694:. Beginning in the late 1930s, she started a style which was less influenced by the modernist one, and more to do with the light and colour of Australia, and her own personal interpretation of the landscape. Her paintings show the olive green and sienna colours of the Australian bush, depicted in a style where the brush strokes are visible, made up of many similar colours. One of her best landscapes was a series of four large paintings she did called Four panels for a screen: loquat tree, gum and wattle trees, waterfall, picnic in the gully#, 1929. The first two panels show the trees in her yard, while the last two show the world further away from her home; a waterfall and people having a picnic with a billy can in a gully. It symbolises the theme and division in her landscape work between her immediate streets and trees, and further away from her home, where her friends and relatives often took her to paint. The four paintings were done on commission; however, the commission was refused, and because of this Smith would never work on a large commission again.
548:. The painting is notable for its absence of shadow; the walls are glowing with bright non-directional light and colour. Everything about the painting seems modern, from trendy green table tops to pinkish and red colours on the chairs and on the walls. Two unusual yellow modern style lamps on the walls have an Art Deco look. The customers wear fur coats with stylish hats, giving an impression that this is a place for respectable, middle-class people. The waitresses wear a bright green colour in keeping with the rest. The chairs have huge backs and tiny legs, reflecting a new modern world of manufactured objects, rather than traditional wooden furniture.
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472:, shows a road very similar to many of the roads around hilly Turramurra, which have many dips and bends in them. Much can be found in this picture which shows the lifestyle of the people at the time; the houses appear to be more on plots than in suburban yards, with trees only on the side of the road, not near the houses. The painting appears to show a view of a country town or a village, rather than a city, with the outer suburbs of Sydney somewhat rural-looking at this time. In the simplicity of form and colours, these works look similar to other works by modernist artists at the time.
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604:(1930) was rejected from the Society of Artists exhibition in 1930 it is now considered one of Australia's best modernist paintings. It shows the construction work continuing, with cranes fixed over the edges of both sides of the bridge. Her highly detailed drawn study for the painting shows her eye for details and her ability to capture a scene in a photo-realistic manner. Smith did in fact draw the Harbour Bridge completed in
437:(1920), accurately records the scene of the prince being driven in his car through the street, which is lined with a large crowd of people. It shows the warm reception which Australians gave to the British royalty at the time, when Australia was still very much part of the British Empire. She followed this painting with other paintings based on sketches done in Sydney city, of crowds of people rushing past in
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strokes and an abstracted composition. About The Sock
Knitter it is said that "The extreme flattening of the picture plane and the use of bright, expressive, broken colour applied in broad brush-strokes to delineate form reflects the aesthetic concerns of European painters such as CĂ©zanne, Matisse and van Gogh." Despite these tendencies she became a foundation member of, and exhibited with,
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architecture and, besides sketches and drawings of cathedrals and buildings, took many photos of indoor doorways and scenes of rooms inside houses. Her many sketchbooks reveal something of her life – being more loose and personal than larger paintings, sketchbooks can give more of an insight into the details of the artist's everyday life.
660:(1944) shows troops and a tank disembarking from a ship after the Allied landings in France. An event which marked the beginning of the end of the Nazi occupation of Europe, it was unusual for her to paint a scene of something not directly before her. Similarly seeming somewhat at odds with the rest of her work, is the painting of
323:, her works were very daring for the time. Her main interest was colour, bright shimmering colour filled with reflected sunlight. She supported modernism and developed her own individual technique. It was said that she "did get a lot of criticism in the press, but she was very bold and she knew what she wanted".
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710:(1954), shows an accurate depiction of her house with a large window and a door opening to the outside on the other side of the bed. The painting is the first of her larger room interior paintings and prominently features yellow in the colouring. She also experimented with views in mirrors, such as in
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Cossington Smith studied in
Australia and England and her work was informed by the Modernist paintings of Europe, she shared the Modernist concerns about painting, including: investigating colour theory, playing with the picture plane (the illusion of depth in a painting), the use of expressive brush
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She used great sunlight and wonderful patterns of vibrant colour with cool colours added to shadows, giving them a sense of energy. Using carefully placed brush strokes of brilliant colour side by side to build up small squares, she built form in colour. She was one of the earliest
Australian artists
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Grace's later still lifes are works that explore the use of different colours put together to give a unifying feel. She painted many still lifes of fruit, jugs and vases with glimpses of drapery and parts of the room behind. In style, they consisted of many individual, choppy, squarish brush strokes
714:(1955), which shows a mirror on an open wardrobe door that is opened at a 45-degree angle, whereby the viewer is given a view of the yard outside the house from the reflection in the glass. The angular cutting into the basic composition with these doors adds dynamism and gives it an energetic feel.
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visited the city, Grace went to the city to record this event. She did sketches of the buildings around where she was standing, but relied on memory to record the actual moment when he passed by, obviously because she did not have time to record what would have taken only a couple of seconds. This
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She visited
England once with her sister between 1912 and 1914, and returned to Europe later, between 1948 and 1951. On her overseas trips, Grace experienced a world different from her own, yet in her paintings gave it her own unique style. On the second trip she became very interested in English
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in Sydney. The work itself is highly stylised, with pinks, yellows and blues on the walls and on the floor. The people depicted have little detail shown in their faces, though in what is shown they look obviously surprised and somewhat condescending in their glance towards the viewer. The vibrant
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as it was being built, and her late indoor scenes of doorways and windows where yellow is usually the dominant colour. Many of her scenes give a glimpse of the ordinary suburban home of her time: still lives, doorways and window sills. She also sometimes painted important events such as the World
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in the background, a celebration of the victory in the war after it had finished. Several of her other paintings show large
British flags, reflecting not only her own British heritage and patriotism, but also the fact that many Australians still thought of themselves as being part of the British
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painting in
Australia. The painting shows a girl studiously working away, knitting from a ball of yarn which sits delicately by her side. When taken in the context of the war, it is a powerful picture of someone working on something small to help a greater cause. She also later drew a series of
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cartoons which were satirical and anti-German, showing caricatures of German army figures. Such drawings of wartime figures were very different from the usual style in her work. Other works of the time were a drawing of
Belgian refugees fleeing the Germans at the start of the war and one titled
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In all her later paintings she used a unique style of squarish daubs of paint applied on the canvas, in colours which were varied but which tended towards the yellow end of the spectrum. Many of her room interior paintings show the same room from different angles, or even multiple views from a
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She painted outdoor scenes, somewhat less successfully than her indoor scenes, but painted outside whenever someone could take her out in the countryside to paint, going on many trips. In her life she visited several towns outside Sydney, as well as visiting the national capital,
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at Yalta, which shows seated figures who are vaguely recognisable as the three allied world leaders. This event must have been very important for her to paint as she almost always painted scenes from personal experience, rather than ones of people on the other side of the world.
805:, a former boarding house for girls. The gallery holds different exhibitions throughout the year. On the second floor is the Year 12 art studio, where HSC students study the arts. The gallery is open to the public from Monday to Saturday from 9 am until 5 pm.
739:(1962), shows a bold red vase contrasted with the background made from its complementary opposite colour, green, or at least, greenish-yellow. Another jug to the right blends in with the background, while the red jug is firmly planted in the perspective of the table.
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From 1914 Grace had painted in a small studio hut in the garden, beyond the tennis lawn. Her mother died in 1931, her father in 1938, and she became head of the
Cossington household. A larger well-lit studio was added to the house, adjacent to her large bedroom.
743:(1971), one of her last paintings, shows several jugs, green, red and yellow, all given a sense of being very solid objects, with a delightful white cup and saucer nearby. She was very frail after this, being unable to paint any more large works.
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Cossington Smith painted the city of Sydney, its people, the crowds and places such as restaurants or Martin Place in the City Centre. She went to the city often to sketch, though she was somewhat embarrassed with drawing in public. When the
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Her paintings of the Sydney
Harbour Bridge as it was being built are some of the best painted at the turn of the century when it was a symbol of what the people of Australia are capable of. Her first paintings of the harbour bridge such as
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slightly different or the same angle. In some paintings a door or window is the dominant focus for the painting, while in others the viewer is shown the entire room. Her use of colour has been compared to the work of
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in her earlier paintings of the bridge. She painted the arches as they were approaching one another, liking the tension between the two sides, and did not paint the bridge after it was completed. Though the painting
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making up the whole, varied in colour, but still giving an overall yellowish feel. She has a striking sense of perspective, and great eye for detail, planting the objects firmly in three-dimensional space.
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Some of her paintings from around 1932–33 reflected some common interests of international contemporary painters. These paintings show objects being broken down into forms based on their colours similar to
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One of
Australia's most important artists of the twentieth century, Cossington Smith was best known for her modernist depiction of a Sydney cafeteria, paintings of the arch of the
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a more important influence on her. Her style of many multi-coloured brush strokes was used not only in her interior views, but also in her still lives.
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Wars and the arrival of the Prince of Wales in Sydney, which show a broader view of what was happening in Australia and the world at the time.
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Increasingly she would concentrate on these interior views, with ten room paintings exhibited in her solo exhibition of 1947. Her large oil,
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Her painting is characterised by individual, square brush strokes with bright unblended colours. Her many paintings of Sydney landscapes,
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to be influenced by the European Post-Impressionist movement and lead a break away from Australian Impressionism. A contemporary of
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were of the bridge before the actual work on the arms had started, and to disguise this fact she concentrated more on painting the
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298:(1936). She received acclaim late in her career, and in 1973 a major retrospective exhibition of her work toured Australia.
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show the development of Sydney in the northern suburbs. Her street scenes often showed roads going up and down hills. Her
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in various ways. She painted pictures showing the arrival of allied troops in France, a dinner with allied leaders at
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635:(1941) shows a scene in a church where men are mostly absent, having gone off to the war. A later church scene,
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656:(1943), which shows a line of people sitting on chairs, looking solemn and possibly chatting quietly.
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1199:"The sock knitter, (1915) by Grace Cossington Smith :: The Collection :: Art Gallery NSW"
1169:"The sock knitter, (1915) by Grace Cossington Smith :: The Collection :: Art Gallery NSW"
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Smith, Grace Cossington (1892–1984) Biographical Entry – Australian Dictionary of Biography Online
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Cossington Smith: A life from drawings in the collection of the National Gallery of Australia
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were often more successful and dynamic where they were based around a road. Her painting,
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After returning to Sydney in 1914 she attended Dattilo Rubbo's painting classes alongside
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to her home country. Examples of her work are held by every major gallery in Australia.
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Grace Cossington Smith, self-portrait, 1948, oil on cardboard, 39.5 x 30.7 cm,
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Grace Cossington Smith interviewed by Hazel de Berg in the Hazel de Berg collection
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Australian Academy of Art First Exhibition, April 8th-29th, Sydney : Catalogue
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National Gallery of Australia, Grace Cossington Smith, retrospective exhibition
759:(OBE). For her services to Australian art, she was appointed an Officer of the
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in cool purples and oranges, although the actual name of the dog was Rex.
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Arriving in Australia back from a holiday to England shortly before the
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The Encyclopedia of Women and Leadership in Twentieth-Century Australia
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visited Cossington Smith in her nursing home to award her the honour.
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1418:'Portrait of a Modernist', Grace Cossington Smith, by Dimity Goldie
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237:(1915) was arguably Australia's first post-Impressionist painting.
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Smith's paintings included arrangements of flowers consisting of
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490:, 1915, is widely celebrated. It was "acclaimed as the first
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took art classes. From 1910 to 1911 she studied drawing with
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began, Smith supported the war effort. Her 1915 painting
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where she attended drawing classes as well as classes at
144:(20 April 1892 – 20 December 1984) was an
1233:(1st ed.). Sydney: Australian Academy of Art. 1938
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Cossington Smith was one of the first artists to bring
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Australian Officers of the Order of the British Empire
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Cossington Smith grew up in her family's first house,
1420:– Portrait 7, Autumn 2003. National Portrait Gallery
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Empire at this time. During the war she served as a
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Smith adopted the middle name "Cossington" in 1920.
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619:As with the First World War, she also depicted the
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1017:"Modern message from the extreme end of niceness"
793:The Grace Cossington Smith Gallery was opened in
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243:Her work was greatly respected by fellow-artists
152:in Australia and was instrumental in introducing
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1340:. 2005, National Gallery of Australia, Canberra
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460:Cossington Smith's paintings of the area around
294:(1957), and, arguably her most famous painting,
275:from 1926 to 1928, and from 1932 to 1971,at the
231:and took an interest in modernist theories. Her
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220:in Germany, and was exposed to paintings by
168:Smith, outside her home in Turramurra, 1915
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755:In 1973 Smith was made an Officer of the
518:manipulation of some of the imagery. Her
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494:painting to be exhibited in Australia."
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841:"Smith, Grace Cossington (1892–1984)".
801:, in 2013. The site of this gallery is
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399:, of her sister knitting socks for the
184:in Leicestershire. The family moved to
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1027:from the original on 24 September 2015
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880:from the original on 26 September 2007
797:Senior School on the Pacific Highway,
1493:20th-century Australian women artists
1209:from the original on 16 February 2017
1179:from the original on 16 February 2017
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664:(1945), depicting the signing of the
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902:. Phaidon Press. 2019. p. 107.
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741:Still life with white cup and saucer
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253:Royal Art Society of New South Wales
1137:Cossington Smith, Grace (c. 1922).
1075:Cossington Smith, Grace (c. 1917).
927:. Design and Art Australia Online.
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502:' anti-modernist organisation, the
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1468:Officers of the Order of Australia
1406:Grace Cossington Smith on Artabase
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1295:from the original on 17 April 2016
1291:. Art Gallery of New South Wales.
1260:. Art Gallery of New South Wales.
1145:. Art Gallery of New South Wales.
1118:from the original on 17 April 2016
1114:. Art Gallery of New South Wales.
1083:. Art Gallery of New South Wales.
992:. Art Gallery of New South Wales.
961:. Art Gallery of New South Wales.
851:from the original on 16 April 2011
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639:, shows a church with the British
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381:in Turramurra is heritage-listed.
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1264:from the original on 4 March 2016
1077:"Reinforcements: troops marching"
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528:(1936), showing a view across an
403:, is often regarded as the first
351:43 Ku-Ring-Gai Avenue, Turramurra
1488:20th-century Australian painters
1283:Cossington Smith, Grace (1955).
1252:Cossington Smith, Grace (1945).
1106:Cossington Smith, Grace (1920).
996:from the original on 31 May 2014
984:Cossington Smith, Grace (1936).
965:from the original on 31 May 2014
953:Cossington Smith, Grace (1915).
536:, which was then located in the
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1285:"Interior with wardrobe mirror"
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1015:Martin, Lauren (3 March 2005).
931:from the original on 2 May 2014
571:Sydney Harbour Bridge paintings
410:Reinforcements: troops marching
1498:People educated at Abbotsleigh
1395:Art Gallery of New South Wales
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778:Grace Cossington Smith Gallery
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1503:20th-century Australian women
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712:Interior with wardrobe mirror
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172:She was born Grace Smith, in
16:Australian artist (1892–1984)
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708:Interior with verandah doors
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363:, at 43 Ku-Ring-Gai Avenue,
192:around 1890. Grace attended
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72:Neutral Bay, New South Wales
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1508:20th-century women painters
1463:Post-impressionist painters
1318:Modjeska, Drusilla (1999).
765:Governor of New South Wales
757:Order of the British Empire
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119:Order of the British Empire
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925:"Norah Simpson: Biography"
772:Roseville, New South Wales
682:. She also painted in the
91:Roseville, New South Wales
1458:Australian women painters
1047:"State Heritage Register"
1021:The Sydney Morning Herald
923:Gray, Anne (7 May 2012).
876:. Australian Government.
847:. Adb.online.anu.edu.au.
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504:Australian Academy of Art
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251:. She exhibited with the
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50:National Portrait Gallery
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737:Still life with red vase
565:Krinkley Kronks Sleeping
544:glaring colours reflect
470:Eastern Road, Turramurra
286:, and interiors include
1368:. 1973, AGNSW, Sydney.
1354:. 1990, Craftsman House
1289:AGNSW collection record
1258:AGNSW collection record
1143:AGNSW collection record
1112:AGNSW collection record
1081:AGNSW collection record
990:AGNSW collection record
959:AGNSW collection record
532:styled café called the
1483:Australian war artists
1424:Grace Cossington Smith
1391:Grace Cossington Smith
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482:Modernism to Australia
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134:Grace Cossington Smith
25:Grace Cossington Smith
1411:26 March 2012 at the
1361:. 1993, NGA, Canberra
1203:artgallery.nsw.gov.au
1173:artgallery.nsw.gov.au
789:at Abbotsleigh School
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340:in Turramurra, Sydney
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308:Sydney Harbour Bridge
210:Antonio Dattilo Rubbo
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637:Thanksgiving Service
606:Great White Ship at
456:Turramurra paintings
196:School for Girls in
1478:Artists from Sydney
1322:. Sydney: Picador.
900:Great Women Artists
601:The Bridge in Curve
591:The Bridge in Curve
581:The Bridge in Curve
292:Fruit in the Window
277:Macquarie Galleries
1320:Stravinsky's Lunch
986:"The Lacquer Room"
955:"The Sock Knitter"
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761:Order of Australia
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492:post-impressionist
405:Post-Impressionist
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265:Contemporary Group
257:Society of Artists
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154:Post-Impressionism
150:modernist painting
125:Order of Australia
1402:– audio recording
1357:Thomas, D. Grace
1329:978-0-330-36259-7
909:978-0-7148-7877-5
730:Later still lifes
273:Grosvenor Gallery
146:Australian artist
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1108:"The Prince"
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1448:1984 deaths
1443:1892 births
1364:Thomas, D.
1213:16 February
1183:16 February
795:Abbotsleigh
538:David Jones
446: 1922
417: 1917
375:, England.
284:still lifes
224:in Berlin.
194:Abbotsleigh
174:Neutral Bay
127:(AO) (1983)
98:Nationality
74:, Australia
1437:Categories
1350:James, B.
1237:2 November
1057:2 February
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809:References
673:Landscapes
645:Red Ensign
641:Union Jack
466:landscapes
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101:Australian
64:1892-04-20
1336:Hart, D.
1254:"Signing"
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686:, and in
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198:Wahroonga
160:Biography
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969:30 May
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751:Awards
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595:pylons
584:(1930)
516:cubist
423:Sydney
178:Sydney
114:Awards
625:Yalta
450:Crowd
371:, in
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1370:ISBN
1342:ISBN
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58:Born
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