St Vincent's- In the Art of Darlinghurst

 

Victoria st 2009 oil on canvas 75 x 100cm

Enquiries

In December 2009 I was asked by some people who worked at St Vincent's if I could create paintings of some terrace houses on a Darlinghurst block adjacent to St Vincent’s Public Hospital. Almost an entire block of Victoria Street between the Garvan Institute and the Green Park Hotel would be replaced by the construction of a new 11-storey medical centre.

'Victoria Street mural and the clinic'

2010 oil on canvas 38 x 76cm

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The structures on this side of Victoria Street included the RMO, the Diabetes Centre, the Rankin Court Clinic for Drug and Alcohol treatment and a bright green mural which honoured World Aids Day.

For another view of this now destroyed mural see the post "Monday Mural" on the fascinating blog of Sydney Eye

"Victoria st -The World AIDS Day Mural
between the Green Park Hotel and Rankin Court"
2010 oil on canvas 36 x 46cm
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By the time that I started this series of paintings, these services were in the process of being relocated to neighbouring buildings. By mid 2010, the breakthrough new cancer treatment Centre, the Kinghorn Centre, was already under construction.

 

Victoria st terraces-The Mural to honour 'World AIDS Day'

2009-10 Ink, gouache on paper 43 x 61cm

Enquiries 
The Kinghorn Centre, which will be opened in June 2012, is a joint Garvan Institute and St Vincent's Hospital project. It will pioneer a revolutionary method of customizing patient treatment instead of the previous one-drug-fits-all approach.
In early December 2011, cancer survivor Delta Goodrem, who is the patron of the Kinghorn Centre, spoke to assembled staff and construction workers at its launch .
See articles:"Delta Goodrem helps break ground on cancer centre" ; Article in Daily Telegraph

'A Corinthian column, St Vincents' De Lacy wing'

2011 oil on canvas 20 x 20cm

My aim was to paint the exciting transition of the area from past to future. I painted all the works in this exhibition on site, sheltering under the awnings of the local restaurants and coffee shops, whose staff would keep an eye on my easel and belongings.

From the Green park Bandstand, I painted the classical facade of St Vincent’s heritage De Lacey wing framed by ferny canopies of lime green trees.

'An Ionic column, St Vincents' Public Hospital,

De Lacy wing' 2011 oil on canvas 20 x 20cm

Some of these buildings have heritage value, and all of them are regarded with genuine affection by the locals. Most of the architecture of this block has been compromised to a greater or lesser extent by tasteless modern extensions, but taken as a whole, they express the character of a colourful and unique area of Sydney street-life.
 

"Victoria st terraces-The RMO "
2009-10 oil on canvas 46 x 36cm
Enquiries 

The area is colourful and picturesque with a great diversity of buildings: from garish to subdued; from shabby to plush - and the characters who live, work and visit this area, rival the buildings for diversity and raffish charm.

"Victoria st terraces Nos 372-4 -

the Diabetes Centre & the RMO"

2009 oil on canvas 51x41cm.

SOLD
Enquiries

Victoria Street is a peculiar mélange of architecture ranging from the charming, to the quirky, to the downright hideous.

Hole-in-the-wall coffee bars contrast with the sleek corporate steel and glass of the Victor Chang Institute in the background.

In between a few examples of faded glamour it's scruffy and noisy but the place feels busy and vibrant.

An oasis of calm in all this frenetic activity is Green Park.

 

"Victoria st terraces-Diabetes Australia"

2009 oil on canvas 31x31cm.

 SOLD
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English colonial grandeur rubs shoulders with crumbling terraces overgrown with vines and painted in brightly sub-tropical hues.

"Victoria st terraces-The RMO"

2009-10 Ink, gouache on paper 63 x 41cm

Enquiries 

My paintings of the buildings of this demolished block of Darlinghurst terraces honour the memories of the past, while celebrating the exciting possibilities of the future.
My exhibition will be held at the Xavier Art Space, Level 3 (which is the ground floor entry level) in the foyer of the St Vincent's Public Hospital. The Exhibition period is from 4 February - 8 March 2012, with the official opening on Tuesday night the 7th of February from 6-8pm. The works will be able to be viewed during the general hospital opening hours.
I am represented by the FRANCES KEEVIL GALLERY mob: 0411 821550

  info@franceskeevilgallery.com.au
The Director, Frances Keevil will be curating and hanging the exhibition.

For more information about my paintings of the Victoria Street Terraces see my Urban Landscape Page

Brewer's Droop - Painting the Carleton United Brewery, Chippendale

The southern edge of the Sydney CBD, adjacent to Central railway station incorporating Broadway and Chippendale, was dominated by a walled off 'Empire of Beer' for over 170 years.

Kent Brewery was built by John Tooth and Charles Newnham in 1835. It exploited the fresh water from nearby Blackwattle Creek. However, Blackwattle Creek didn't stay fresh for long, and soon the surrounding area was a notorious slum.

The unregulated and noxious local industries included the Swamp Abattoirs across Parramatta Road in Ultimo, which provided the Char House of the Colonial Sugar Refinery with bones to burn to produce charcoal for filtering sugar.

CH4 Pub with no beer- Carleton United Brewery 2
2009 oil on canvas 75 x 100cm
Available

When bubonic plague hit waterside Sydney in the first decade of the 20th century, the authorities embarked on a program of slum clearances and 350 Chippendale houses were resumed by 1911.

Tooth's brewery site moved into the vacuum, extending their empire of beer more than 6 acres into the surrounding residential areas. Tooth's owned the western side of Kensington Street, and demolished properties  to construct new brewery buildings, as well as a wall to exclude the public. Yet another wall was built on the northern side of Wellington Street.

You can see this wall running behind the Irving Street Brewery boiler house in the painting above, which was painted during the demolition craziness not long after the property had been bought by Frasers Property for redevelopment.

Tooth’s Irving Street Brewery was built in 1912, and covered most of the land between Carlton and Balfour Streets.

CH3 Pub with no beer- Carleton United Brewery
2009 oil on canvas 100 x 75cm
Available

This iconic Sydney landmark is an 180 ft high octagonal brick tapering structure with metal strapping with cracked coping. Brick buttresses transfer the structure to a square base. 

The Irving Street Brewing Tower ceased its brewing operation in 1979, as it was superseded by the New Brewhouse.

It was one of the earliest and most prominent chimney stacks built in the CBD, and one of the last remaining in inner Sydney.

In the 1980s, a large redevelopment saw the demolition of all but one of the original Kent Brewery buildings. and Carlton and Uniting Breweries purchased it.

Until 1983 there were 1000 personnel at the brewery including lab staff, engineers, plumbers, fitters and turners, coppersmiths, blacksmiths, coopers, trades assistants, storemen, drivers and security.

In 1983 Tooth and Co were taken over by the Adelaide Steamship Company and the brewing assets were sold to Carlton and United Breweries and in 2003 the brewery closed forever.

Frasers Property bought the 5.8 hectare site in 2007 and embarked on a wildly ambitious $2 billion urban renewal project. It incorporates mixed use development including high density apartments,student accommodation in Kensington and Abercrombie Streets, a shopping centre, office blocks, and the old Brewery will be turned into a boutique hotel.

In my paintings you can see how the Irving Street Brewery building resembled a ruined castle on an island in the middle of a moat. It was a dreadfully boggy site after all the other buildings were clear felled around it and therre was a perpetual pool of water surrounding the old brewery.

Some heritage features have been selectively kept in the mix. Run down terraces in Kensington Street have become "Spice Alley", a funky "Eat Street", the sandstone gateway has been kept and the Irving Street Brewery building has now been adaptively reused as a community facility while also housing the site’s sustainable features including the tri generation plant providing the power, heating and cooling.

Chippendale, once an embarrassing slum, is now the fashionable hipster enclave known as Central Park.

Related posts

Barangaroo-Red Square, the Drill Rig and a little Archaeology

My page of Urban Landscape paintings

Both sides of the Street- My exhibition at St Vincents

Painting the Tugboats of Sydney Harbour - the 'Wilga', 'Wonga' 'Woona' and 'Watagan'

Looking for suitable subject matter to paint for the Xmas exhibition at the Frances Keevil Gallery, I couldn't resist the tugs.

Now that there are fewer large ships coming in to Sydney Harbour, they are harder to spot.

'The 'Woona' passing Goat Island'
2011 oil on board 28 x 35cm

Enquiries about similar paintings

The best opportunities are when they escort the tankers in and out of Gore Cove, and when the cruise ships come in to Barangaroo. Peak cruise ship season is from October to the end of February, so this means a bumper crop of tugboat paintings.

'The 'Wonga' 2011 oil on board 28 x 35cm
Enquiries about similar paintings

My studio at Moore's Wharf, opposite Walsh Bay Wharves on the right and Barangaroo to the left, offers good vantage points for tug spotting.

As well as painting from the wharf at ground level when the weather permits, I have studio space on the top floor in the 'loft', which gives me a 'bird's eye view'.

'The 'Wilga' 2011 oil on board 28 x 35cm
Enquiries about similar paintings

In this set of paintings, I have varied the viewpoint and the background - the paintings of the 'Wilga' and the 'Wonga' feature the tugs alone against the sea and are painted from the top floor of Moore's Wharf; the 'Woona' (which has recently been repainted in its new livery of Naples yellow and navy - it used to be white with a black hull) is painted in late afternoon against the spectacular backdrop of Goat Island; and the 'Watagan', one of the smaller tugs, is shown dwarfed by the giant white cruise ship it is escorting.

'The 'Watagan' with the 'Pacific Dawn' 2011
oil on board 28 x 35cm

Enquiries about similar paintings 

And a tugboat in action - 'Watagan' bringing the 'Pacific Dawn' into Barangaroo's temporary cruise ship terminal.

Sydney's new cruise ship terminal will be built at White Bay, as soon as the old White Bay Transit Shed has been demolished.

In the meantime, there are a motley collection of vessels berthed there for me to paint.  

Starting my painting of  
'The 'PB Endeavour' at White Bay 
2011 oil on board 28 x 35cm
Painted en plein air at White Bay Wharf, Berth 5
Sold

Enquiries about similar paintings

All the previous paintings are of Svitzer tugs and painted from around Moore's Wharf.

This is the odd one out in the series, as it was painted at White Bay, and was tied up rather than out on the water. I thought that it would be a good contrast.

I fell in love with the pale blue tug PB Endeavour, one of the Pacific Basin Tugs.

I was admiring it when it has been berthed at White Bay Berth 5, next to the 'Bob Barker - Sea Shepherd'.

The PB Endeavour was launched just over a year ago, and was a bargain at $9 million or so ! I wish! But as it falls a little bit outside my budget, I'll have to settle for painting it.

'The 'PB Endeavour' at White Bay 
2011 oil on board 28 x 35cm
Painted en plein air at White Bay Wharf, Berth 5
Sold

Enquiries about similar paintings

'The 'PB Endeavour' at White Bay 
2011 oil on board 28 x 35cm
Painted en plein air at White Bay Wharf, Berth 5
Sold

Enquiries about similar paintings

'The 'PB Endeavour' at White Bay 
2011 oil on board 28 x 35cm
Painted en plein air at White Bay Wharf, Berth 5
Sold

Enquiries about similar paintings

I'll display this set of little tugboat paintings in the Xmas show at Frances Keevil Gallery, opening on Saturday 10th December 2011

Related posts

The White Shed at White Bay

"May close without warning" Solo Exhibition,Frances Keevil Gallery

May close without warning Part 2"All that is solid melts into air"

Sea no evil? Painting 'Sea Shepherd' at White Bay

Slipping awayArtist in Residence: Sydney Heritage Fleet Part 2 'Lady Hopetoun'Painting the 'Poolya' at Glebe Island

Boat at Goat

Homage to Picasso, Part 2 - Postcards from Picasso

The following sketches were all drawn in the Musée National Picasso in 1997 during my Marten Bequest Travelling Art Scholarship.
I had run out of paper, so I took some free postcards from the bookshop to record my thoughts.

This is the other side of the postcard from the bookshop of the Musée National Picasso.

I used the back of these to draw on at first as an act of desperation - I had run out of art materials and money!
However, from that time on, whenever I visit an exhibition I now always use the catalogue or booklet from the gallery to record my thoughts about the exhibition. It gives the sketches some context, I can remember exactly what I have seen and where.
At school I had driven my teachers crazy by annotating my textbooks in a similar fashion whenever I was bored, which meant about 99% of every lesson. This turned out to be a good foundation for my future career rather than timewasting and daydreaming. Somewhere in a dusty school cupboard there might still exist a few of my "illustrated manuscripts".


My sketch of "Study for 'Les Desmoiselles D'Avignon' "
Pablo Picasso 1907
ink on card 18 x 13cm 1997
Available 

During my Travelling Art Scholarship I filled page after page every day with annotated sketches of famous paintings and observations about my surroundings. Sometimes this was to learn some technique or to note some aspect of the painting for use later in one of my own paintings. Mostly it was just to make sure that I really looked at the works and didn't just skim over them. If I draw something I will remember what I have seen. If I've just taken a photo of something, I'll swiftly forget it. The greatest compliment you can pay to a work of art is to give it your time and attention.

I was interested in seeing the working sketches for iconic works such as 'Les Desmoiselles D'Avignon'- what was included; what was discarded - the paths not taken.The painting is now such an icon of modern art that it is easy to forget that its final form was not inevitable, but arrived at after months of struggle.


My ink drawing of
"Head of Marie-Therese Walter" Pablo Picasso, Boisgeloup 1932
ink on card 18 x 13cm 1997
Available 


My drawing of "Le Viel Homme Assis" by Pablo Picasso
graphite on card 18 x 13cm 1997
Available 


My drawing of
"Le Fou", a bronze sculpture by Pablo Picasso from 1905
graphite on card 18 x 13cm 1997
Available 
This little bronze was also exhibited in the current exhibition at the Art Gallery of NSW "Picasso: masterpieces from the Musée National Picasso, Paris".


My ink drawing of one of Pablo Picasso's classically inspired heads.
ink on card 18 x 13cm 1997
Available 
I love the Protean nature of Picasso's art - how he would switch from the restrained classical poise in this example to the wild energy and cartoonish violence of the next example without missing a beat.


My gouache and ink drawing of

Pablo Picasso's Le baiser (The kiss) 1969, oil on canvas,

97 × 130 cm, and above it "Les Banderilla"

ink and gouache on card 18 x 13cm 1997
Available 

This oil painting is also included in the current exhibition at the Art Gallery of NSW "Picasso: masterpieces from the Musée National Picasso, Paris".

My gouache and ink drawing of
Pablo Picasso's 1961 "Woman and child"
ink and gouache on card 18 x 13cm 1997
Available 

My gouache and ink drawing of Pablo Picasso's

1961 project for a monument

"Femme aux bras ecartes"

ink and gouache on card 18 x 13cm 1997
Available 


My gouache and ink drawing of
Pablo Picasso's"La Jeune Fille assise"
ink and gouache on card 18 x 13cm 1997
Available 


My gouache and ink drawing of a faun by Pablo Picasso
ink and gouache on card 18 x 13cm 1997
Available 


My gouache and ink painting of
"L'homme au mouton (Man with sheep)" Pablo Picasso, 1940s
ink and gouache on card 36 x 13cm 1997
Available 

Close up detail of my gouache and ink painting of
"L'homme au mouton (Man with sheep)" Pablo Picasso, 1940s
ink and gouache on card 18 x 13cm 1997
Available 

"Art washes away from the soul the dust of everyday life." (Pablo Picasso) I loved the gentle expression on the face of "L'homme au mouton (Man with sheep)" Pablo Picasso, 1940s. If I was having a difficult day, I would feel revived by looking at his calm and tender features.
"I paint the way someone bites his fingernails; for me, painting is a bad habit because I don't know nor can I do anything else." (Pablo Picasso)
In the very first week of my Travelling Art Scholarship, I had accidentally dropped my camera off a bridge in Rotterdam. It seemed like a disaster at first, but it turned out to be the best thing I could have ever done to hone my drawing skills, as it forced me to get faster and more decisive with my work or miss the moment entirely. My drawings were more interesting than my photos were anyway and I didn't bother replacing my camera until after I got back to Australia.
Another thing that initially seemed to be a disaster and turned out to be a blessing in disguise, was that I am completely useless at learning new languages. Despite my best efforts, my German is appalling, my French is pitiful and my Italian is worse. And according to the English, I don't speak English all that well either! If I wanted to make myself understood, I would have to draw whatever I needed. This would at least get a laugh, if nothing else. It worked a treat, and I had no problems with communication wherever I went. Art is truly a universal language.
It taught me that a work of art can have many purposes, from shallow to deep.

Related articles

Pablo Picasso show pays belated homage to Spanish genius

(guardian.co.uk)

Related posts in this blog

Homage to Picasso Part 1

Homage to Picasso Part 1

My drawings of the exhibition "Picasso: masterpieces from the Musée National Picasso, Paris" Art Gallery of NSW
I dropped off my entry to the Dobell drawing Prize at the Art Gallery of NSW just before the cut-off time on Friday afternoon and had a rare spare couple of hours to myself before the opening of the "Ship to Shore" exhibition at the Mosman Art Gallery.
The Art Gallery didn't look too crowded for once so I visited the Picasso exhibition.

During my Marten Bequest Travelling Art Scholarship 1996 -7, I spent a total of 6 months living in Paris, almost long enough to feel like a local. As I had won a studio residency from the Trustees of the Art Gallery of NSW, I had spent most of that time living in the Moya Dyring studio at the Cite Internationale des Arts in the Marais. However, after my residency had finished, I then spent about a month living in the charming hotel L'Hostellerie du Marais in a 17th-century building located near Place des Vosges and the historic Marais district.

It was not far from the Cirque D'Hiver and just down the road from the Picasso museum in the rue de Thorigny. I would often drop in there on my way back to my hotel, so most of the works on display in this exhibition were old friends.

My drawing of

Pablo Picasso's Le couper des tetes

(the head-cutter) Spring 1901

Available  

However, there were still a few surprises. Just when I had thought I was familiar with all of Picasso's early work, I came face to face with a very confronting little sketch, which I sincerely hope wasn't done from life!

I was trying to pin down what the unnerving look on the face of the "head cutter" reminded me of. The droogy leer of Malcolm Mc Dowell in Stanley Kubrick's iconic film of "A Clockwork Orange" perhaps, plus the stance of the swaggering murderer Lacenaire, played by Marcel Herrand in Marcel Carne's "Les Enfants du Paradis" . The artistic ancestors of this drawing surely include Picasso's countryman Goya and the caricaturist Daumier, but the most immediate influence would have been the recently deceased Toulouse-Lautrec, who had a taste for subject matter verging on the morbid or perverse. Possibly Picasso would even have been aware of Walter Sickert's series of paintings about the Camden Town murders.

Available 

As you can see here, whenever I run out of pages in my drawing books, I will use whatever comes to hand.

I like using the catalogue to record my impressions of the exhibition.


My sketch of
Pablo Picasso's "La Celestine" 1904 and "Etude academique"
Available 


My sketch of a Pablo Picasso sculpture
Available 

My sketches of
Pablo Picasso's "L'homme au mouton"
and his assemblage of the bicycle seat/bull's head
Available  
In my next post "Homage to Picasso, Part 2 - Postcards from Picasso" I will show some of the sketches I did when I visited the Musée National Picasso in Paris in 1997.

Related articles
"Picasso: masterpieces from the Musée National Picasso, Paris"
Garance: our lasting affair | Agnès Poirier (guardian.co.uk)
Picasso's Hungry Hand Stars in Flipbook Show at Frick: Review (businessweek.com)
Les Enfants du Paradis - review (guardian.co.uk)
Les Enfants du Paradis - review (guardian.co.uk)
Stanley Kubrick & Malcolm McDowell on the set of A Clockwork Orange (1971, dir. Stanley Kubrick) (via The Stanley Kubrick Archives) (sgtr.wordpress.com)
Letters: Tainted Paradise (guardian.co.uk)
Pablo Picasso show pays belated homage to Spanish genius (guardian.co.uk)