Knowledge

Girl in Red Tights

Source 📝

31: 134:
recounts the circumstances under which it came to be created: "The idea for this painting had come when, arriving early one Thursday evening for her life session at George Bell's, Stokes caught the model undressing in preparation. The relatively informal and intimate nature of the pose was the result
110:, the painting was exhibited in several shows, including the Commonwealth Jubilee Exhibition in Brisbane in 1951, and Twelve Australian Artists, in London in 1953. The work attracted significant critical acclaim. 163:
But I found a double-ring around Constance Stokes "Girl in Red Tights", with its flesh tints and background bathed in warm, red glowing light, a painting of considerable artistic merit as disturbing as it is
174:
In 1953, a "significant" exhibition titled Twelve Australian Artists was held at the Burlington Galleries in London. The group show had also been presented at the
463: 83: 178:. Stokes had three works in the exhibition, which hung alongside those of Australia's most prominent twentieth-century artists, including 239:, praised Stokes' painting. "Constance Stokes", he wrote, was a painter who "announced the pursuit of the classical ideal as aim. 513: 151:) for his personal collection. In 1951, the work was included in the Commonwealth Jubilee Exhibition, held at the then 452: 433: 255:
at its initial exhibition in 1949. It remained part of their personal collection at their house, "Mulberry Hill", in
143:
The painting was first exhibited in the Melbourne Contemporary Artists exhibition in 1949, at which it was bought by
159:, described both the work's popularity with viewers and its quality, when he wrote of his visit to the exhibition: 508: 243:, with its Venetian richness of colouring, ably sustains the monumental harmony of the classical tradition." 148: 264: 474: 372: 503: 236: 152: 376:. National Library of Australia. 4 February 1954. p. 10 Supplement: Royal Tour Supplement 123: 8: 395: 225:
as the "best picture in London that week". Anne Summers reports that the critic at the
119: 448: 429: 231:
said "Constance Stokes imparting a glow to her monumental figures has an impressive
308: 214: 183: 103: 41: 227: 175: 324: 428:. Fitzroy, Victoria: Aus Art Editions in association with The Miegunyah Press. 187: 30: 497: 367: 303: 259:, a seaside suburb of Melbourne. Mulberry Hill and its contents – including 199: 144: 252: 218: 203: 191: 131: 179: 52: 256: 195: 213:
that drew critical attention and acclaim. Admired by director of the
71: 424:
McCulloch, Alan; McCulloch, Susan; McCulloch Childs, Emily (2006).
312:. Brisbane: National Library of Australia. 4 August 1951. p. 2 235:". The following year, Joseph Burke, Professor of Fine Arts at the 423: 330: 107: 155:. Warwick Lawrence, art critic for Brisbane's daily paper 286: 284: 118:
Constance Stokes was a figurative painter, influenced by
348: 281: 336: 426:The new McCulloch's Encyclopedia of Australian Art 471:Speech delivered at National Gallery of Australia 495: 464:"An Artist Lost: Rediscovering Constance Stokes" 331:McCulloch, McCulloch & McCulloch Childs 2006 221:, the work was proclaimed by the art critic at 251:The work was purchased by Sir Daryl and Lady 388: 130:. A standing girl wearing only red tights, 126:. In around 1948 she painted a work titled 447:. Melbourne: Melbourne University Press. 106:. Portraying a standing girl wearing red 102:1948) is a painting by Australian artist 461: 445:The Lost Mother: A Story of Art and Love 442: 354: 342: 290: 122:, and associated with Australian artist 304:"Australia can be proud of her artists" 496: 400:National Trust of Australia (Victoria) 138: 462:Summers, Anne (17 November 2009b). 13: 14: 525: 29: 514:Portraits by Australian artists 153:Queensland National Art Gallery 135:of this unexpected encounter". 84:collection.nationaltrust.org.au 360: 296: 263:– were later bequethed to the 113: 1: 270: 246: 99: 149:National Gallery of Victoria 16:Painting by Constance Stokes 7: 10: 530: 265:National Trust of Victoria 373:The Sydney Morning Herald 77: 66: 58: 47: 37: 28: 23: 209:It was Stokes' painting 443:Summers, Anne (2009a). 237:University of Melbourne 172: 161: 509:Australian paintings 368:"Art In Australia" 261:Girl in Red Tights 241:Girl in Red Tights 233:Girl in Red Tights 211:Girl in Red Tights 169:Warwick Lawrence, 139:Critical reception 128:Girl in Red Tights 120:Post-Impressionism 95:Girl in Red Tights 24:Girl in Red Tights 147:(Director of the 91: 90: 521: 489: 487: 485: 480:on 7 August 2010 479: 473:. Archived from 468: 458: 439: 411: 410: 408: 406: 392: 386: 385: 383: 381: 364: 358: 352: 346: 340: 334: 328: 322: 321: 319: 317: 309:The Courier-Mail 300: 294: 288: 215:National Gallery 184:Russell Drysdale 170: 157:The Courier-Mail 104:Constance Stokes 101: 87: 86: 42:Constance Stokes 33: 21: 20: 529: 528: 524: 523: 522: 520: 519: 518: 494: 493: 492: 483: 481: 477: 466: 455: 436: 414: 404: 402: 396:"Mulberry Hill" 394: 393: 389: 379: 377: 366: 365: 361: 353: 349: 341: 337: 329: 325: 315: 313: 302: 301: 297: 289: 282: 273: 249: 228:Sunday Observer 176:Venice Biennale 171: 168: 141: 116: 82: 81: 70:Mulberry Hill, 17: 12: 11: 5: 527: 517: 516: 511: 506: 504:1948 paintings 491: 490: 459: 453: 440: 434: 420: 413: 412: 387: 359: 357:, p. 139. 347: 335: 333:, p. 911. 323: 295: 293:, p. 138. 279: 272: 269: 248: 245: 188:William Dobell 166: 140: 137: 115: 112: 89: 88: 79: 75: 74: 68: 64: 63: 60: 56: 55: 49: 45: 44: 39: 35: 34: 26: 25: 15: 9: 6: 4: 3: 2: 526: 515: 512: 510: 507: 505: 502: 501: 499: 476: 472: 465: 460: 456: 454:9780522856354 450: 446: 441: 437: 435:0-522-85317-X 431: 427: 422: 421: 419: 418: 401: 397: 391: 375: 374: 369: 363: 356: 355:Summers 2009a 351: 344: 343:Summers 2009b 339: 332: 327: 311: 310: 305: 299: 292: 291:Summers 2009a 287: 285: 280: 278: 277: 268: 266: 262: 258: 254: 244: 242: 238: 234: 230: 229: 224: 220: 216: 212: 207: 205: 201: 200:Donald Friend 197: 193: 189: 185: 181: 177: 165: 160: 158: 154: 150: 146: 145:Daryl Lindsay 136: 133: 129: 125: 121: 111: 109: 105: 97: 96: 85: 80: 76: 73: 69: 65: 62:oil on canvas 61: 57: 54: 50: 46: 43: 40: 36: 32: 27: 22: 19: 484:28 September 482:. Retrieved 475:the original 470: 444: 425: 417:Bibliography 416: 415: 403:. Retrieved 399: 390: 380:30 September 378:. Retrieved 371: 362: 350: 345:, p. 2. 338: 326: 314:. Retrieved 307: 298: 275: 274: 260: 253:Joan Lindsay 250: 240: 232: 226: 222: 219:Philip Hendy 210: 208: 204:Frank Hinder 192:Sidney Nolan 173: 164:stimulating. 162: 156: 142: 132:Anne Summers 127: 117: 94: 93: 92: 18: 405:7 September 180:Arthur Boyd 124:George Bell 114:Composition 498:Categories 271:References 257:Langwarrin 247:Provenance 196:Lloyd Rees 316:1 October 223:The Times 72:Melbourne 167:—  67:Location 78:Website 451:  432:  108:tights 59:Medium 38:Artist 478:(PDF) 467:(PDF) 276:Notes 486:2012 449:ISBN 430:ISBN 407:2024 382:2012 318:2012 217:Sir 202:and 53:1948 48:Year 500:: 469:. 398:. 370:. 306:. 283:^ 267:. 206:. 198:, 194:, 190:, 186:, 182:, 100:c. 488:. 457:. 438:. 409:. 384:. 320:. 98:( 51:c

Index


Constance Stokes
1948
Melbourne
collection.nationaltrust.org.au
Constance Stokes
tights
Post-Impressionism
George Bell
Anne Summers
Daryl Lindsay
National Gallery of Victoria
Queensland National Art Gallery
Venice Biennale
Arthur Boyd
Russell Drysdale
William Dobell
Sidney Nolan
Lloyd Rees
Donald Friend
Frank Hinder
National Gallery
Philip Hendy
Sunday Observer
University of Melbourne
Joan Lindsay
Langwarrin
National Trust of Victoria

Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.