639:, both brought to attention by well-regarded gallery curators. Summers considers a number of factors to be involved in Stokes' fate, including her association with George Bell, whose destruction of many of his early pictures, propensity to keep reworking his old pieces, and artistic conservatism, all limited his subsequent reputation. Summers also points to the lack of a high-profile champion of Stokes' work, and her Melburnian identity in a time when "Sydney was where the ideas and the experimentation were and the place where reputations were made". Historian Helen Topliss takes a slightly different view, emphasising that Stokes was "deflected" from her career by raising a family.
596:, describes Stokes as "a leading figure in the modernist movement in Victoria". Not all critics regard Stokes' work so favourably, however. Art historian Christopher Heathcote acknowledges the recognition of Stokes' work by her contemporaries, but goes on to say that "strong staff support for a few lesser practitioners, such as Constance Stokes ... hardly aided the appreciation of the better local work." Though she appears in McCulloch's guide, few other reviews of Australian art recognise Stokes. Exceptions, according to feminist writer
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180:. Although Stokes painted few works in the 1930s, her paintings and drawings were exhibited from the 1940s onwards. She was one of only two women, and two Victorians, included in a major exhibition of twelve Australian artists that travelled to Canada, the United Kingdom and Italy in the early 1950s.
397:
Stokes' artistry endured, while that of some of her modernist colleagues did not. By 1945, when the
Melbourne Contemporary Artists held one of their exhibitions, art critic Alan McCulloch observed that the works were increasingly lacking in originality and that the former standards of the group were
385:
came into favour. Partly as a reaction to this development, artist George Bell established an exhibiting group called the
Melbourne Contemporary Artists in 1940. Bell was a former war artist and influential member of the Victorian artistic establishment, who after World War II was appointed to teach
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Eric Stokes died unexpectedly in 1962, an experience which left
Constance bereft; a long-time friend said that she never really recovered. Faced with a substantial mortgage to service, Stokes returned to work: painting. Two years later, she opened her first one-woman show in over thirty years. It
198:
Her husband's early death in 1962 forced Stokes to return to painting as a career, resulting in a successful one-woman show in 1964, her first in thirty years. She continued to paint and exhibit through the 1970s and 1980s, and was the subject of a retrospective exhibition that toured
Victorian
402:
he praised as "strongly designed and sensitively modelled". The following year, though, McCulloch was more upbeat, describing the show as their best to date, while again complementing Stokes on her "rich and opulent pictures". Six years later, when the group exhibited in 1952, the critic for
187:, Stokes was part of the Melbourne Contemporary Artists, a group Bell established in 1940. Her works continued to be well-regarded for many years after the group's formation, in contrast to those by many of her Victorian modernist colleagues, with favourable reviews from critics such as Sir
336:
Stokes returned from a
European honeymoon in 1934, but she produced few works in the years immediately following. Although the Collins Street apartment had become a full-time studio for Stokes, only two paintings and two sketches from the period are known. The most notable is
303:, who described the work as a "rare attraction" that was "liquid and luminous". At the end of her studies, Stokes won the National Gallery of Victoria Art School's prestigious National Gallery Travelling Scholarship, which allowed her to continue her training at the
568:, whom Stokes admired. There was also a change in her subject matter, from "classically conceived" still lifes, groups of figures and nudes, to more decorative themes. Stokes' works continued to be well received, having been included in the 1975 exhibition
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at the
National Gallery of Victoria's painting school. Influenced by Bell, Stokes was among the artists for whom modernism was a strong influence, and who exhibited with the Melbourne Contemporary Artists. Other members of the group included
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is one of thirteen in the collection of the
National Gallery of Victoria. Closely associated with Victoria, and in particular the cultural milieu of Melbourne, Stokes is well represented in the galleries of that state. These include the
525:, praised Stokes' painting, making particular reference to her work that had so entranced viewers at the 1953 exhibition. "Constance Stokes", he wrote, was a painter who "announced the pursuit of the classical ideal as aim.
409:
was as unimpressed as had been McCulloch in 1945. Suggesting that the show demonstrated that
Melbourne's art scene lacked innovation, he nevertheless singled out a small number of works for praise. One of these was Stokes'
520:
member who announced the exhibition considered that it would represent the most substantial promotion
Australian art would have experienced to that time. The following year, Joseph Burke, Professor of Fine Arts at the
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in
Melbourne. Over the summer of 1925–1926 the Gallery held a competition for its students, who were asked to paint "holiday subjects"; Constance won the prize for a landscape. The competition was judged by artist
417:
While Stokes was being praised at home in Melbourne, one of her portraits was among six paintings owned by the National Gallery of Victoria that were loaned for an exhibition on the other side of the country, in
552:, admired the (unidentified) work as having "strong art interest". Stokes' interest in the Prize was not so strong as to prompt her to enter again. She told an interviewer that "abstract painting took over".
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in 1985. The next year, an exhibition of her work toured several state galleries and the S.H. Irvin gallery in Sydney. In 1992, her works were displayed in the National Gallery of Victoria's exhibition
620:. While academic artists and art historians such as Bernard William Smith and Joseph Burke praised Stokes' work during her lifetime, she faded into relative obscurity. There is, however, a strong
432:, the paper described the work as "notable for its patient handling, use of bright colour and skilful blending of figure and background". The National Gallery of Victoria refers to the work as
564:. Throughout the 1960s, 1970s and 1980s, she painted and held shows; this later phase of her work was based on a stronger, if lighter, colour palette and reflected the influence of the art of
631:, in which Stokes and her paintings are central to a narrative about Summers' own family. Summers contrasts Stokes' ongoing obscurity with the dramatic resurrection of the oeuvre of artists
33:
460:. Of the twelve artists selected for inclusion, only two were from Victoria, the rest being from New South Wales; Stokes was one of the Victorians. Her three works, including
560:. The exhibition was a success both financially and critically: Stokes earned over 4000 guineas, and the exhibition attracted praise from art historian and critic
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In the mid-twentieth century, there were divisions in the Melbourne art scene, which became intertwined with the complex cultural politics of the
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536:, is in the collection of the National Gallery of Victoria. Despite her recurring attention to such subjects, however, the artist entered the
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456:, an exhibition of the works of twelve Australian artists was assembled. It was shown in London, five regional British cities, and at the
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urged Prime Minister Menzies to intervene, members describing the paintings as "the worst ever gathered in one place". However, the
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in Paris in 1932. The following year she returned to Australia, where she married businessman Eric Stokes. The family settled in
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275:. Constance was short, just under five feet tall, and had dark hair. She trained between 1925 and 1929 at the
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529:, with its Venetian richness of colouring, ably sustains the monumental harmony of the classical tradition."
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as the "best picture in London that week". Some artists in Sydney were not so impressed. A meeting of the
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in 1941 and later in Canada. In 1946, Stokes presented the work to the National Gallery of Victoria.
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is alone among the major Australian institutions in not holding any of her paintings or drawings.
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in 1985. She died in 1991 and is little-known in comparison to some other women artists including
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1287:. National Library of Australia. 4 February 1954. p. 10 Supplement: Royal Tour Supplement
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A retrospective exhibition of Stokes' paintings toured Victorian regional galleries including
464:, hung alongside those of Australia's most prominent mid-twentieth-century artists, including
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Stokes returned to some prominence through a book by Anne Summers, published in 2009, called
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Stokes in an interview also referred to her painting in the National Gallery of Victoria as
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in London. In addition to her education at the Royal Academy, she studied under the French
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is the only significant Australian collecting institution not to hold one of her works.
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859:. Vol. 7. Canberra: National Centre of Biography, Australian National University
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1611:. Fitzroy, Victoria: Aus Art Editions in association with The Miegunyah Press.
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being maintained by only a few members. One of those was Stokes, whose work
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In 1930, Stokes was among artists who exhibited at a Melbourne gallery, the
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is of the same painting that the National Gallery of Victoria refers to as
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comprised 43 works, with the 27 paintings priced dearly, at upwards of 150
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223:. Her art is represented in most major Australian galleries, including the
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Religious subjects appear regularly in Stokes' paintings; one such work,
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353:. It was included in a travelling exhibition that appeared in New York's
1006:. Melbourne: National Library of Australia. 26 October 1945. p. 20
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1490:. Swan Hill Regional Art Gallery, Pioneer Settlement Authority. 1985.
1062:. Melbourne: National Library of Australia. 14 October 1952. p. 6
1034:. Melbourne: National Library of Australia. 30 October 1946. p. 7
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829:. Melbourne: National Library of Australia. 26 March 1926. p. 5
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drew critical attention and acclaim. Admired by the director of the
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341:(c.1933–1935), influenced, according to Stokes' own account, by the
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until 1929, winning a scholarship to continue her study at London's
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1090:. Perth: National Library of Australia. 13 October 1952. p. 6
295:, was one of only two to draw praise from prominent member of the
284:, who would have a continuing influence over her artistic career.
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1375:(exhibition catalogue). Melbourne: National Gallery of Victoria.
215:, but her fortunes were revived somewhat as a central figure in
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Constance Parkin was born in 1906 in the hamlet of Miram, near
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Lindsay, Joan (1949). "Australian Art". In Ursula Hoff (ed.).
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369:(1948), one of Stokes' best-known and well-regarded paintings
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902:. University of Sydney and University of NSW. Archived from
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Williams, Fred. "Bell, George Frederick Henry (1878–1966)".
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440:. It was soon to travel a great deal further than to Perth.
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Modernism and Feminism: Australian Women Artists 1900–1940
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1259:. National Library of Australia. 21 April 1953. p. 4
1219:. National Library of Australia. 11 April 1953. p. 1
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A Quiet Revolution: the Rise of Australian Art 1946–1968
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1145:. Canberra: National Library of Australia. p. 100.
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Summers, Anne (29 March 2014). "Portrait of a mystery".
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Most major Australian collections hold works by Stokes:
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1316:. Adelaide: National Library of Australia. p. 16
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616:, both of which refer to the well-travelled painting
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Australian Women Artists. One Hundred Years 1840–1940
164:, 22 February 1906 – 14 July 1991) was an Australian
1607:; McCulloch, Susan; McCulloch Childs, Emily (2006).
801:
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1609:The new McCulloch's Encyclopedia of Australian Art
578:The heroic years of Australian painting, 1940–1965
414:, which he thought showed "richness and feeling".
1654:Speech delivered at National Gallery of Australia
377:era. In the late 1940s, there was a move against
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1647:"An Artist Lost: Rediscovering Constance Stokes"
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1487:Constance Stokes : retrospective exhibition
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1175:Masterpieces of the National Gallery of Victoria
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685:Museum and Art Gallery of the Northern Territory
606:Masterpieces of the National Gallery of Victoria
506:, the work was proclaimed by the art critic at
1756:National Gallery of Victoria Art School alumni
1546:. National Gallery of Victoria. Archived from
267:in 1920, where she completed her schooling at
1177:. Melbourne: F.W. Cheshire. pp. 234–235.
443:
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653:Classical Modernism: The George Bell Circle
1589:. Melbourne: The Text Publishing Company.
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594:McCulloch's Encyclopedia of Australian Art
574:Regional Galleries Association of Victoria
448:In 1953, at the request of Prime Minister
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1630:. Melbourne: Melbourne University Press.
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1680:. Roseville East, NSW: Craftsman House.
1628:The Lost Mother: A Story of Art and Love
572:at the University of Melbourne, and the
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514:Royal Art Society of New South Wales
1736:Alumni of the Royal Academy Schools
582:Alice Tumbling Down the Rabbit Hole
13:
1645:Summers, Anne (17 November 2009).
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856:Australian Dictionary of Biography
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900:Design & Art Australia Online
1761:20th-century Australian painters
1585:Heathcote, Christopher (1995).
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1306:George, Esmond (23 May 1953).
1117:. National Gallery of Victoria
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681:Art Gallery of South Australia
233:Art Gallery of New South Wales
201:Swan Hill Regional Art Gallery
16:Australian painter (1906–1991)
1:
1741:Artists from Victoria (state)
1109:Stokes, Constance (c. 1946).
730:
677:National Gallery of Australia
592:The standard reference work,
538:Blake Prize for Religious Art
225:National Gallery of Australia
199:regional galleries including
1706:National Gallery of Victoria
1251:"Outcry Over Art For London"
998:"Contemporary artists' show"
580:. Stokes' last painting was
412:Christ with Simon and Andrew
351:National Gallery of Victoria
229:National Gallery of Victoria
7:
1771:20th-century women painters
1446:Summers & November 2009
1238:Summers & November 2009
925:Summers & November 2009
796:Summers & November 2009
576:'s 1977 touring exhibition
293:Portrait of Mrs. W. Mortill
10:
1787:
1766:Australian modern painters
1373:Constance Stokes 1906–1991
896:"Constance Stokes b. 1906"
644:Swan Hill Regional Gallery
444:Later career: 1953 to 1989
355:Metropolitan Museum of Art
332:Early career: 1934 to 1952
191:in the United Kingdom and
1721:Australian women painters
1284:The Sydney Morning Herald
1256:The Sydney Morning Herald
1216:The Sydney Morning Herald
1136:Dutton, Geoffrey (1992).
665:Ballarat Fine Art Gallery
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317:Collins Street, Melbourne
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713:The Girl Drying Her Hair
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570:Australian women artists
422:. The city's newspaper,
1676:Topliss, Helen (1996).
1111:"Woman Drying Her Hair"
671:, Geelong Art Gallery,
523:University of Melbourne
239:Early life and training
1626:Summers, Anne (2009).
689:Queensland Art Gallery
633:Grace Cossington Smith
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263:. The family moved to
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209:Grace Cossington Smith
168:painter who worked in
1054:"Art needs new ideas"
721:Woman Drying Her Hair
618:Woman Drying Her Hair
562:Bernard William Smith
462:Woman Drying Her Hair
434:Woman Drying Her Hair
363:
311:painter and sculptor
305:Royal Academy of Arts
247:The Royal Academy at
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193:Bernard William Smith
178:Royal Academy of Arts
172:. She trained at the
132:Woman Drying Her Hair
93:Royal Academy of Arts
1371:Clark, Jane (1993).
906:on 23 September 2013
540:only once, in 1953.
454:British Arts Council
430:Girl Drying Her Hair
1538:Stokes, Constance.
1463:, pp. 161–162.
1412:, pp. 154–155.
1361:, pp. 174–175.
1349:, pp. 171–173.
1337:, pp. 170–171.
1087:The West Australian
821:"Items of interest"
717:The West Australian
669:Benalla Art Gallery
648:Geelong Art Gallery
425:The West Australian
205:Geelong Art Gallery
1550:on 29 October 2013
1279:"Art in Australia"
1139:Artists' Portraits
881:The Canberra Times
527:Girl in Red Tights
495:Girl in Red Tights
371:
366:Girl in Red Tights
343:post-impressionist
253:
139:Girl in Red Tights
1637:978-0-522-85635-4
1571:, pp. 43–44.
1544:Collection online
1308:"The week in art"
1115:Collection search
1026:"Art exhibitions"
715:. The picture in
622:market for resale
297:Heidelberg School
271:in the suburb of
269:Genazzano convent
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112:Painting, drawing
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624:of her works.
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183:Influenced by
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1540:"The village"
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1005:
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999:
993:
987:, p. 16.
986:
981:
975:, p. 10.
974:
969:
963:, p. 57.
962:
957:
951:, p. 56.
950:
945:
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938:
933:
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905:
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884:. p. 20.
883:
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828:
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810:, p. 65.
809:
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771:
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566:Henri Matisse
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1667:28 September
1665:. Retrieved
1658:the original
1653:
1627:
1608:
1586:
1578:Bibliography
1577:
1576:
1569:Summers 2009
1564:
1554:27 September
1552:. Retrieved
1548:the original
1543:
1533:
1503:27 September
1501:. Retrieved
1486:
1480:
1473:Topliss 1996
1468:
1461:Summers 2009
1448:, p. 7.
1441:
1434:Summers 2009
1429:
1422:Summers 2009
1417:
1410:Summers 2009
1405:
1393:
1386:Summers 2009
1381:
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1359:Summers 2009
1354:
1347:Summers 2009
1342:
1335:Summers 2009
1330:
1318:. Retrieved
1311:
1301:
1291:30 September
1289:. Retrieved
1282:
1273:
1263:30 September
1261:. Retrieved
1254:
1245:
1240:, p. 2.
1233:
1221:. Retrieved
1214:
1193:Summers 2009
1174:
1168:
1156:. Retrieved
1138:
1131:
1119:. Retrieved
1114:
1104:
1092:. Retrieved
1085:
1076:
1066:30 September
1064:. Retrieved
1057:
1048:
1036:. Retrieved
1029:
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1008:. Retrieved
1001:
992:
980:
968:
961:Summers 2009
956:
949:Summers 2009
944:
937:Summers 2009
932:
927:, p. 5.
920:
910:27 September
908:. Retrieved
904:the original
899:
890:
879:
873:
863:27 September
861:. Retrieved
855:
831:. Retrieved
824:
815:
808:Summers 2009
803:
798:, p. 4.
748:Summers 2009
743:
735:
734:
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707:
659:
657:
652:
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628:
626:
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610:Janine Burke
605:
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531:
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504:Philip Hendy
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478:Sidney Nolan
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403:Melbourne's
399:
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381:in art, and
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220:
219:' 2009 book
217:Anne Summers
197:
189:Philip Hendy
182:
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118:Notable work
68:(1991-07-14)
66:14 July 1991
53:Miram, near
18:
1731:1991 deaths
1726:1906 births
1521:|work=
1320:19 November
1121:19 November
1094:19 November
1038:19 November
833:19 November
660:The Village
602:Ursula Hoff
534:The Baptism
466:Arthur Boyd
392:Sali Herman
339:The Village
313:André Lhote
282:George Bell
259:in western
185:George Bell
126:The Village
101:, Melbourne
80:, Australia
57:, Australia
1715:Categories
731:References
687:, and the
600:, include
548:newspaper
482:Lloyd Rees
400:The Family
1523:ignored (
1513:cite book
1223:8 October
1158:9 October
1059:The Argus
1031:The Argus
1010:9 October
1003:The Argus
826:The Argus
509:The Times
379:modernism
289:Athenaeum
265:Melbourne
166:modernist
142:(c. 1948)
134:(c. 1946)
86:Education
74:Melbourne
1313:The Mail
550:The Mail
546:Adelaide
452:and the
383:tonalism
375:Cold War
261:Victoria
227:and the
170:Victoria
95:, London
78:Victoria
558:guineas
146:Reverie
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691:. The
683:, the
679:, the
588:Legacy
321:Toorak
309:cubist
231:; the
162:Parkin
148:(1950)
128:(1935)
1661:(PDF)
1650:(PDF)
1143:(PDF)
736:Notes
699:Notes
420:Perth
406:Argus
257:Nhill
160:(née
1682:ISBN
1669:2012
1632:ISBN
1613:ISBN
1591:ISBN
1556:2012
1525:help
1505:2012
1492:ISBN
1322:2012
1293:2012
1265:2012
1225:2012
1160:2013
1147:ISBN
1123:2012
1096:2012
1068:2012
1040:2012
1012:2012
912:2012
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646:and
635:and
608:and
502:Sir
488:and
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