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Title

Evening, Merri Creek

1882


Artist

Julian Ashton

England, Australia

27 Jan 1851 - 27 Apr 1942


About

Julian Ashton's 'Evening, Merri Creek' 1882, was claimed by the artist as the first true 'plein air' oil painting in Australia, and therefore a key example for his encouragement of young artists to work directly in the open.

When Ashton first exhibited his painting of the tranquil waterway near Melbourne, a reviewer commented:
"Mr Ashton has also on view a large landscape in oils, called 'Winter's Evening', a view on the Merri Creek. It is the time when the light is low, just before the sun sinks to its rest. The whole landscape is suffused with a glow from the setting luminary striking athwart the valley, lighting up the middle distance, which is very well rendered, and shimmering over the surface of the shallow water, above which some swallows are winging their arrowy flight. Gum trees line the sloping sides of the stream, the foreground being broken up with large boulders and reeds, the near foreground falling into shadow, which, like the crest of the ploughed field in the distance, is growing grey as sober evening with dewy fingers draws 'The gradual dusky veil'. The tone and colour of the landscape is very agreeable, the water admirable, and the whole work is in good keeping".
'The Australasian sketcher with pen and pencil', Melbourne, 11 November 1882

The Merri Creek runs for approximately 70 kms, beginning near Wallan, a town on Melbourne's northern outskirts, and joining the Yarra River at Dight's fall, Collingwood.

© Australian Art Department, Art Gallery of New South Wales, 2006


From the Gallery Shop


Details


Other Title

Winter's Evening


Place where the work was made

Victoria Australia


Date

1882


Media category

Painting


Materials used

oil on canvas


Dimensions

91.5 x 122.0 cm


Signature & date

Signed and dated l.l., "J.R. ASHTON/ OCT 1882".


Credit

Gift of Howard Ashton 1942


Location

Not on display


Accession number

7211


Artist information

Julian Ashton

Works in the collection

27


Place

Where the work was made
Victoria

Shown in 5 exhibitions

Exhibition history


Referenced in 15 publications

Bibliography


Julian Ashton, Now came still evening on, Sydney, 1941, 28.

Blaxland Gallery, Three generations of painters: Julian Ashton, Howard Ashton, Richard Ashton, Sydney, 1938. cat.no. 7; titled 'Evening on the Merri Creek, Melbourne'; price: 100 Gns.

Tim Bonyhady, Images in opposition: Australian landscape painting 1801–1890, 'Contrasting lights', pg.135-154, Melbourne, 1985, 140, 141 (illus.), 178.

Jane Clark and Bridget Whitelaw, Golden summers: Heidelberg and beyond, Melbourne, 1985, 59 (colour illus.).

Dinah Dysart, Julian Ashton 1851-1942, Sydney, 1982, 3, 12. cat.no. 11; titled 'Evening - Merri Creek'

James Gleeson, Impressionist painters 1881-1930, St Kilda, 1971, 83.

Dr Ursula Hoff, Charles Conder - his Australian years, Melbourne, 1960, 26 (illus.). plate no. 1

Robert Hughes, The art of Australia, Melbourne, 1970, 69.

John McDonald, Art of Australia. Vol 1: Exploration to Federation, ‘The only truly representative Australian school of painting’, pg. 357-418, Sydney, 2008, 360, 361 (colour illus.).

Barry Pearce, Charles Conder 1868-1909, 'Between worlds: Conder in Australia', pg. 12-31, Sydney, 2003, 15, 17.

Bernard William Smith, Australian Painting 1788-1960, South Melbourne, 1962, 66.

Bernard William Smith, A catalogue of Australian oil paintings in the National Art Gallery of New South Wales 1875-1952, Sydney, 1953, 18. cat.no. 17; titled 'Evening - Merri Creek'

Vivienne Webb, Australian art: in the Art Gallery of New South Wales, 'Golden age', pg. 37-38, Sydney, 2000, 42 (colour illus.), 43, 300.

Editor Unknown (Editor), The Australasian sketcher with pen and pencil, Melbourne, 11 Nov 1882, 9. review of Julian Ashton's exhibition held at his studio at 95 Collins Street, Melbourne in November 1882; see WORKSHEET for transcript of article by Mary Eagle

Editor Unknown (Editor), The Julian Ashton book, Sydney, 1920, (colour illus.). plate no. XVII