The Role Of Landscape In Australia

The Heidelberg School’s contribution to the role of landscape in Australian art.

Despite a brief lifespan between 1885-1903, the Heidelberg School or, more formally, the Australian impressionism movement (Splatt and McLellan 1986, 1), significantly aided in defining the role of landscape in Australian art (McCaughey et al. 1979, 7). The Heidelberg School’s establishment of a unique national identity, use of techniques such as plein-airism, accurate portrayal of the Australian Landscape, and incorporation of the rural mythology, “…shaped the Australian vision…” and tied landscape to the white Australian identity (McCaughey et al. 1979, 6-9 : Astbury 1985, 1). Arthur Streeton's Golden Summer, Eaglemont (1889) and Blossoms, Box Hill (1890) as

Created during a time where white Australia was attempting to develop its own individual national identity, the Heidelberg School’s landscapes became a symbol “…of pure, unsullied Australian nationalism.” (Clark and Whitelaw 1986, 9), contributing to the significance of landscape imagery in Australian art (Splatt and McLellan 1986, 2). The gradually developing sense of white natives “…belonging to the land…” lead to a desire to establish an identity apart from that of merely European visitors (Splatt and McLellan 1986, 2). After several generations of occupancy, white Australian residents had a considerably stronger understanding of the Australian landscape and were able to better capture the atmosphere which was far removed from the European picturesque characterisation previously forced upon it (McCulloch 1969, 1). The Heidelberg School’s landscapes reflected the budding identity development as they utilised elements and subjects which were believed to “…distinguish… Australian life from that of any other nation.” (Clark and Whitelaw 1986, 128). These elements are particularly prevalent within McCubbin’s On the wallaby track (1896) which depicts the struggles of the early Australian pioneers against the “…suburban bush…” with a

Plein-airism and Impressionist techniques were significant influences on the Heidelberg School’s aesthetic and aided in the establishment of the link between white Australia's national identity and landscape art (McCulloch 1969, 1). Both techniques are suggested to have been brought from Europe to Australia by artist and Heidelberg School founding member, Tom Roberts (Mulligan & Hill quoted in Forscher 2007, 66). Plein-airism is the inclusive term for the movement of artists who painted in plain air, working “…from their perceptions and experiences within [nature] rather than as observers from a distance to it.” (ibid). The members of the Heidelberg School utilised the en Plein air method, setting up various camps in rural Melbourne areas such as Box Hill and Eaglemont (McCaughey et al. 1979, 6-7) and creating quickly sketched impressions of the area (Fraser quote in Splatt and McLellan 1986, 53). The first incarnation of Streeton's Golden Summer, Eaglemont (1889) was created in such a manner before the artist returned to his studio, to escape the beating Australian sun, and translated the sketch onto a larger canvas with a detailed finesse (Clark and Whitelaw 1986, 104-105). The Heidelberg School’s use of Plein-airism afforded the artists the ability to better grasp qualities that separated the Australian landscape from