British Landing On Botany Bay: Painting Analysis

Since the 2009 dredge project, only one big ship that the dredge was accommodating for has come into the bay. The purpose of the 2009 dredge was to allow larger ships come into the bay as it was to shallow, but since then only one has come through making it almost not worth it considering the effects it's had on the bay.

I think the artist is able to communicate the bad condition of the ship and its crew is in. The mood of the work is scary and gloomy. The design and intensity of the waves, the changing weather, and the ships in the ocean seem to make the scene come alive. It really conveys a since of naturalism in the painting the way it depicts the environment around the ship.

In the novel Longboat Bay are the starting and the main setting. The characters Abel and his mother Dora lives on the land of Longboat Bay. The lands have been the Jacksons land for more than a century and have been taking care of it since now. Abel lives in a place with no main electricity from the city and no water except rainwater. The land around them is a national park and behind the house is the orchard. This is shown in the quote “and all the land around them was a national park.” And “there were orange and lemon trees in the orchard as well as olives and mulberries.” The sea is “rich in life” and the author invites the reader to want to care for the sea. This technique shows the beauty of the sea and the land around it.

Contemporary artist, Ah Kee, has created a work, “Unwritten #9”, references past racial murders and the way they resonate in the present context and explore Australian Indigenous and non-Indigenous culture in the contemporary society. Ah Kee created this series of artworks in response to the apparent police cover up of the death of a young man in their custody and protection of their own lead to accusations of racism, riots by the Islanders and their further oppression by the police. The faces are also non-specific and have no identity, this refers to the devastating history of racism and violence against indigenous peoples in Australia. This symbolism also suggests the often unspoken motivations for actions and interactions between Australians

While the poem shows the hardships of Washington and his crew, it also shows their triumph against the Hessians. In stanza 12 of the poem by David Shulman, it quotes “A wet crew gains Hessian stronghold”. The quote on stanza 12 talks about how the crew overcame their hardships to capture the Hessian stronghold. The poem depicts the triumph of the crew very well, however, the painting also shows this in many ways. One can see in the painting how Washington stands proudly on the bow of the boat as if he can see a great victory in their future. Second, there are huge storm clouds and open water behind the boats while in front of them is a bright day and land

In the painting “Jamestown Lifescape,” Keith Rocco uses vivid details to establish the theme that cooperation is essential to the survival of a successful community. For example, oxen are transporting building materials, such as bricks and roof tiles, to the work sites where the townspeople are building new houses and other structures. The townspeople are willing to share their time and resources to expand and better their community. They can trade their goods for what they both need. For example, the townspeople are trading goods for money to buy extra building supplies. The townsfolk can gather other supplies or more animals to assist and transport the supplies to expand their community faster. They can work together to create a larger

During the early settlement of Australia, art was primarily used for documentary purposes by ammeters and pioneers (Splatt and McLellan 1986, 1). The arrival of trained European artists yielded a wave of Colonial oil paintings (Manton 1979, 58), however, these artists were “…trained to regard the landscapes of Europe as the norm.” and therefore their work could not accurately portray the Australian identity and atmosphere (Splatt and McLellan 1986, 1-2). These Colonial artists “…retained the smooth, anonymous surface established by academic procedures and practice.” (Manton 1979, 58). As such, their European eye and techniques distorted the Australian landscape into picturesque, “park-like green hills and bubbling streams bathed in a gentle light.” (Australian Government, 2009), often grounded “….in the middle distance…” (McCaughey 1979, 7). In a stark contrast, the landscapes produced by Heidelberg School artists were lauded for their portrayal of the Australian landscape “…experience(,) realized fully in paint.” (McCaughey 1979, 7). Frederick McCubbin’s Bush Study (1902) exemplifies the difference between the work of Colonial artists and those of the Heidelberg School with its use of Impressionist techniques becoming “…an essential and explicit part of the painting.” (Manton 1979, 58). Within this work, the bush is treated as a familiar abundance and brought “…forward, virtually right up on to the picture plane.” (ibid). The “…iridescent palette and roughened paint texture…” of the work immerses the viewer allowing them to gather a sense of the heat dulled, melancholic Australian bush landscape (ibid, 54-58). McCubbin’s work, as with other Heidelberg School paintings, depict “…a world which is 'natural', self-contained, self-sufficient and paradigmatically Australian.” (Hills 1991,

2. He does the painting and printmaking art. And hid style is urban indigenous art.

Australia is a young, modern country made up of a diverse and multicultural population, therefore, it’s difficult to say that it has a single national identity. This essay will examine what Australia’s identity may look like, specifically, through art.

The identity of Australia as a place comes from both its physical features and the atmosphere, which is often created by its physical appearance. Three artists who have depicted the Australian landscape in different styles are Arthur Streeton, John Olsen and Sally Morgan. Streeton’s works are in a realistic but lively style typical of the Heidelberg school. He was intent on recreating the light and warmth of the land. Olsen and Morgan’s works, on the other hand, offer more abstract interpretations of the land. During the 1960s and 1970s, Olsen captured the essence and the energy of the landscape with his bold and bright brushwork whilst Morgan’s work from the 1980s portrays Australia from an indigenous perspective, which she achieves through her use of Aboriginal symbolism and cultural imagery.

The fourth lesson will be analyse the content of the picture book “Why I love Australia” by Bronwyn Bancroft. The lesson involves: discovering the visual art element and principals of the illustration (VAES1.3); introduce the artist Bronwyn Bancroft (VAES1.3); explore the traditional Indigenous feature and art technique used in the illustration (VAES1.3); reading the book to class, and guiding student to discover the relation between the words and pictures (ENe-1A).

Bennett art is more of society commentary than telling his story, it about his connect to his heritage and people. Australia culture falls to value and understand the igneous culture. Bennett Art confronts the loss and bigotry he and all igneous people have suffered. “… all the education and socialization upon which my identity and self worth as a person, indeed my sense of ‘Australianness’, and that of my peers, had as its foundation the narratives of colonialism.”(Bennett) He explore the internal confected about belonging feel nether igneous nor a westerner but somewhere in-between lead him to struggle with his sense of

values, assumptions and voice of the poem and of Australia at that time, one that shows courage and

The implied changes in the position of the thrashing waves give you the feeling of motion. The overlapping relationship of the storm clouds to the apparent clear sky, as well as the curve of the rain clouds all imply these dark storm clouds are moving out to the left. Waugh also gave a slight glimmer of sunlight beating down on the rocks in the background to further illustrate the idea that the storm is moving on and the sun is breaking through. This bit of sunlight is the only vibrant color in this paining. The whole aspect of the sea is implied motion. I believe with every short, wide brush stroke used to paint the surf, Waugh intended to imply motion. The very nature of water is movement but he went beyond what we know and tried to convey not just motion but

I chose to study and analyze J.M.W. Turner’s Slave Ship for this project and found it to be very interesting. Immediately while looking at the piece you get a strong sense of emotion and drama that is being portrayed. There is a lot of depth and warmth in the colors that are used and wide swift brush strokes to create the images. The first image that caught my eye was of waves crashing on the left side of the painting. The white tips of the waves are very noticeable against the softer shades of the ocean. Behind the waves is a ship which is the next part of the painting that drew my attention. The ship seems to be caught in the rough waves of the sea and barely able to keep afloat. There is a glimmer of light from the sun peeking through