish my painting before theirs.

Plein air oil painting of tall ship James Craig in Garden Island Drydock painted by industrial heritage artist Jane Bennett
My half - finished painting of
'James Craig in drydock being painted'
2013 oil on canvas 100 x 75cm
Available 
This canvas is in a 'portrait' format - vertical rather than the more usual horizontal one, which is unusual for a painting of a ship.

Plein air oil painting of tall ship James Craig in Garden Island Drydock painted by industrial heritage artist Jane Bennett
My half - finished painting of
'James Craig in drydock being painted'
2013 oil on canvas 100 x 75cm
Available 

I wanted the ship to dominate the canvas and used the extreme perspective to make it feel as though it is towering over the onlooker, and the prow almost poke you in the eye.

Plein air oil painting of tall ship James Craig in Garden Island Drydock painted by industrial heritage artist Jane Bennett
My half - finished painting of
'James Craig in drydock being painted'
2013 oil on canvas 100 x 75cm
Available 

I am quite short, so I have to fold the legs of the easel up and set it on the ground as I'm not tall enough to paint the masts and rigging with it in the ordinary position.

Plein air oil painting of tall ship James Craig in Garden Island Drydock painted by industrial heritage artist Jane Bennett
My half - finished painting of
'James Craig in drydock being painted'
Available 

At least this way it won't fall over in the wind.

Plein air oil painting of tall ship James Craig in Garden Island Drydock painted by industrial heritage artist Jane Bennett
My half - finished painting of 'James Craig in drydock being painted'
2013 oil on canvas 100 x 75cm
Available 
They keep moving the dockyard crane. Any further to the left and it will be out of the picture. I can only just manage to squeeze it in without it looking too cramped.


Plein air oil painting of tall ship James Craig in Garden Island Drydock painted by industrial heritage artist Jane Bennett
My half - finished painting of
"Painters with 'James Craig ' in Garden Island dry dock" 2013
oil on canvas 75 x 100cm
Available 

I like the final position of the crane, though, as it won't be obscured by the masts and rigging. It gives the composition a little more drama, as it looks as though it could topple into the dock with a gust of wind.

Plein air oil painting of tall ship James Craig in Garden Island Drydock painted by industrial heritage artist Jane Bennett
My half - finished painting of
"Painters with 'James Craig ' in Garden Island dry dock"
2013 oil on canvas 75 x 100cm
Available 

The end of my first full day painting on the floor of the dry dock - time to lug my easel, paint, chair, paints, brushes and large wet canvases all the way up the stairs of the dock and across the gangplank to my studio on the 'tweendeck of the James Craig. It's a long way up and takes several trips so I won't need to join a gym anytime soon.

Plein air oil painting of tall ship James Craig in Garden Island Drydock painted by industrial heritage artist Jane Bennett
My studio on the 'tween deck of the 'James Craig'
World's coolest studio!
 
Available

Plein air oil painting of tall ship James Craig in Garden Island Drydock painted by industrial heritage artist Jane Bennett
'James Craig in drydock being painted'
2013 oil on canvas 100 x 75cm

Available






Plein air oil painting of tall ships James Craig and HMB Endeavour in Garden Island Drydock painted by industrial heritage artist Jane Bennett
'James Craig and HMB Endeavour in drydock 2'
2013 oil on canvas 75 x 100cm
Available


 
































Related posts

Australia Day 2011 at Darling Harbour Part 1: Endeavour

Wednesday 5 June 2013

Artist in Residence on the tall ship James Craig Part 1- Sailing to Garden Island

I packed before dawn so that I could hitch a ride with Sydney Heritage Fleet's Tall Ship James Craig on its way from its usual berth at Wharf 7, Pyrmont to the dry dock at Garden Island.
Plein air small gouache study of the Sydney Heritage Fleet's tug 'Bronzewing' alongside the 'James Craig'  painted by industrial heritage artist Jane Bennett
My small gouache study of the
Sydney Heritage Fleet's tug
'Bronzewing' alongside the 'James Craig'
Available

I painted a few small, quick gouache studies of the tall ship and tug on board, just to warm my hands up.

Plein air small gouache study of the Sydney Heritage Fleet's tug 'Bronzewing' alongside the 'James Craig'  painted by industrial heritage artist Jane Bennett
My small gouache study of the
Sydney Heritage Fleet's tug
'Bronzewing' alongside the 'James Craig'
Available

I will be 'Artist in Residence' at the Garden Island dry dock painting two tall ships, the 'HMB Endeavour' replica and the 'James Craig'.
They will be getting their undersides ship shape in preparation for the International Fleet Review in October.

Plein air small gouache study of the Sydney Heritage Fleet's tug 'Bronzewing' alongside the 'James Craig'  painted by industrial heritage artist Jane Bennett
My small gouache study of the
Sydney Heritage Fleet's tug 'Bronzewing'
alongside the 'James Craig'
Available

I have stashed my easel, paints, brushes and lots of spare canvases in the deckhouse of the 'James Craig' which will be my studio until its departure from Garden Island on or about 15th June.


Related posts

Artist in Residence at the Sydney Heritage Fleet Part 6 - 'Hail, hail, the gang's all here!'
Painting the Spirit of Tasmania in Garden Island Drydock
Painters and dockers - Artist in Residence on the tall ship 'James Craig' Part 2

Monday 22 April 2013

Artist in Residence at the Sydney Heritage Fleet Part 6 - 'Hail, hail, the gang's all here!'

I've finally finished painting this monster.
It literally nearly killed me.
My first attempt to paint the entire Rozelle contingent of the Sydney Heritage Fleet ended in disaster .
My canvas stretcher had snapped in two after it was caught by a gust of wind. I fell into the murky waters of Blackwattle Bay and was lucky not to be seriously injured.
This tested the limits of the possibilities of plein air painting.

plein air oil painting by Marine Artist Jane Bennett of Sydney Heritage Fleet at Rozelle'
First version of SHF6 'Sydney Heritage Fleet at Rozelle' 2013 
oil on canvas 122 x 183cm



















But all the time and trouble has been worth it.
The entire collection of Sydney Heritage Fleet vessels is here in all its glory, and more details are visible in this canvas than are possible to see from the park opposite Blackwattle Bay.
plein air oil painting by Marine Artist Jane Bennett of Sydney Heritage Fleet at Rozelle'
SHF6 'Sydney Heritage Fleet at Rozelle' 2013 
oil on canvas 122 x 183cm
















At 122 x 183cm, this canvas is even larger than the first!
I completed about 80% of it from the park, but to unscramble the confusing mass of masts, ropes and rigging, I had to paint the finishing touches from the Rozelle headquarters of the Sydney Heritage Fleet itself.
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, with the commission from sale of paintings going towards funding the Fleet's maintenance.
Our group of 10 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.
As well as this enormous canvas, I will exhibit 16 other paintings. Some of these were painted at the Rozelle headquarters, some from the Noakes slipways, others from the Australian National Maritime Museum and others from vantage points around Sydney Harbour.
The official opening will be 2pm on Saturday 27th April by Tanya Plibersek MP.
Everyone is welcome!

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 28 February 2011

A Tall Ship and a Lightship

The CLS 4 Carpentaria, unmanned lightship
plein air oil painting of the tall ship 'James Craig' and lightship 'Carpentaria' at Wharf 7 Pyrmont by maritime artist Jane Bennett
Starting a new canvas of the lightship 'Carpentaria'
with the James Craig behind it.
In the background is Barangaroo.
'The lightship 'Carpentaria' with the James Craig '
2010-11 oil painting on canvas 61 x 76cm
Enquiries about this painting
A lightship is a ship acting as a floating lighthouse to aid navigation and warn ships of hazards. Lightships anchor in waters that are too deep or dangerous for a permanent lighthouse to be built.
Commonwealth Lightship 4, 'Carpentaria', was one of four unmanned lightships built at Cockatoo Island Dockyard, Sydney, in 1916-17. After a close encounter with a container ship
in Bass Strait nearly scuttled her, the 'Carpentaria' finally retired in 1985.
Originally she had an automatic acetylene light mounted on its tall mast, with a sunlight-operated valve to switch it on and off.
The Carpentaria barely seems to need any additional light to make her visible to navigators as she has been painted an eye-ball burning bright red and has its name inscribed in huge letters on the side. She is difficult to miss against the bland white waterfront of Darling Harbour.
While I was Artist in Residence at Cockatoo Island (for the 2nd time from 2005 until 2007 when the island was being prepared for opening to the public, The 1st time was during the 1980s while the island was still an operational shipyard) I noticed the Carpentaria docked on the southern slipway adjoining Fitzroy dock for several months.
I had high hopes then that Cockatoo Island would be returned to its original purpose of a working shipyard, but no such luck.
plein air oil painting of the tall ship 'James Craig' and lightship 'Carpentaria' at Wharf 7 Pyrmont by maritime artist Jane Bennett
'The lightship 'Carpentaria' with the James Craig ' 2010-11
oil painting on canvas 61 x 76cm
Enquiries about this painting

The Tall Ship 'James Craig'
Behind the scenestealing lightship dominating the foreground is the square-rigger, the James Craig. She is a three-masted, iron-hulled barque currently berthed at Wharf 7 of Darling Harbour, near the Australian National Maritime Museum.
One of only 4 operational ships of her era and rig , she is a true link to the heroic age of the seafaring past. In 1972 volunteers from the Sydney Heritage Fleet refloated her and towed her to Hobart for initial repairs. She was then towed back to Sydney, and after an epic program of restoration and repairs, was finally able to set sail by 2001.
The 'James Craig' is open to the public, and is crewed and maintained by my good mates from the Sydney Heritage Fleet.
"Salt in the Air"
I am one of 10 women artists from the Australian Society of Marine Artists who have been Artists in Residence at the Sydney Heritage Fleet.
We'll hold an exhibition "Salt in the Air" aboard the James Craig to help provide funds to restore the vessels of the fleet.
This is one of the 17 paintings I'll exhibit.
The exhibition will be opened by Tanya Plibersek MP at 2pm on Saturday 27th April on board the James Craig. It is open daily 10am - 4pm from Saturday 27th April - Sunday 4th May 2013