va cs a hl - ms kotcher art educator€¦ · composition – mount fuji sits lower of centre of the...

Visual arts Compara've study Student A (HL)

Please note that these sample materials have been fabricated to allow for transla'on and copyright issues. These samples

are not intended to prescribe how materials should be presented for assessment.

A Comparative Study An analysis of the following artworks including a critical and contextual investigation.

Investigation which was of influence and lead to the creation of student art work ‘The Undulating Mountainside Series’ (2010)

+ The Great Wave Off Kanagawa, Katsushika Hokusai (1830-31) + Michael and I are just slipping down to the pub for a minute, Lin Onus (1992) + Hillside I, Fred Williams (1965)

© International Baccalaureate Organization, 2013

Visual arts comparative study: Student A (HL)

Critical Analysis

The Great Wave at Kanagawa, 1830-1831

The Great Wave at Kanagawa (from a Series of Thirty-Six Views of Mount Fuji) Katsushika Hokusai, 1830-1831 Polychrome ink and color on paper 10 1/8 x 14 15/16 in. (25.7 x 37.9 cm) (Oban size) H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929 http://www.metmuseum.org/toah/works-of-art/JP1847

Art making technique - Woodblock print, reflecting centuries of development of the traditional process.

Colour used – intense blue dominates, not a traditional Japanese blue but a Prussian Blue, less prone to fading, invented in Berlin, probably manufactured in China.

Colour used - subtle shades of yellow, pink, grey. This series of prints was promoted to the public based on the exotic foreign blue. Fusion of colours reflects fusion of European technology and Japanese tradition.

Composition – Mount Fuji sits lower of centre of the print. Small in size but still a focal point of the work due to the position of the curling wave.

Composition - Use of European perspective conventions with Mount Fuji pushed far into the distance. Perspective was not widely used in Japan at this time, hence the print was loved in Europe.

Art making technique - Sharp lines, clear and well integrated colours, and the unique woodgrain pattern implies this is an early print.

Three small boats - Foundering among the great waves are three boats with fishermen, thought to be barges conveying fish from the southern islands of Edo, thus a scene of everyday labor.

Three small boats - Everyday labor is grafted onto the seascape view of the mountain, small in size compared with the mountain which would have been a traditional scenes of a famous place – known as ‘meisho-e’.

Mountain - Snow-clad Mount Fuji stands out unperturbed against the deep blue of the horizon. Yet it is reduced to a tiny hillock compared with the towering strength of the wave threatening to engulf the struggling boats. Such clever, playful manipulation of the composition is a feature of many of Hokusai's works. © International Baccalaureate Organization, 2013


The Great Wave at Kanagawa

Function and Purpose The Great Wave - a symbolic barrier and protection for Japan in a time when international trade pressures were increasing . The powerful wave displays potential for Japanese to travel abroad, ideas to go back and forth, trade (BBC Radio Programme, 2010).

The Great Wave at Kanagawa has become an emblem of an earlier simpler japan, reproduced on textiles and teacups today.

Composition - Hokusai has inventively inverted the traditional meisho-e (scene of a famous place), Mount Fuji was always the focus of the composition - solid, eternal, frozen in time, a symbol of solidarity. Hokusai has here positioned a small Mount Fuji within the midst of a thundering seascape to challenge his audience.

Mood created is on of timeless serenity, tranquil, snowcapped mountains. The Great Wave is a beautiful stylised decorative image, the way Japan wants to present itself to other countries as part of the new trade. A mood of instability and uncertainty is created by size of the fishermen in the boat, so far from their destination Mount Fuji.

A primary function of this art work is the way Hokusai has created a hybrid work, using European colour pigment and persepctive, not yet widespread in Japan. "It was produced at a time when the Japanese were beginning to become concerned about foreign incursions’, hence the big wave curling over boats (C, Guth in NGA, 2011).

The artist wants the audience to feel the power and force of the wave, dominant due to its size, in contrast with the mountain in the distance. This contrast creates a sense of unease at what would traditionally have been a serene depiction of nature.

Hokusai has considered both European and Japanese audiences, taking materials and conventions in perspective to appeal to an European audience, while printing a meisho-e in a non-traditional manner. The work functions beyond these two audiences and speaks to all who might consider the ‘famous places’ of their land and the significance that they hold amid times of change.

Edo meisho no e ("Famous Places of Edo") http://web-japan.org/tokyo/know/gettoknow/get_pic2.html



The Great Wave at Kanagawa

Evaluation of Cultural Significance This artwork is an artefact of Japanese culture in its technique - traditional wood-block printing in the Ukiyo-e Style. However, it is a development of the meisho-e (scene of a famous place), a graphic style depiction of land/seascape, by the dominance of the wave as opposed to the mountain which dominates in reality. Hokusai signified development in what comprises a meisho-e and woodblock print.

Hokusai has depicted international events including the beginnings of international trade, preceding the Industrial Revolution. Japan did not at this point give in to the British and US powers and enter into free trade, and these ideas of trade are expressed by the fishermen in boats being overwhelmed by the great wave.

Hokusai has been influenced by technology in that foreign people could not enter Japan during the early 1800’s, but foreign goods could – the Prussian Blue ink. Invented in Germany, manufactured in China, and prized because of its foreignness. European technology fused with Japanese sensibility and apprehension resulted in this work of rich and intense colour.

This artwork reflects a dialogue between European and Japanese cultures, as Hokusai has borrowed from European materials and techniques. Europeans then loved his work and sold many prints to Europe, as they could connect to its colour and composition /perspective.

The Great Wave reflects Hokusai’s connection to the environment, and giving a grandeur to the water surrounding Japan which is often overlooked in comparison with the grandeur of the mountain. It is also a clear reflection of the Japanese environment, clearly showing key icons of the water, snow, and mountain.

Landscape and Chinese Figures Nagasawa Rosetsu (Japanese, 1754–1799)

http://www.metmuseum.org/toah/works-of-art/1975.268.75,76

The artwork above is a landscape woodblock print from the early Edo Period in Japanese art (late 1700’s).

Western artmaking techniques and conventions have been employed by Hokusai in his depth of shading, the round body of the wave with overprinting, resulting in an effect that reflects the influence of chiaroscuro. There is also a Western style depiction of clouds and traditional colour gradation used to give emphasis to the shape of Mount Fuji and depth to the composition. Traditional Japanese painting avoided such realistic depictions of water, skies and clouds (NGA, 2001, p.177), as emphasised in the artwork above.



Critical Analysis

Michael and I are just slipping down to the pub for a minute, 1992

Michael and I are just slipping down to the pub for a minute Lin Onus, 1992 Gouache on illustration board, 50cm x 38cm http://www.fireworksgallery.com.au/Artists/LinOnus/mICHAEL

Onus uses a marriage of Indigenous and Western styles used. Traditional ‘rrack’ patterns/dot painting, Western realism art technique, ochrous colour palette. Onus uses photorealism, painting, illustrating, sculpting with fibreglass across his practice.. Onus can be located as part of the Urban Art Movement

Painting western style gouache, traditional patterns used and incorporated into works.

Colour used: Prussian blue of Hokusai, Aboriginal/ochrous colours in sky, Pattern: Indigenous

lines on dog, rrack technique

Western and traditional painting styles are used, with Aboriginal wildlife; dingo and stingray. The

dingo is surfing – use of humor and related to the Australian icon of surfing.

The intended audience, Onus wants to demonstrate how two different cultures can interact, a reconciliation of cultures.

Onus was painting for his people, angry about injustice, land rights, impassioned others around around him to feel this passion (ABC National podcast, 2007) Aboriginal and Australian Identity.

An artist with similar practice is Trevor Nickolls, ‘From Dreamtime 2 Machinetime’, also evolving Aboriginal art to becoming more a part of Australian art. (Urban Dingo, p.17).

The artist expects his audience to have some knowledge of the artworld, seen in his use of appropriated work by Hokusai.

This work reveals the kinship between these two travellers and the importance of narrative and humour.

Neale describes the female stingray as ‘Ray’ and the male dingo as ‘X’, and they are seen riding the crest of one of art history’s greatest waves, by Hokusai (p.20). An appropriation

blended seamlessly from disparate sources.

Dingo and stingray, known as ‘X’ and ‘Ray’, are characters which have been created by Onus and reappear

in numerous artworks both before and after this work (Neale, 2001).



Michael and I…

Function and Purpose Michael and I…(1992) intends for its audience to learn through a visual

documentation of the experiences of Aboriginal Australians. Post-

colonial theories have opened up greater communication between

Indigenous and non-Indigenous Australians. The audience is made

aware of paradoxes in Australian history with regard to the rights and

identity of Aboriginal people and land, through Onus’ use of appropriation.

The purpose of Michael and I…(1992) may have initially been to

communicate about the coming together of Western and Aboriginal

cultures, but as history has developed, so has the audience’s understanding of Michael and I…(1992). It has been impacted by such

changes in Australian history, including the famous ‘Apology’ speech given to the Aboriginal people by Prime Minster Kevin Rudd

(australia.gov, 2008).

The audience may feel confused as to the meanings of the Western,

Aboriginal and Eastern cultures coming together, maybe a reflection

on his own search for identity. Michael and I…(1992) highlights

aesthetic assimilation of Western culture and Indigenous culture

through appropriation and the realistic style in which the work has

been painted. Tension and duality feel by Australian Aboriginal artists

such as Onus are demonstrated as different cultures come together.

Onus has utilised both Western technological advances in painting

materials, a synthetic polymer paint, and subject matter that includes

everyday items from the 1990’s, in addition to traditional artmaking

methods of Arnhem Land, giving clues to the audience as to its place

in art history.

Onus worked collaboratively with Michael Eather to create a series of

works which featured the aforementioned characters ‘X’ and ‘Ray’, providing the audience with a humorous and narrative approach to

his art. This ongoing narrative provided an opportunity to express the

artist’s shared influences in a new style. The X and Ray are seen in numerous works by Onus, showing a hybrid new world of surreal and

appropriated landscapes that included modern day items and

personal anecdotes, such as Ginger and my third wife approach the roundabout (Eather in Urban Dingo, p.58).

Ginger and my third wife approach the roundabout

Lin Onus, 1994

synthetic polymer paint on Belgian linen 200.0 x 250.0 cm

Queensland Art Gallery, Brisbane

http://www.netsvictoria.org.au/ginger-and-my-third-wife-approach-



Michael and I…

Evaluation of Cultural Significance Michael and I are just slipping down to the pub for a minute (1992) is a product of its cultural context through its interdependence with the land, a celebrated icon of Australian culture. This connection to people and place that Onus has, is underpinned by ‘The Dreaming’, the spirituality, and the relationships between people and the land (Marsh, Watts and Maylon, 2003). ‘The Dreaming’ has a spiritual , natural and moral order of the cosmos which is expressed in the calm, peaceful and humorous mood in Onus’ art works (Marsh, Watts and Maylon, 2003, p172).

Michael and I…is an artefact of its cross-cultural background, through Onus’ use of traditional ‘rrack’ dot pattern and technique, the ochrous colour palette, use of traditional Aboriginal animals including the dingo and stingray, as well as contemporary artmaking materials and appropriation techniques. Use of Hokusai’s ‘The Great Wave off Kanagawa’ shows a complexity in Aboriginal history and an awareness of the artist’s place in the artworld, history and culture.

Onus’ work Michael and I… represents the complexities of race and his own personal exploration in identity, coming from parents of both European and Aboriginal cultures. Also the place and time in history, where a multicultural Australia was being wrestled with, and lacking openness toward Aboriginal art as Australian art.

Lin ONUS Jimmy's billabong, 1988

Melbourne, Victoria, Australia Painting, synthetic polymer paint on canvas

http://artsearch.nga.gov.au/Detail.cfm

Concepts of Aboriginality are of cultural significance to the artist’s practice and are exemplified here in that Aboriginal people adapt to social change and incorporate new elements into their artworks, in an attempt to deal with past social exploitations. Similarly seen in ‘Jimmy’s Billabong’ (1988), Onus has used the traditional ‘rrack’ dot technique from Arnhem Land over the top of an European style landscape painting.

Michael and I…(1992) opens up a dialogue with the highly prominent Japanese print ‘The Great Wave off Kanagawa’ (1832)and the cultural challenges occurring for Japan at the time regarding trade, which Onus could empathise with in that he was looking for his place in multicultural Australia, which had difficulty acknowledging the diversity of Aboriginal cultures, instead favouring ‘newer, imported cultures’ (Neale, 2001, p.18).

Onus shows a willingness to embrace art from other cultures, and has been influenced by ‘The Great Wave off Kanagawa’ by Hokusai, as seen by his apt appropriation of the work. Onus is not the first artist to appreciate the work of Hokusai, as Claude Monet is also known to have prints by Hokusai on display in his collection, allowing for artistic exchange across the various cultures (nga, 2001, p.174).



Critical Analysis

Hillside I, 1965

Fred WILLIAMS Hillside I 1965 oil on canvas 134.5 (h) x 152.0 (w) cm Private collection © estate of Fred Williams http://nga.gov.au/Exhibition/WILLIAMS/

Artmaking techniques used – application of paint with twisting tubes of paint onto the canvas, using wrong end of the brush, swirling of colours, various textures and mixture of tones, an abstract interpretation of landscape/hillside. Composition – strays from classical balance to dramatic diagonal line cutting steeply down the painting, challenging notions of stability. Composition – Williams’ experimenting with geometric interventions in relation to composition and format, subverts expectations of gravity as seen by the small trees, and a couple of smudgy clouds. Shapes are organic and an abstract depiction of nature, colour as much as shape is used to show the trees and shrubs of the landscape. Colour - black shows fire ravaged bush. Browns and golds reflect an earthy yet valued and precious connection between the artist and the land.

Composition - Birdseye view and ground level view work together as one. Williams challenges the way the viewer looks at and connects with the land. Composition transmutes a steep incline into a landscape, engaging the audiences imaginative experience and visceral perception. The horizon challenges the viewer, a steep incline into landscape.

Williams has created a mood of beauty through his use of colour in addition to the way he has abstracted and artistically depicted his natural environment. The unsettled landscape (unnatural horizon), beautiful landscape (rich colour palette, dark tonal range with highlights of blue and golden ochorous colours), link to Williams’ previous works with golden colour palettes (NGA). (See image next slide)



Hillside I

Function and Purpose

Fred WILLIAMS

You Yangs landscape 1963

oil on composition board 119.5 (h) x 152.0 (w) cm

Art Gallery of New South Wales, Sydney Purchased 1980

http://www.nga.gov.au/Exhibition/WILLIAMS/Default.cfm?IRN=203011&MnuID=3&ViewID=2

The function and purpose of Hillside I – is an abstraction of Australian

landscape, displaying historical and personal connection to the land,

and ‘re-presenting’ the Australian landscape to audiences in an ‘artistic’ manner (NGA, 2011).

Williams has considered his audience, creating art that would

communicate emotion, showing how one might feel if they were

imported into the landscape he finds himself in.

Hillside I has the function of connecting on an emotional and spiritual

level with his audience - the ruggedness of environment through his

varied, gestural and abstracted brushwork, and his expressive/abstract

depiction of the land. Williams has revolutionised his audiences

perception of place and painting conventions.

Different audiences including Indigenous Aboriginals might make links

between this work and traditional Aboriginal artworks. Williams use of

the birds eye view style composition, as well as the lack of realism

used to depict the land. Williams connection to the land may also

connect his work with that of other Aboriginal Australian artists

including Papunya Tula artists and Paddy Bedford who utilise more

traditional Aboriginal artmaking practices (Art Gallery of New South

Wales, p.24).

Styles or other artworks that might be recalled after viewing this art

work include – Sidney Nolan ‘The Ned Kelly Series’ which has a slightly more irrational aesthetic, but also Russell Drysdale with a more formal

aesthetic and manner of art making. Also Courbet and his thick,

impenetrable pastes of rocks and foliage, and the modernity of French

artist landscape are reminiscent of Williams’ painting. In addition Clifford Possum, represents the landscape in a new and different way,

but coming from an Aboriginal tradition. © International Baccalaureate Organization, 2013


Hillside I

Evaluation of Cultural Significance Williams represents the land he came from and connected to, giving cultural significance to his work in several ways. He describes his work as an artistic representation of landscape, ‘abstracting from the real’, as opposed to painting purely abstract pictures (NGA, 2011, p.15). This abstracting from the real gave him freedom in his artmaking, coming after a time where landscape painting was dominant in Australian art history thus far.

His body of work overall shows the

diversity of Australian landscapes, from bush to beach to trees, rocks

and shrubs, expresses emotion and challenges conventions of landscape painting practice through use of

perspective and abstract expressionist portrayal of the land (NGA, 2011.)

Williams’ art comes from a context where past classical works have inspired his structure. Williams has

conveyed the complex Australian landscape in a freer way, straying

from classical European convention and communicating a connection to culture and land.

Fred WILLIAMS

Landscape with red fox 1967 oil on canvas 141.0 (h) x 131.0 (w) cm Art Gallery of Ballarat, Victoria H. C. E. Evans Bequest Fund 1971

http://www.nga.gov.au/Exhibition/WILLIAMS/

Fred WILLIAMS Sorrento beachscape II 1971 oil on three canvases A 43.2 (h) x 198.2 (w) cm http://www.nga.gov.au/Exhibition/WILLIAMS/

Fred WILLIAMS Landscape with goose II 1974

oil on canvas 107.0 (h) x 91.5 (w) cm

http://www.nga.gov.au/Exhibition/WILLIAMS/

Different to the Colour field abstraction that was prominent in the 1960’s, rather pre-empting the Minimalism of the 1970’s, Williams’ minimal work has a superficial likeness to Aboriginal dot painting

methods and colours of ochre. This can be seen in the work still carried out by Aboriginal artists today, such as Papanya Tula artist Joseph West Tjupurrula.

Williams drew upon international cultural experiences in making his work. He travelled to London to visit galleries and museums, visited theatre and The Music Hall in London, and the influence of these

musical and acrobatic shows influence the element of surprise evident in his works (NGA, 2011). These experiences impacted his art making, seen in his passion for composition and structure and creating a sense of energy in his artworks, while being still and held in time.

Williams lived in London in the after shock of the Second World war, visited galleries and viewed works by Bellini, Raphael, Francesca. He learned their classical sense of structure and poised stillness to convey a deeper sense of subject matter, but has given his own artistic style to the rugged landscape that surrounded him.



Applies paint directly onto canvas in an intuitive and expressionist manner

Shapes are organic in his depiction of a real

landscape in front of him

Colour is not realistic but rather gives an impression and evokes an emotional response and connection to the land

Colours are gold, brown, earthy tones,

ochrous in nature, referencing traditional Aboriginal art which also connects strongly

to the land in a spiritual manner

The natural environment has been portrayed in an abstract expressionist style rather than

the minimalism of the 1970’s

Composition is unconventional, with a birds-eye view and ground level working together

as one

Synthesis of Eastern traditional with Western technique and materials, by simplifying colour, tone and line Depicts man as vulnerable when faced with the power of nature Human subject matter is evident as part of the scene, interacting with nature as it wills Composition has a defined foreground and background, Mount Fuji in the background

Technique is a woodblock print from 1832, Japan. A traditional artmaking method of the time and culture

Effective use of framing created by Hokusai, the Great Wave framing the dominant Munt Fuji, leading your eye around the work

Hokusai and Williams both capture an essence of beauty in their local

environment inspired by the landscape

Both artists challenge various conventions in perspective and

composition, subverting tradition and audience expectation

Hokusai and Williams use a limited but rich colour

palette to communicate to their audience a connection

to the land

Drawing some comparisons….. A VENN DIAGRAM

SIMILARITIES



Uses a combination of painting technique,

both traditional ‘rrack’ patterning from Arnhem land, combined with Western

realism of a landscape, in both colour and

design of subject matter

Onus uses appropriation of Hokusai’s ‘The Great Wave Off Kanagwa’ to show an

assimilation and appreciation of cultural

and artistic differences

Onus’ artwork is political in nature, making a statement about the history of Aborignal

people and the White Australia

Onus’ artwork is also much more of a personal discovery of his cross-cultural

upbringing, reflecting in the duality and

tension between styles in the work

Technique is a woodblock print from

1832, Japan. A traditional artmaking

method of the time and culture

Effective use of framing created by

Hokusai, the Great Wave framing the

dominant Munt Fuji, leading your eye

around the work

Hokusai’s work has been appropriated and used in

Onus’ artwork

Both artists are deeply

embedded in their own cultural

upbringing and identity, seen in

technique and environmental

subject matter

Hokusai and Williams both adapt to

social change, Hokusai embracing

new inks available and technique in

perspective, Onus in his upbringing

and assimilation of painting

techniques

Synthesis of Eastern traditional with Western

technique and materials, by simplifying colour,

tone and line and using Prussian Blue ink

Depicts man as vulnerable when faced with the

power of nature

Human subject matter is evident as part of the

scene, interacting with nature as it wills

Composition has a defined foreground and

background, Mount Fuji in the background

Depicts animals taking power over,

one with the natural environment

Drawing some more comparisons….. A VENN DIAGRAM

SIMILARITIES



The Undulating Mountainside Series Student artist, 2010

The inspiration which Hokusai, Onus and Williams have drawn from the landscape that surrounds them, has moved me to consider the natural environment that surrounds me as a source of inspiration for my artmaking. In the same way that these three artists have sought to bring the beauty of their unique surroundings to their audiences in a new and different way, I have created the following body of work. Inspired by my local area (a mountainous, bushy and lush region which has been established with houses but still backs onto Australian National Park Bush Land) I have created a series of silk paintings using silk, gutta as a resist, and silk paints, stretched over a frame. The first one that you see is quite realistic in its depiction of my surroundings, but with careful use of colour, I have given a more sensitive and beautiful touch to what can come across as an environment that is quite urbanised and harsh. The muted tones of the red and orange, and the blending together of the blue into green, purple and grey, create an impression of a soft, calm, and peaceful environment. In a similar way that Williams and Hokusai have challenged their audiences through an interesting use of composition, I have similarly composed my artwork by attempting to integrate a front on view with a birds-eye view. The birds-eye view being based around the topography of the region, the mountainous and bushy landscape which is represented by the strong and emphatic use of repeated and undulating line. The integration of birds-eye view with the front on view has been further developed in my future artworks.

The Undulating Mountainside I Student artist, 2010 © International Baccalaureate Organization, 2013


The Undulating Mountainside Series Student artist, 2010

The Undulating Mountainside III (detail) Student artist, 2010

The Undulating Mountainside II (2010), builds upon part one of this art work. For this component I have developed the birds-eye view aspect of viewing a landscape, (inspired by from Williams) again using the topography of my local natural environment to aid the design of the organic shapes. The organic shapes and natural green and gold tones appeal to the audience as the are similar to those found in nature. As you move upward in the art work, the shapes become less geometric, closer together, more confined and brick-like in nature. The colours too progress from a calming natural green colour to a golden yellow and then brown and into grey. This is symbolic for the urbaisation that has occurred to my natural environment. However, I still wanted to portray the beauty of my surrounding area and so have kept the golden tones amid the browns and greys. The use of pattern and repetition has come from my investigation into Lin Onus and his assimilation of pattern onto a realistic landscape.

Below is a detail from The Undulating Mountainside III (2010), where I have been inspired to create in a manner similar to using pattern as used by Onus, the environment similar to Williams and Hokusai, and with new perspective and depth of colour, also similar to the work of Hokusai.

The Undulating Mountainside II Student artist, 2010



References • Art Gal lery of New South Wales ed. 1994. Tradition Today: Indigenous Art in Australia. Austra lia. Art Gallery of New South Wales

• A History of the World in 100 Objects: Hokusai’s The Great Wave. 2010. Podcast radio programme. BBC Radio 4. 13 October 2010. Retrieved 16 February 2013 from http://www.bbc.co.uk/ahistoryoftheworld/objects/

• Radio National Home. Cathcart, M. 2000. Urban Dingo: The Art of Lin Onus. Retrieved 18 February 2013 from http://www.abc.net.au/rn/legacy/programs/atoday/stories/

• Queensland Art Gallery ed. 2000. Urban Dingo: The Art and Life of Lin Onus 1948 – 1996. Austra lia. Queensland Art Gallery

• The Metropolitan Museum of Art. 200-2012. Heilbrunn Timeline of Art History. Retrieved 16 February 2013 from http://www.metmuseum.org/toah/works-of-art/JP1847

• National Gallery of Australia. 2011. Fred Williams: Infinite Horizons. Retrieved at 16 February 2013 from http://nga.gov.au/Exhibition/WILLIAMS/

• National Gallery of Australia. 2011. Fred Williams: Infinite Horizons Secondary School Education Resource. Retrieved at 16 February 2013 from http://www.artgallery.sa.gov.au/agsa/home/Learning/docs/Online_Resources/WILLIAMS_EDU_KIT.pdf

• Fred Williams Overview. 2011. Videorecording. Canberra. National Gallery of Australia. Retrieved at 16 February 2013 from http://nga.gov.au/Exhibition/WILLIAMS/

• As ian Art Museum Chong-Moon Lee Center for Asian Art and Culture. 2013. Artist Profile: Katsushika Hokusai. Retrieved at 16 February 2013 from http://www.asianart.org/documents/HokusaiandHiroshige-HistoricalBackground.pdf

• The Bri tish Museum. 2013. Japan: Edo Period (1600 - 1868). Retrieved at 17 February 2013 from http://www.britishmuseum.org/explore/highlights/article_index/j/japan_edo_period_ad_1600-186.aspx

• The Urban Dingo – Lin Onus. 2007. Radio Programme. Sydney. Radio National. 15 September. Retrieved 16 February at http://www.abc.net.au/radionational/programs/awaye/the-urban-dingo---lin-onus

• Prime Minister Kevin Rudd, MP - Apology to Australia’s Indigenous peoples. 2008. Video recording available online. Retrieved at 17 February 2013 from http://australia.gov.au/about-australia/our-country/our-people/apology-to-australias-

• National Gallery of Australia. 2001. Monet and Japan. Retrieved at 18 February 2013 from http://nga.gov.au/monetjapan/Default.cfm

• National Gallery of Australia ed. 2001. Monet and Japan. Austra lia. National Gallery of Australia , Canberra.

• Longato, G. 2012. Spirit in the Land Education Resource – Primary and Secondary Schools. Austra lia. McClelland Gallery+Sculpture Park.

• Marsh, Watts and Maylon. 2003. A.R.T art, research, theory, Second Edition. Austra lia. Oxford University Press.

• Stockley, M. 2006. Art Detective, Second Edition. Austra lia. Heinemann.

Images

Michael and I are just slipping down to the pub for a minute. Image. 1992. Retrieved 16 February 2013 from http://www.fireworksgallery.com.au/Artists/LinOnus/mICHAEL

• Landscape with red fox. Image. 1967. Retrieved 17 February 2013 from http://www.nga.gov.au/Exhibition/WILLIAMS/Default.cfm?IRN=202327&BioArtist

• Jimmy’s billabong. Image. 1988. Retrieved 17 February 2013 from http://www.artgallery.sa.gov.au/agsa/home/Learning/docs/Online_Resources/WILLIAMS_EDU_KIT.pdf

• Ginger and my thi rd wife approach the roundabout. Image. 1994. Retrieved 16 February 2013 from http://www.netsvictoria.org.au/ginger-and-my-third-wife-approach-the-roundabout

• Edo meisho no e ("Famous Places of Edo") http://web-japan.org/tokyo/know/gettoknow/get_pic2.html

• Landscape and Chinese Figures http://www.metmuseum.org/toah/works-of-art/1975.268.75,76



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