Eveyln Chapman trained in Sydney under the Italian-born artist Antonio Dattilo-Rubbo, together with fellow students Grace Cossington Smith and Norah Simpson. She moved to Europe with her family in 1911 and attended the Académie Julian in Paris, gaining a classical training in life drawing. When war broke out in 1914, the family moved to London and Chapman spent time in St Ives, Cornwell, a thriving cosmopolitan colony for artists from around the world. She began painting vivid works in tempera and oil, which evidence her assimilation of French post-impressionist techniques.
In early 1919, Chapman accompanied her father, a member of the New Zealand War Graves Commission, to France, visiting the area near Villers-Bretonneux where many Australian and New Zealand soldiers had lost their lives. Struck by the destruction she witnessed in the villages and cities, Chapman set up her easel and began to paint the ruined buildings and landscape, annihilated by years of continued bombardment.
In this work, Chapman depicts the remains of what was a glassblowing workshop - 'Verrier débitant' - seen in historical photographs in the Evelyn Chapman Archive. Vivid oranges and yellows recall the hot molten glow which would have emanated from the windows, before a bomb devastated the building.
Place where the work was made
oil? on grey card
28.8 x 38.5 cm board
Signature & date
Not signed. Not dated.
Bequest of Pamela Thalben-Ball 2015
Not on display
© Estate of the artist
Where the work was made
Shown in 1 exhibition
Mad through the darkness: Australian artists and the Great War, Art Gallery of New South Wales, Sydney, 25 Apr 2015–11 Oct 2015