Exhibition of Paintings by Charles Conder
Author : Charles Conder
Publisher :
Page : 8 pages
File Size : 46,20 MB
Release : 1927
Category :
ISBN :
Author : Charles Conder
Publisher :
Page : 8 pages
File Size : 46,20 MB
Release : 1927
Category :
ISBN :
Author : Charles Conder
Publisher :
Page : pages
File Size : 48,44 MB
Release : 1927
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Author : Leicester Museums and Art Gallery
Publisher :
Page : 10 pages
File Size : 14,71 MB
Release : 1905
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Author : Beaux Arts (Gallery : London, England)
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Page : pages
File Size : 15,26 MB
Release : 1934
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Author : Anthony Hordern & Sons. Galleries
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Page : pages
File Size : 43,70 MB
Release : 1927
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Author :
Publisher :
Page : 32 pages
File Size : 25,20 MB
Release : 1913
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Author :
Publisher :
Page : 8 pages
File Size : 41,57 MB
Release : 1969
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Author : Leicester Galleries (London)
Publisher :
Page : 10 pages
File Size : 16,54 MB
Release : 1905
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Author : Ursula Hoff
Publisher :
Page : 110 pages
File Size : 38,83 MB
Release : 1972
Category : Painters
ISBN :
Author : Ann Galbally
Publisher : Melbourne Univ. Publishing
Page : 354 pages
File Size : 40,26 MB
Release : 2004-12-30
Category : Biography & Autobiography
ISBN : 9780522850840
Charles Conder was one of the youngest, most original and most talented members of the Heidelberg School of impressionist painters, and one of the few to achieve a lasting reputation outside Australia. His work hangs in many major collections, including the Tate Britain, the Victoria and Albert Museum and the National Portrait Gallery in London and the Metropolitan Museum in New York. Conder painted the Hawkesbury region and Sydney's beaches, including Coogee with Tom Roberts-who invited him to Melbourne. There he joined the artists' camps at Box Hill and Heidelberg, painted urban and bayside scenes and was a major instigator of the famous '9 x 5' Exhibition in 1889. As in Sydney, his carefree charm and delicate, witty paintings endeared him to literary and artistic circles. Paris beckoned early, and he soon fell in with the fin de si cle generation led by Oscar Wilde, Henri de Toulouse-Lautrec and Aubrey Beardsley. He embraced Bohemia, was forever in debt, worked erratically but unceasingly and lived as if there were no tomorrow. Although Conder was rescued from poverty by marriage to a wealthy Canadian widow, his bohemian past eventually called in its account. Tragically, he descended into syphilitic madness and died in his fortieth year. Conder's was a beguiling, charmed, desperate life. He was handsome and rakish and sociable-sensitive to people and place, and extraordinarily talented. Yet his work has been long neglected. If he was waiting for the right biographer, Conder's patience has been vindicated. Ann Galbally investigates her subject with scholarly rigour, but writes with lightness of touch and with passion, sharing her fascination with the people and places Conder knew. This is a splendid biography of a gifted artist whose personal style and unconventional life will appeal to another fin de siecle generation of readers.