PTE阅读和Thea Proctor 的艺术

PTE阅读和Thea Proctor 的艺术

Proctor was born in Armidale, New South Wales, to Katherine Louise Proctor and William Consett Proctor who was a solicitor and a politician. When her parents separated in 1892, she and her mother moved to Bowral to stay with her grandmother who encouraged her interest in painting.

She studied at Sydney Art School from 1896 under Julian Ashton, then at the St John’s Wood School of Art in London in 1903. Ashton and Proctor became lifelong friends and she modelled for him many times.[2] Apart from two years spent in Sydney 1912–14 she worked in London 1903–21, associating with fellow Australian expatriates Charles ConderArthur Streeton and Tom Roberts and producing pencil drawings and decorative watercolours and fans influenced by Conder and Japanese woodblock prints. She exhibited at the Royal Academy of Arts, and New English Art Club, later producing lithographs which were exhibited at the Senefelder Club and the London Goupil Gallery for the International Society of Sculptors, Painters and Gravers.

After returning to Sydney, she exhibited with Margaret Preston in 1925 then with George Lambert founded the Contemporary Group who exhibited in Adrian Feint’s Grosvenor Gallery in George Street from 1926–28 with Grace Cossington SmithMarion Hall BestElioth GrunerMargaret PrestonRoland Wakelin and Roy de Maistre.

She taught Adrian Feint the techniques of woodblock-engraving 1926–28, and like her he produced covers for the Ure Smithmagazine The Home. Later she taught linocut printing at Julian Ashton’s Sydney Art School and drawing at the Society of Arts and Crafts of New South Wales.

She and Margaret Preston were friends who exhibited together in Sydney and Melbourne until a precipitous bout of professional jealousy in 1925.

Late in life she promoted the neglected work of her cousin John Peter Russell.

Two of several portraits by Lambert hangs in the Art Gallery of New South Wales.

From Wikipedia, the free encyclopedia

PTE 阅读FIB 原文:

Thea Proctor was just sixteen when her entry at the Bowral Art Competition caught the eye of the judge, Arthur Streeton. It was the first of many associations with art world recruits. The next year saw her at the Julian Ashton Art School in the illustrious(著名的,杰出的)company of Elioth Gruner, Sydney Long and George Lambert, for whom she often posed and who remained her great friend until his death in 1930.

Lambert’s paintings and sketches of Proctor emphasize the elegance of her dress. A keen interest in fashion was just one aspect of  her fascination with design, and she saw herself as an early style guru on a quest to rid Australian art of “its lack of imagination and inventive design”. Skilled in watercolors and drawings. Proctor did not limit herself to paper, canvases or to her popular magazine illustrations, she designed theatre sets and a restaurant interior and wrote on a range of subjects from flower arranging to the colors of cars. It made for a busy and varied life but, as she said, she was not the sort of person “who could sit at home and knit socks.”


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