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.

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!

Friday 31 August 2012

To the Point


plein air oil painting of the Terminus Hotel and the Point Hotel, Harris Street Pyrmont painted by industrial heritage artist Jane Bennett
Half finished canvas on the easel
"The 'Terminus' versus the 'Pyrmont Point Hotel' "
2012 oil painting on canvas 31 x 61cm
Sold
Enquiries about similar paintings:
janecooperbennett@gmail.com

Last week I returned to a painting that I had started 2 years ago but had left half finished due to having to complete other projects.
I had painted the two hotels from this viewpoint on the corner of John and Harris Streets countless times before. I still had several canvases of the Terminus but I especially wanted to paint a panorama giving equal space to the Terminus and Pyrmont Point Hotels.
59 versus 61 Harris Street Pyrmont - the old versus the new Pyrmont, divided by the striding legs of the Anzac bridge looming over the towers of Jackson's Landing.



plein air oil painting of the Terminus Hotel and the Point Hotel, Harris Street Pyrmont painted by industrial heritage artist Jane Bennett
Half finished canvas on the easel
"The 'Terminus' versus the 'Pyrmont Point Hotel' "
2012 oil painting on canvas 31 x 61cm
Sold
Enquiries about similar paintings:
janecooperbennett@gmail.com


I had completed a similar canvas from this viewpoint about 2 years ago, but had sold it almost immediately to a local couple who had met each other at the Point Hotel.

plein air oil painting of the Terminus Hotel and the Point Hotel, Harris Street Pyrmont painted by industrial heritage artist Jane Bennett
Half finished canvas on the easel
"The 'Terminus' versus the 'Pyrmont Point Hotel' "
2012 oil painting on canvas 31 x 61cm
Sold
Enquiries about similar paintings:
janecooperbennett@gmail.com

In the first photo of the work in progress, the previous colour scheme of the "Pyrmont Point Hotel" from 2 years before is still visible. The strange faded plum tone reminded me of an over-ripe version of the once ubiquitous "Paddo pink" in the first wave of gentrification that spread all over the 1980s inner city. It clashed horribly with the dark crimson awning.
Now it is under new management, with a brand new colour scheme to mark the change. The walls are a more subdued and elegant pale yellow green, with awnings and window frames in chocolate. One effect of the new wall colour is to make the "ghost sign" of the hotel's original name the "Royal Pacific" more apparent.
Meanwhile the Terminus hasn't changed a bit.

plein air oil painting of the Terminus Hotel and the Point Hotel, Harris Street Pyrmont painted by industrial heritage artist Jane Bennett
Half finished canvas on the easel
"The 'Terminus' versus the 'Pyrmont Point Hotel' "
2012 oil painting on canvas 31 x 61cm
Sold
Enquiries about similar paintings:
janecooperbennett@gmail.com


I spent the first afternoon repainting the walls of the "Pyrmont Point Hotel" to the new colour. It probably would have been quicker and easier to just start a completely new canvas.
The practice of plein air painting often results in many half finished and potentially unfinishable canvases, so that you have to grit your teeth and accept it as an inevitable part of the process. So many elements are beyond the artist's control that plein air painting becomes hopelessly frustrating if you can't cope with "unfinished business".
I love being able to revive a canvas that I have had to turn face to the wall for weeks, months or even years.

plein air oil painting of the Terminus Hotel and the Point Hotel, Harris Street Pyrmont painted by industrial heritage artist Jane Bennett
Half finished canvas on the easel
"The 'Terminus' versus the 'Pyrmont Point Hotel' "
2012 oil painting on canvas 31 x 61cm
Sold
Enquiries about similar paintings:
janecooperbennett@gmail.com

By the end of the first day, I had the basics blocked out and the canvas only needed the finishing touches.
And just as well.
When I delivered another work to the Frances Keevil Gallery, I discovered that a couple from Pyrmont were extremely interested in this painting. They had actually watched me while I was painting it!
Unfortunately they were due to leave Australia the next week.
I would have to complete the painting by Wednesday at the latest if it was going to be dry (well... dryish!) by Saturday, when the clients came in to the Frances Keevil Gallery to view it.
I don't think that they realized that it was an oil painting and they were cutting it a bit fine if it was to be finished, dry and ready to be delivered.

plein air oil painting of the Terminus Hotel and the Point Hotel, Harris Street Pyrmont painted by industrial heritage artist Jane Bennett
Half finished canvas on the easel
"The 'Terminus' versus the 'Pyrmont Point Hotel' "
2012 oil painting on canvas 31 x 61cm
Sold
Enquiries about similar paintings:
janecooperbennett@gmail.com


It was Tuesday.
And there were many distractions.
I love chatting to people as I paint. I get to meet interesting people and learn a lot of fascinating things about the location.
But I was under a bit of time pressure and I must admit that I was worried.
The painting looks almost finished in this photo, but the final touches which can make or break a painting are very fiddly and it's perilous to rush them.
One of the most important of these was the "ghost sign" of the Pyrmont Point's previous incarnation as the Royal Pacific. Another vital detail was the light coming from the interior of the Pyrmont Point which contrasted with the dead heart of the Terminus.

plein air oil painting of the Terminus Hotel and the Point Hotel, Harris Street Pyrmont painted by industrial heritage artist Jane Bennett
The artist with local resident Van Le
with the nearly complete canvas
"The 'Terminus' versus the 'Pyrmont Point Hotel' "
2012 oil painting on canvas 31 x 61cm
Sold
Enquiries about similar paintings:

Tuesday seemed to be an extremely busy day on the corner of John and Harris St.
I became a bit of a tourist attraction. Here I am with Van Le, a local resident.

plein air oil painting of the Terminus Hotel and the Point Hotel, Harris Street Pyrmont painted by industrial heritage artist Jane Bennett
The artist with local resident
Francis Lee with the nearly complete canvas
"The 'Terminus' versus the 'Pyrmont Point Hotel' "
2012 oil painting on canvas 31 x 61cm
Sold
Enquiries about similar paintings:
janecooperbennett@gmail.com

And with Francis Lee, another local resident, who kindly took these pictures of me in action.
plein air oil painting of the Terminus Hotel and the Point Hotel, Harris Street Pyrmont painted by industrial heritage artist Jane Bennett
"The 'Terminus' versus the 'Pyrmont Point Hotel' "
2012 oil painting on canvas 31 x 61cm
Sold
Enquiries about similar paintings:
janecooperbennett@gmail.com

I needn't have worried.
The painting was completed.
And the couple loved it and bought it.
Apparently one of the pair had been covertly watching me paint the finishing touches on this canvas from a safe distance at the pub opposite.
I'm glad that I didn't know that at the time or I would have suffered stage fright.
I actually think that this painting turned out better than the one that I had painted 2 years before. Mind you, I've certainly had quite enough practice painting these pubs. The first time was about 30 years ago - doesn't time fly when you're having fun!
Also watching me were 2 photographers who were checking out the Terminus. They took a few photos of me (no makeup, covered in paint from head to foot, looking like a bag lady...oh well!) and chatted about the charms of urban decay as I desperately tried to finish my commission. Like many photographers, they seemed more interested in the freshly squeezed oil paint on my palette than the actual canvas. The process not the result.
Check out the photos they took of me and my painting here at the blog on their site.
Tristan Stefan Edouard Photography

For more information about the Terminus and Pyrmont Point Hotels see
My Pyrmont page in this blog

Related posts

Looking over the overlooked-Urban decay in Pyrmont
To the Point
Wrong side of the tracks - Darling Island Bond and Free
Pretty vacant 
 
A Tale of two hotels - the Terminus and the Point
Pyrmont Paintings past and present 
Paintings of Pink pubs - Painting the Jolly Frog Part 2
 

Wednesday 15 August 2012

Rookwood - Part 2 - Angel of Resurrection

In my previous post I showed my rough clay model of the Dixson monument which I created to try to grasp the complexity of the original before I tried to paint it.
This post shows the canvas I have been painting as homage to the Dixson Monument. I am one of seven artists who are participating in an exhibition inspired by the Rookwood Necropolis. The exhibition "Spirited" will be held in the Peacock Gallery, Auburn Botanic Gardens in conjunction with the sculpture exhibition "Hidden" in the grounds of Rookwood itself.
"Spirited" will open on Saturday 18th August 11am - 1pm, and will continue until 30th September. The Peacock Gallery is open from Wed- Sun 11 - 4pm.
oil painting by artist Jane Bennett of the Dixson Monument, Rookwood Necropolis
My oil painting  of the Dixson Monument, Rookwood Necropolis
$11,000



Enquiries : janecooperbennett@gmail.com
Unfortunately I don't even know who the sculptor of the Dixson monument was.
Whoever they were, they deserve to be famous.


oil painting by artist Jane Bennett of the Dixson Monument, Rookwood Necropolis
My painting of the Dixson Monument, Rookwood Necropolis
$11,000



Enquiries : janecooperbennett@gmail.com

English: The sculpture "Apollo and Daphne...
 The sculpture "Apollo and Daphne" by Bernini in the Galleria Borghese. (Photo credit: Wikipedia)

A complex swirl of flowing drapery, links the angel to the soul yet separates them.  

 The arrangement of the 2 figures, entwined yet apart, reminds me of Bernini's   "Apollo and Daphne". I have seen this wonderful sculpture in the Borghese Gallery in 1997, but there were so many treasures in this gallery that it was hard to appreciate all of its qualities. I don't know whether the sculptor of the Dixson monument had any knowledge of Bernini or Baroque sculpture but I found strange resonances between the works .

 
My oil painting of the Dixson Monument, Rookwood Necropolis
$11,000



Enquiries : janecooperbennett@gmail.com
Both sculptors used line to force the viewer to move around the sculpture to determine its meaning, sort of like a puzzle. making any one viewpoint  incomplete. They both defy cohesion.
Flowing drapery creates large looping rhythms both linking the angel to the soul and separating them.
oil painting by artist Jane Bennett of the Dixson Monument, Rookwood Necropolis
My oil painting of the Dixson Monument, Rookwood Necropolis

$11,000



In the "Apollo and Daphne" Flesh turns to bark; Stone into flesh.
In the Dixson monument Stone turns to Flesh; Flesh turns into spirit.The sculptor attempts to capture the sublime.
The Dixson monument is sacred rather than pagan so it is less overtly erotic. However the sheer drapery of the rising soul clings to the gentle curve of her torso with a palpably sensual flourish.


oil painting by artist Jane Bennett of the Dixson Monument, Rookwood Necropolis
My oil painting of the Dixson Monument, Rookwood Necropolis
 There are spaces between them - you would not be able to "roll this down the hill", which was reputedly Michelangelo's test for a good sculpture. I don't think Bernini's idea of a good sculpture involved any "hill-rolling" as the energy in his works was expressed in bravura touches such as flying wisps of hair, windswept drapery and flesh turning into bark.
oil painting by artist Jane Bennett of the Dixson Monument, Rookwood Necropolis
My oil painting of the Dixson Monument, Rookwood Necropolis
$11,000



I am painting my view of the Dixon monument 'en plein air', but will keep the influence of Bernini in the back of my mind as I do so.
I kept noticing details of sculpture that were so very beautiful, where the feeling was concentrated in a gesture. The skyward pointing finger.
The angel gives a tender glance to the rising soul.


HOLY SONNET VII.

At the round earth's imagined corners blow
Your trumpets, angels, and arise, arise
From death, you numberless infinities
Of souls, and to your scattered bodies go ;
All whom the flood did, and fire shall o'erthrow,
All whom war, dea[r]th, age, agues, tyrannies,
Despair, law, chance hath slain, and you, whose eyes
Shall behold God, and never taste death's woe.
But let them sleep, Lord, and me mourn a space ;
For, if above all these my sins abound,
'Tis late to ask abundance of Thy grace,
When we are there. Here on this lowly ground,
Teach me how to repent, for that's as good
As if Thou hadst seal'd my pardon with Thy blood.

John Donne

Monday 16 July 2012

Rookwood- Part 1 "Spirited"

I have been asked to create some paintings inspired by the Rookwood necropolis
for the exhibition "Spirited - Impressions of historic Rookwood" at the Peacock Gallery in the Auburn Botanic Gardens which will coincide with the "Hidden" exhibition at Rookwood.
clay model by artist Jane Bennett of the Dixson Monument in Rookwood Necropolis
My clay model of the Dixson Monument, Rookwood
clay model by artist Jane Bennett of the Dixson Monument in Rookwood Necropolis
My clay model of the Dixson Monument, Rookwood

At 700 acres, Rookwood is one of the largest burial grounds in the world and one of Australia's oldest cemeteries. Exploring its grounds can be overwhelming - a recipe for Stendhal's syndrome

clay model by artist Jane Bennett of the Dixson Monument in Rookwood Necropolis
My clay model of the Dixson Monument, Rookwood
clay model by artist Jane Bennett of the Dixson Monument in Rookwood Necropolis
My clay model of the Dixson Monument, Rookwood
 And if I do get Stendhal's syndrome  I could even get as  “'crook as Rookwood”. Old fashioned  Australian slang has almost completely  "gone to Gowings" - as now Gowings has well and truly gone to Gowings for good. The saying "Crook as Rookwood" in fact has very nearly died out.
clay model by artist Jane Bennett of the Dixson Monument in Rookwood Necropolis
My clay model of the Dixson Monument, Rookwood


And at first I was completely and utterly overwhelmed. Ideally, the best course would have been to join one of the tours, but I have had little time left over after a year with a brutal exhibition schedule - 5 solo exhibitions in 6 months and many group exhibitions and commissions. The tours have not coincided with the small amount of spare time I had left.
clay model by artist Jane Bennett of the Dixson Monument in Rookwood Necropolis
My clay model of the Dixson Monument, Rookwood


So many wandering paths, so many sections, row upon row of headstones, so much ground to cover. From crisp and glossy  to sagging and neglected; which to notice and which to ignore. All seemed to deserve attention but which to choose? 
Everything beckoned, but nothing compelled. 
Lost in the city of the dead with no destination. 
I wandered at random and let chance be my guide. 

clay model by artist Jane Bennett of the Dixson Monument in Rookwood Necropolis
My clay model of the Dixson Monument, Rookwood

And by chance I  discovered one of the most beautiful sculptures in Australia, the Dixson Monument. I also discovered a true reason for creating a painting as not only did this sculpture commemorate a great unsung hero of  philanthropy, but one to whom I owe a great debt of gratitude.
clay model by artist Jane Bennett of the Dixson Monument in Rookwood Necropolis
My clay model of the Dixson Monument, Rookwood


Apart from its beauty, I have personal reasons for being attracted to paint the Dixson Monument. Sir William Dixson, collector, philanthropist and connoisseur, is one of my heroes. Although he died many years before I was born, he was my benefactor.



clay model by artist Jane Bennett of the Dixson Monument in Rookwood Necropolis
My clay model of the Dixson Monument, Rookwood
Sir William Dixson had already funded numerous charities and educational institutions throughout NSW.  When he learned that the income from David Scott Mitchell's bequest to the Public Library of New South Wales was not able to be spent on pictures, he left a generous bequest to buy historical pictures.
clay model by artist Jane Bennett of the Dixson Monument in Rookwood Necropolis
My clay model of the Dixson Monument, Rookwood
I am a present day recipient of his generosity, as the Mitchell Library now has a collection of 21 of my paintings. Without Sir William Dixson's bequest , the Library may never have decided to collect paintings at all.


clay model by artist Jane Bennett of the Dixson Monument in Rookwood Necropolis
My clay model of the Dixson Monument, Rookwood
All the other sculptures look a bit lumpen and flatfooted in comparison to the Dixson sculpture. If any sculpture deserves the title "Spirited" it must be this.


clay model by artist Jane Bennett of the Dixson Monument in Rookwood Necropolis
My clay model of the Dixson Monument, Rookwood
It is exuberant, joyous and full of energy. The keynote is exultation rather than mourning. It conveys passion, emotion and the humanity of the moment. 
clay model by artist Jane Bennett of the Dixson Monument in Rookwood Necropolis
My clay model of the Dixson Monument, Rookwood
I know that the sculpture is not just dedicated to Sir William, but the entire Dixson family, however it is a flamboyant monument for such a shy and reserved gentleman.
clay model by artist Jane Bennett of the Dixson Monument in Rookwood Necropolis
My clay model of the Dixson Monument, Rookwood

clay model by artist Jane Bennett of the Dixson Monument in Rookwood Necropolis
My clay model of the Dixson Monument in Rookwood Necropolis
It is also an intricate and complex work. The figures are interlocked in a swirling vortex of drapery that seems to defy gravity.
clay model by artist Jane Bennett of the Dixson Monument in Rookwood Necropolis
My clay model of the Dixson Monument, Rookwood
I circled it slowly for hours, looking at it from every angle and started a few tentative sketches. Finally I decided that I would need to create a rough model in clay before even attempting to paint it.
My clay model is not intended to be a sculpture, but part of the process of understanding the complexity of the original so that I can do it justice in my painting.
clay model by artist Jane Bennett of the Dixson Monument in Rookwood Necropolis
My clay model of the Dixson Monument, Rookwood
clay model by artist Jane Bennett of the Dixson Monument in Rookwood Necropolis
My clay model of the Dixson Monument, Rookwood
This sculpture is so completely 3 dimensional. Every angle reveals another nuance.
clay model by artist Jane Bennett of the Dixson Monument in Rookwood Necropolis
My clay model of the Dixson Monument, Rookwood
clay model by artist Jane Bennett of the Dixson Monument in Rookwood Necropolis
My clay model of the Dixson Monument, Rookwood

The closest that I can think of to emotion and virtuosity of the Dixson monument is  the work of the Baroque sculptor Bernini and I have included below a copy of his "Apollo and Daphne" for comparison. The original marble sculpture is in the Borghese Gallery, Rome.
A statue of Apollo and Daphne after Bernini at...
A statue of Apollo and Daphne after Bernini at Council Staircase in the Hermitage. (Photo credit: Wikipedia)