INDIAN<br/> <em>A lady performing Surya Puja</em> (c. 1835) <!-- (recto) --><br /> opaque watercolour and gold and silver paint on paper<br /> 17.3 x 12.2 cm (image) 27.0 x 21.6 cm (sheet)<br /> National Gallery of Victoria, Melbourne<br /> Felton Bequest, 1980<br /> AS273-1980<br /> <!--53654-->
Letters from the Director

Here Comes the Sun

AUGUST 2021

Dear friends,

With the hint of spring around the corner, this week I wanted to celebrate the beauty of the sun, through works in the NGV Collection.

Throughout history, the sun has long been an important symbol across many cultures. In ancient Egypt, Amun-Ra was known as the King of the Upper Egyptian Gods and father of the pharaoh. He was responsible for all life on earth, and beyond, making him one of the most important gods in their culture. Modernist sculptor Jacob Epstein was fascinated by this, and around 1910 he created a series of Sun God, Sun Goddess and Sun Worshipper carvings including Sunflower. This carving’s abstract qualities serve to expand, rather than restrict, the artwork’s meaning. As a symbol of the Aesthetic movement, Sunflower can be simultaneously read as the plant from which it derives its name, a face resembling the flower, and a personification of the sun itself.

Throughout history, the sun has long been an important symbol across many cultures. In ancient Egypt, Amun-Ra was known as the King of the Upper Egyptian Gods and father of the pharaoh. He was responsible for all life on earth, and beyond, making him one of the most important gods in their culture. Modernist sculptor Jacob Epstein was fascinated by this, and around 1910 he created a series of Sun God, Sun Goddess and Sun Worshipper carvings including Sunflower. This carving’s abstract qualities serve to expand, rather than restrict, the artwork’s meaning. As a symbol of the Aesthetic movement, Sunflower can be simultaneously read as the plant from which it derives its name, a face resembling the flower, and a personification of the sun itself.

The sun-filled sky and glistening landscape pictured above immediately brings a sense of warmth within. This nineteenth century watercolour depicts a woman performing Surya puja, a worshipping of the sun. In India, Surya is the sun god in Hindu culture and is seen to be one of the most powerful gods. It is believed that Surya is an incarnation of Lord Vishnu, the creator of the material universe and the Soul of all. This act of worship involves offering water to the sun in order to banish demons (in our mind and our body) that lay on the path between the self and the sun. This form of prayer brings illumination within, and this artwork reflects just that.

The sun-filled sky and glistening landscape pictured above immediately brings a sense of warmth within. This nineteenth century watercolour depicts a woman performing Surya puja, a worshipping of the sun. In India, Surya is the sun god in Hindu culture and is seen to be one of the most powerful gods. It is believed that Surya is an incarnation of Lord Vishnu, the creator of the material universe and the Soul of all. This act of worship involves offering water to the sun in order to banish demons (in our mind and our body) that lay on the path between the self and the sun. This form of prayer brings illumination within, and this artwork reflects just that.

Roy Wiggan is a Bardi man who was born on Sunday Island in 1930. Bardi people’s Country is situated north of Broome on the Dampier Peninsula. Wiggan is known artistically for creating totems that are used by Bardi people to perform ilma (open ceremonies using objects). In the 1990s, Wiggan made a number of ilma including Sunrise with clouds, which tells the story of dawn along the Dampier Peninsula. The cool blue and green tones of the shaded earth and yellow highlights of the sun, complete with clouds formed with cotton and wool, capture a magical time of the morning.

Roy Wiggan is a Bardi man who was born on Sunday Island in 1930. Bardi people’s Country is situated north of Broome on the Dampier Peninsula. Wiggan is known artistically for creating totems that are used by Bardi people to perform ilma (open ceremonies using objects). In the 1990s, Wiggan made a number of ilma including Sunrise with clouds, which tells the story of dawn along the Dampier Peninsula. The cool blue and green tones of the shaded earth and yellow highlights of the sun, complete with clouds formed with cotton and wool, capture a magical time of the morning.

The sun is often seen as a symbol of positive change. This teapot is emblematic of post-World War II tablewares that were decorated with bright colours and modernist designs, reflecting a sense of optimism for the future. The teapot was designed by ceramicist Ulla Procopé and painted by Hilkka-Liisa Ahola. Women have always played an important, albeit often unrecognised, role in the ceramics industry. It was, however, after the war that their role became more prominent as western women became more financially, politically and socially independent. The uncomplicated, joyous sense of sunflowers on this teapot could be interpreted as a turning away from the suffering of the past and looking towards a better future.

The sun is often seen as a symbol of positive change. This teapot is emblematic of post-World War II tablewares that were decorated with bright colours and modernist designs, reflecting a sense of optimism for the future. The teapot was designed by ceramicist Ulla Procopé and painted by Hilkka-Liisa Ahola. Women have always played an important, albeit often unrecognised, role in the ceramics industry. It was, however, after the war that their role became more prominent as western women became more financially, politically and socially independent. The uncomplicated, joyous sense of sunflowers on this teapot could be interpreted as a turning away from the suffering of the past and looking towards a better future.

Bursting with colour, Roy Churcher’s Weather change captures the energy of changing seasons. Churcher creates a living landscape by using vibrant pinks, oranges and blues which are reminiscent of sunlight and the sky. The gestural paint application evokes a sense of movement, and was likely applied across the canvas in layers, using a palette knife. This sense of vitality is immediate and infectious, capturing and projecting a moment of zeal. 

Bursting with colour, Roy Churcher’s Weather change captures the energy of changing seasons. Churcher creates a living landscape by using vibrant pinks, oranges and blues which are reminiscent of sunlight and the sky. The gestural paint application evokes a sense of movement, and was likely applied across the canvas in layers, using a palette knife. This sense of vitality is immediate and infectious, capturing and projecting a moment of zeal. 

Forests and suns are central to Max Ernst’s personal symbolism, which coalesced between 1925 and 1928 during three crucial years of experimentation. In this period Ernst developed the technique of grattage (scraping), in which the forms of objects placed beneath a canvas are revealed by scratching with a palette knife across the paint surface. By also using collage (pasting) and frottage (rubbing), Ernst combined elements of the external world in unexpected and poetic ways, resulting in Surrealist ‘landscapes of the mind’. 

Forests and suns are central to Max Ernst’s personal symbolism, which coalesced between 1925 and 1928 during three crucial years of experimentation. In this period Ernst developed the technique of grattage (scraping), in which the forms of objects placed beneath a canvas are revealed by scratching with a palette knife across the paint surface. By also using collage (pasting) and frottage (rubbing), Ernst combined elements of the external world in unexpected and poetic ways, resulting in Surrealist ‘landscapes of the mind’. 

After a visit to Mexico, Brazilian designer Isabelle Capeto created a collection inspired by the country’s rich art and textile traditions. The textiles industry in Mexico holds historical and cultural importance, dating back to the pre-Hispanic period.The Alegra dress boasts strong, festive colours of reds, yellows and greens. The flower motifs are immersed within gold metal sequins that glimmer in the light. Together, the colours and decoration on this floor-length dress echo a vibrant and glowing summer landscape.

After a visit to Mexico, Brazilian designer Isabelle Capeto created a collection inspired by the country’s rich art and textile traditions. The textiles industry in Mexico holds historical and cultural importance, dating back to the pre-Hispanic period.The Alegra dress boasts strong, festive colours of reds, yellows and greens. The flower motifs are immersed within gold metal sequins that glimmer in the light. Together, the colours and decoration on this floor-length dress echo a vibrant and glowing summer landscape.

A courtyard lit with dappled light is a memory many of us cherish. Be it a warm morning or a fading afternoon, Cristina Asquith Baker’s Untitled (Courtyard scene) expertly captures this experience. Her timeless courtyard scene is a means to explore the dramatic contrasts of sunshine and shadow. Asquith Baker expertly juxtaposes the warm tones of a sunlit home and creeping vine with the darkness of the foreground’s shadows, immortalising a fleeting moment in time.

A courtyard lit with dappled light is a memory many of us cherish. Be it a warm morning or a fading afternoon, Cristina Asquith Baker’s Untitled (Courtyard scene) expertly captures this experience. Her timeless courtyard scene is a means to explore the dramatic contrasts of sunshine and shadow. Asquith Baker expertly juxtaposes the warm tones of a sunlit home and creeping vine with the darkness of the foreground’s shadows, immortalising a fleeting moment in time.

In Rooftops, Jeffrey Smart applies this concept of light and dark in a more contemporary, metropolitan context. Catching the last of the day’s sun, a sunbather basks in the corner of their rooftop while a nearby open window invites the warmth inside. While the sky takes on a moody tone, Smart’s clever use of saturated colours and bright light give an illuminating quality to his work. The architectural precision, classically inspired figure and brilliantly coloured urban landscape are typical of his work. 

In Rooftops, Jeffrey Smart applies this concept of light and dark in a more contemporary, metropolitan context. Catching the last of the day’s sun, a sunbather basks in the corner of their rooftop while a nearby open window invites the warmth inside. While the sky takes on a moody tone, Smart’s clever use of saturated colours and bright light give an illuminating quality to his work. The architectural precision, classically inspired figure and brilliantly coloured urban landscape are typical of his work. 

Australian photographer Christine Godden lived and studied photography in America in the 1970s. Her photographs aimed to show the nuances of the everyday, depicting the ordinary lives of her friend and the places they called home. Here, her friend Dianna enjoys a dreamy sunny afternoon in a backyard hammock. Many of Godden’s photographs from this period have a ‘snapshot’ aesthetic; at first glance they would not appear out of place in an album or collection of personal photographs. While these photographs feature portraits and intimate studies of her surroundings, they are subtly sophisticated and compelling images.

Australian photographer Christine Godden lived and studied photography in America in the 1970s. Her photographs aimed to show the nuances of the everyday, depicting the ordinary lives of her friend and the places they called home. Here, her friend Dianna enjoys a dreamy sunny afternoon in a backyard hammock. Many of Godden’s photographs from this period have a ‘snapshot’ aesthetic; at first glance they would not appear out of place in an album or collection of personal photographs. While these photographs feature portraits and intimate studies of her surroundings, they are subtly sophisticated and compelling images.

Stay safe and we know we’ll see you soon.

Tony Ellwood AM
Director, National Gallery of Victoria

Stay safe and we know we’ll see you soon.

Tony Ellwood AM
Director, National Gallery of Victoria

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