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y separately published work icon Intrépide : Australian Women Artists in Early Twentieth-century France single work   biography  
Issue Details: First known date: 2020... 2020 Intrépide : Australian Women Artists in Early Twentieth-century France
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AbstractHistoryArchive Description

'It is hard for us to imagine the oppressed lives of single women in the first half of the twentieth century. Yet a few Australian women took a leap into the unknown and carved careers for themselves in Paris.

'They studied, painted, and haunted galleries and salons. They had a little fun too, at social gatherings or at cafes in Montparnasse.

'They were brave, and very determined young ladies. They exhibited in the Paris Salons and in private galleries on the Left Bank, and received prizes and awards out of all proportion to their numbers. They bought back home not only greatly enhanced skills but also Modernism, to a country that had barely heard of it.

'This book examines a selection of some of the best of them, including some who have been all-but forgotten. They were pioneers, role models, fine artists – and they have been neglected. Not any longer.'

Source: Publisher's blurb.

Publication Details of Only Known VersionEarliest 2 Known Versions of

    • Clayton, Murrumbeena - Oakleigh - Springvale area, Melbourne South East, Melbourne, Victoria,: Monash University Publishing , 2020 .
      image of person or book cover 9091027828805647584.jpg
      Image courtesy of publisher's website.
      Extent: 288p.
      Note/s:
      • Published May 2020.
      ISBN: 9781925523928 (pbk), 9781925523935 (ebk)
VIEW PUBLICATION DETAILS FOR ALL VERSIONS ()

Works about this Work

[Review] Intrepid Australian Women and Their Art Douglas Hassall , 2022 single work review
— Appears in: Quadrant , September vol. 66 no. 9 2022; (p. 94-96)
— Review of Intrépide : Australian Women Artists in Early Twentieth-century France Clem Gorman , Therese Gorman , 2020 single work biography 'The Germans have a saying: Wie Gott in Frankreich, or more often, Leben Wie Gott in Frankreich, by which they mean “Living like God in France”. This expression seems to mean two things that are related: it parodies the belief of many that life in France, and in Paris in particular, was near to Paradise; and also the idea we express in our familiar Australian idiom as “Living the life of Riley”. Certainly, Paris was, and still is, seen by many as the greatest centre of European cultural life; and for the French, it is the centre.'

 (Introduction)
Tansy Curtin Review of Clem Gorman and Therese Gorman, Intrépide : Australian Women Artists in Early Twentieth-Century France Tansy Curtin , 2021 single work review
— Appears in: Australian Journal of Biography and History , August no. 5 2021; (p. 251-254)
— Review of Intrépide : Australian Women Artists in Early Twentieth-century France Clem Gorman , Therese Gorman , 2020 single work biography 'After their having been for so long sidelined and forgotten, there is now without doubt a major global push to reclaim the artistic stories and legacies of female artists. In recent years, many galleries and museums around the world have turned their attention to programs and exhibitions presenting works on, or by, women. In 2020 the National Gallery of Australia launched a two-year project titled Know My Name: Australian Women Artists 1900 to Now, which seeks to bring the names of Australia’s female artists to the fore—living artists, as well as those who have been lost to history. While it is undoubtedly de rigueur to examine the work of female artists, that is not to say that political box-ticking explains the heightened interest in this cohort; rather, there is a general awakening to the inequities of the arts world (and wider world more generally) and the layers of privilege within it, particularly in relation to gender and race. Concomitantly with this reawakening comes the realisation that the work of these (women) artists should be exalted and elevated to a new status and that there is a palpable need to widen the scope of the Western tradition or canon of art to ensure these artists receive the acknowledgement due to them. It is into this new world, post the #MeToo movement, that Clem and Therese Gorman’s Intrépide has been launched. Arguably, the world in 2020 is a very different place from that of 2015, when the authors commenced their investigations, which of course does not negate the impact of their scholarship, but perhaps makes readers, both academic and lay readers, more critically aware of the subject matter constituting this publication.' (Introduction)
 
Many Flights of Stairs : Australian Women Artists in France Jane Sullivan , 2020 single work
— Appears in: Australian Book Review , June-July no. 422 2020; (p. 65)
— Review of Intrépide : Australian Women Artists in Early Twentieth-century France Clem Gorman , Therese Gorman , 2020 single work biography

'Art and Paris meant everything to Agnes Goodsir. ‘You must forgive my enthusiasm,’ she wrote. ‘Nothing else is of the smallest or faintest importance besides that.’ Goodsir was the Australian artist who painted the iconic portrait Girl with Cigarette, now in the Bendigo Art Gallery. It depicts a cool, sophisticated, free-spirited woman of the Parisian boulevards. When Goodsir created it, in 1925 or thereabouts, she had lived in Paris since the turn of the century. Apart from brief visits back to Australia, she stayed there until her death in 1939.' (Introduction)
Many Flights of Stairs : Australian Women Artists in France Jane Sullivan , 2020 single work
— Appears in: Australian Book Review , June-July no. 422 2020; (p. 65)
— Review of Intrépide : Australian Women Artists in Early Twentieth-century France Clem Gorman , Therese Gorman , 2020 single work biography

'Art and Paris meant everything to Agnes Goodsir. ‘You must forgive my enthusiasm,’ she wrote. ‘Nothing else is of the smallest or faintest importance besides that.’ Goodsir was the Australian artist who painted the iconic portrait Girl with Cigarette, now in the Bendigo Art Gallery. It depicts a cool, sophisticated, free-spirited woman of the Parisian boulevards. When Goodsir created it, in 1925 or thereabouts, she had lived in Paris since the turn of the century. Apart from brief visits back to Australia, she stayed there until her death in 1939.' (Introduction)
Tansy Curtin Review of Clem Gorman and Therese Gorman, Intrépide : Australian Women Artists in Early Twentieth-Century France Tansy Curtin , 2021 single work review
— Appears in: Australian Journal of Biography and History , August no. 5 2021; (p. 251-254)
— Review of Intrépide : Australian Women Artists in Early Twentieth-century France Clem Gorman , Therese Gorman , 2020 single work biography 'After their having been for so long sidelined and forgotten, there is now without doubt a major global push to reclaim the artistic stories and legacies of female artists. In recent years, many galleries and museums around the world have turned their attention to programs and exhibitions presenting works on, or by, women. In 2020 the National Gallery of Australia launched a two-year project titled Know My Name: Australian Women Artists 1900 to Now, which seeks to bring the names of Australia’s female artists to the fore—living artists, as well as those who have been lost to history. While it is undoubtedly de rigueur to examine the work of female artists, that is not to say that political box-ticking explains the heightened interest in this cohort; rather, there is a general awakening to the inequities of the arts world (and wider world more generally) and the layers of privilege within it, particularly in relation to gender and race. Concomitantly with this reawakening comes the realisation that the work of these (women) artists should be exalted and elevated to a new status and that there is a palpable need to widen the scope of the Western tradition or canon of art to ensure these artists receive the acknowledgement due to them. It is into this new world, post the #MeToo movement, that Clem and Therese Gorman’s Intrépide has been launched. Arguably, the world in 2020 is a very different place from that of 2015, when the authors commenced their investigations, which of course does not negate the impact of their scholarship, but perhaps makes readers, both academic and lay readers, more critically aware of the subject matter constituting this publication.' (Introduction)
 
[Review] Intrepid Australian Women and Their Art Douglas Hassall , 2022 single work review
— Appears in: Quadrant , September vol. 66 no. 9 2022; (p. 94-96)
— Review of Intrépide : Australian Women Artists in Early Twentieth-century France Clem Gorman , Therese Gorman , 2020 single work biography 'The Germans have a saying: Wie Gott in Frankreich, or more often, Leben Wie Gott in Frankreich, by which they mean “Living like God in France”. This expression seems to mean two things that are related: it parodies the belief of many that life in France, and in Paris in particular, was near to Paradise; and also the idea we express in our familiar Australian idiom as “Living the life of Riley”. Certainly, Paris was, and still is, seen by many as the greatest centre of European cultural life; and for the French, it is the centre.'

 (Introduction)
VIEW ALL WORKS ABOUT (3)
Last amended 11 Mar 2020 13:42:43
Subjects:
  • Paris,
    c
    France,
    c
    Western Europe, Europe,
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