Self-portrait Australia


Theodore Penleigh Boyd was a British born Australian artist. Penleigh Boyd was a member of the Boyd artistic dynasty: his parents Arthur Merric Boyd and Emma Minnie Boyd (née à Beckett) were well-known artists of the day, and his brothers included the ceramicist Merric Boyd and the novelist Martin Boyd. Penleigh Boyd is best known as a landscapist with an accomplished handling of evanescent effects of light. A notable influence was artist E. Phillips Fox, who introduced him to plein air techniques when they were neighbours in Paris.


Francis Prout Mahony, also known as Frank Mahony was an Australian painter, watercolorist and illustrator. Mahony became known for his excellent drawings of horses. He worked for The Antipodean, The Sydney Mail and the Australian Town and Country Journal. In addition to his periodical work, he illustrated numerous books, including Where the Dead Men Lie, and Other Poems by Barcroft Boake, While the Billy Boils by Henry Lawson and Dot and the Kangaroo, a children's book by Ethel Pedley. His oils were moderately successful. He is best remembered as a capable painter of animals and is represented in the Sydney, Hobart and Wanganui, New Zealand galleries.


Frederick McCubbin was a renowned Australian artist, a central figure in the Australian Impressionism movement, and a significant member of the Heidelberg School. Born in Melbourne in 1855, his early life was shaped by the colonial expansion of Australia, fostering a deep appreciation for the Australian landscape that would profoundly influence his art. McCubbin's art education was thorough, studying under notable artists at the National Gallery of Victoria Art School, where he later became a drawing master, educating future Australian artists.
Frederick McCubbin is celebrated for his unique depiction of the Australian bush, portraying the everyday life and struggles of settlers and bushmen with authenticity and sensitivity. His works like "Down on His Luck" and "The Pioneer" showcase this theme, highlighting the resilience and heroism of the Australian pioneers. These paintings are not just artworks; they are narratives that encapsulate the spirit of the nation, making Frederick McCubbin a pivotal figure in Australia's art history. His innovative approach to painting, characterized by an intimate connection with the landscape and a nuanced use of light and color, helped forge a distinct Australian art identity.
His paintings are housed in prestigious galleries across Australia, serving as testaments to his lasting impact on the nation's cultural heritage. Collectors and art enthusiasts revere McCubbin not only for his artistic prowess but also for his role in nurturing a unique Australian art narrative.
For those intrigued by Frederick McCubbin's legacy and wishing to stay informed about sales and auctions of his works, signing up for updates is a practical way to remain connected to the world of this eminent artist, ensuring you're alerted to new opportunities to engage with his enduring artistry.


Benjamin Edwin Minns was an Australian artist, recognised as one of Australia's foremost watercolourists. Minns obtained his first job at the Illustrated Sydney News; Minns also drew for the Sydney Mail and regularly contributed to The Bulletin. From 1895 to 1915 Minns worked in England, contributing to St Paul's Magazine, Punch, The Strand Magazine, the Bystander and other publications as well as sending drawings to The Bulletin. Minns was a founder in 1924 and inaugural president (until 1937) of the Australian Watercolour Institute.


Janet Agnes Cumbrae Stewart was an Australian painter. She spent the 1920s and 1930s painting in Britain, France and Italy. Cumbrae Stewart's work is today held in the State collections of Victoria, New South Wales, South Australia and Queensland, the National Gallery of Australia, and several regional galleries including the Mornington Peninsula Regional Gallery and the Bendigo Regional Gallery. Although Cumbrae Stewart may not be viewed today as having pushed the boundaries of art, she certainly did push the boundaries of acceptability of women in art. She was one of the first Australian women artists to be considered equal to her male counterpart, and indeed greatly respected by them, which paved the way for future generations of women to be taken seriously in this field, and so rightly deserves to be recognised by history. For her handling of the medium too, she should be acknowledged. Few, if any, artists have come close to her ability with pastels in expressing the subtle modulations of tone and form of the human body, which despite being considered a feminine material, is notoriously difficult to master.