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Title

Studio portrait, Chelsea

(1915)


Artist

Norah Simpson

Australia

05 Jul 1895 - 19 Feb 1974


About

Norah Simpson is credited with playing an important role in the introduction of post-impressionism to Australia, although she is an unfamiliar figure in Australia – she moved permanently to Europe in 1915 and subsequently ceased painting.

On a prior visit to London in 1912, she had met members of the Camden Town Group – a group of post-impressionist artists – and saw first-hand in Paris works by Cézanne, Matisse, van Gogh and Picasso. On her return to Australia in 1913, she brought reproductions and books dealing with post-impressionist and cubist work to her art classes with Italian artist–teacher Antonio Dattilo-Rubbo, where they had a powerful effect on Simpson’s fellow students Roland Wakelin, Grace Cossington Smith and Roy de Maistre – particularly influencing their use of colour.


Details


Other Title

Self portrait 1911


Place where the work was made

Chelsea London England


Date

(1915)


Media category

Painting


Materials used

oil on canvas


Dimensions

50.8 x 40.7 cm stretcher; 62.7 x 52.7 x 5.0 cm frame


Signature & date

Not signed. (Not dated?).


Credit

Purchased 1960


Accession number

OA22.1960


Artist information

Norah Simpson

Works in the collection

1


Shown in 4 exhibitions

Exhibition history


Referenced in 17 publications

Bibliography


Janine Burke, Australian women artists 1840-1940, Collingwood, 1980, 42, 43, 140 (colour illus.), 178. plate no. 67

Jasmin Dessmann and Deborah Edwards, Sydney moderns: art for a new world, 'The lost moderns: Tempe Manning, Niel A Gren and Norah Simpson', pg. 38-41, Sydney, 2013, 38, 41 (colour illus.), 315.

Deborah Edwards, Australian art: in the Art Gallery of New South Wales, 'Moderns', pg. 103-104, Sydney, 2000, 103, 112 (colour illus.), 302.

Anna Gray, The Cambridge companion to Australian Art, 'Australian artists within a wider world 1900-1930', pg. 84-96, Port Melbourne, 2011, 89.

Anne Gray, The Edwardians: secrets and desires, 'The Edwardians', pg. 10-71, Canberra, 2004, 29, 227 (colour illus.). cat.no. 127

Lesley Harding, Art and Australia (Vol. 36, No. 4), 'Tempe Manning: the lost modernist', pg. 532-537, Sydney, 1999, 532 (colour illus.).

Bruce James, Grace Cossington Smith, 'The knitter', pg. 26-36, Sydney, 1990, 29, 30 (colour illus.). plate no. 3

Ursula Prunster (Curator), Australian painters; Seeing Cézanne, Sydney, 1998, 31. cat.no. 34

Bernard William Smith and Terry Smith, Australian painting 1788-1990, 'Leviticus 1913-32', pg. 167-204, South Melbourne, 1991, 171, 172 (illus.), 560. illus. no. 98

Susannah Smith, Look, 'Women's work: their diverse and significant contribution to the modernist art scene', pg. 13-15, Sydney, Aug 2013, 14, 15 (colour illus.).

Virginia Spate, Art Monthly Australia, 'Amazing Grace: Thoughts inspired by the Grace Cossington Smith exhibition at the National Gallery of Australia, Canberra', pg. 22-30, Canberra, Aug 2005, 23.

Daniel Thomas, Grace Cossington Smith, 'Modernity and inwards', pg. 102-107, Canberra, 2005, 103.

Daniel Thomas, Art Gallery of New South Wales Quarterly, 'Grace Cossington Smith', pg. 510-521, Sydney, Jan 1970, 512 (illus.).

Roland Wakelin, Art Gallery of New South Wales Quarterly, 'Post Impressionism in Sydney: Some personal recollections', pg. 91-95, Sydney, Jan 1962, 91, 92 (illus.).

Donald Williams, In our own image: the story of Australian art, Sydney, 2002, 90, 91 (colour illus.).

Donald Williams, In our own image: the story of Australian art, Sydney, 1995, 99 (colour illus.).

J.F. Williams', Art and Australia, 'Modernism & the lost generation', pg. 52-57, Sydney, Spring 1991, 56 (colour illus.).