Margaret Preston’s Flowers
>> Jun 9, 2012
A
beautiful vase blooming with colour and life often takes centre place on
assorted tables around the country. Throughout history still-life
interpretations of flowers in a
vase has catapulted artists into recognition and legend. Van Gough is an
obvious one for his sunflowers and here in Australia, Margaret Preston became well
known in the art world in the early 19th century with her still life
woodcuts. Taking a trip to the local florist or shopping for flowers online may
remind you again of how a simple image can inspire artists into greatness. An
avid supporter of indigenous Australian culture, Preston often painted Australian
Native wildflowers and bush scenes, popularising our unique flora and landscape
both here and overseas.
Margaret
Preston was Australia’s foremost female painter between the wars, a period when
many of the best Australian artists were women. Talented and adventurous, she
used still-life as a subject throughout her career and her greatest
achievements in the area came in the years 1915 and 1930.
Margaret
Preston’s Life Work
Preston
took lessons in china-painting when she was young after her mother caught her
painting over the china plates and later studied at the Melbourne National
Gallery School under Fred McCubbin. After the death of her father in Adelaide
she returned to Melbourne to study under Bernard Hall, director of the gallery
and head of the art school. Here she progressed from charcoal studies to
drawing nudes, winning a drawing prize in 1897.
In 1898
she returned to Adelaide where she studied at the Adelaide School of Design and
attended another life drawing class and soon began teaching to support her
mother and young sister. After the death of her mother Preston returned to
Europe and studied in Paris. She started painting again while living in France
and gained an understanding of Japanese art at the Musee Guimet in France.
Colour, flat patterning and lines gave her work drama and boldness that became
very popular.
Upon
marrying William George Preston, Margaret no longer needed to worry about
financially supporting herself and produced many theoretical journal articles and
paintings. The woodcuts Preston produced in 1925, while living in Mosman,
depicted Sydney scenes including Circular Quay, Sydney Heads, Sydney Foreshore
and Mosman Bridge. These paintings were generally praised by art critiques of
the time.
Margaret
Preston on Australia
In an
interview with the Sydney Morning Herald in 1950 Margaret Preston said, “No one
else seemed to be using Australian flowers but I think they are more
interesting and decorative than those of other nations”. Late in the 1920’s her
wildflower woodcuts featured on magazine covers and became extremely popular
prints to hang in the home. Her wildflowers included Australian Gum Blossom,
Hibiscus and Flannel Flowers.
Preston
had a particular fondness for painting Banksia and the simplicity of form in
these images of Banksia reflected the popular Art deco movement of the time. Her
later works in the 1940s were inspired by Aboriginal art and she wrote magazine
articles discussing this style.
Ultimately
Margaret Preston was propelled to discover a national decorative art style that
would signify Australia and the Australian cultural landscape. Her interest and
respect of Indigenous culture and art is to be admired and provides insight
into her passion for both art and Australia and why her work proved so popular.
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