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  • 20 Jul 2016 5:30 PM | Anonymous


    This was a busy night, with around 80 guests. We started off with a talk by maritime archaeologist Michael Nash, Manager Historic Heritage at the Tasmanian Parks & Wildlife Service. Mike's illustrated talk covered shipwrecks right around the Tasmanian coast, dating from the Sydney Cove, which ran aground in 1797 in the Furneaux Group, to the Viola, uncovered by stormy weather just a few weeks ago.

    By coincidence, a story about the Viola appeared in the Hobart Mercury on the same day as our talk, featuring Mike's discussion of how the wreck was identified by analysis of the timbers which pinpointed construction to north America. Perhaps it was this timely exposure in the press that prompted some additional guests to attend.

    As always with our Friends audience, there were lots of questions for Mike. One enquiry centred on what divers do if confronted by a dead body among the wreckage. Mike answered that fortunately that has only happened once in his personal experience. Depending on the circumstances of the wreck, the cargo can endure for a long time. Sealed bottles have been recovered from a number of wrecks. Recently yeast from the Sydney Cove cargo was reactivated to produce a beer with an extremely long pedigree.

    We also took a walk through the Tempest shipwrecks gallery, with its magnificently lit collection of paintings and ship models. TMAG Senior History Curator Elspeth Wishart and model expert Michael Stoddart were on hand to chat with guests and answer questions about the exhibits.

    The TMAG Shop opened to give guests the opportunity to avail themselves of the 10% Friends discount on all items.

    Below: Artefacts recovered from the Brahmin (Tasmanian Parks and Wildlife Service)



  • 30 Jun 2016 4:36 PM | Anonymous


    On 23 June 2016 Dr Mike Pook gave a compelling talk about the various drivers that influence Tasmania's cllmate, leading to the changes in weather that we either endure or enjoy during the course of each day, or sometimes each minute. 

    Meteorologists use a wide array of acronyms and we became familiar with some of these in the course of the evening:

    -- ENSO (El Nino-Southern Oscillation)
    -- SAM (Southern Annular Mode)
    -- IDO (Indian Ocean Dipole)
    -- MJO (Madden-Julian Oscillation)

    Analysis of these various drivers culminated in a series of maps showing how the impact of each of the influences changes on a seasonal basis. The whole subject left the audience with an enhanced awareness of the baffling complexity of climatic systems, and increased admiration for the scientists who work to unravel the complexity, helping us anticipate what the future has in store for us.

    You can see more photos of the evening in our Photos section, or download the graphics from Mike's presentation here.

    About Mike Pook

    Mike Pook is an Honorary Fellow in CSIRO Oceans and Atmosphere and an Associate of the University of Tasmania. Prior to his retirement, he was a Research Scientist at CSIRO, working in the Seasonal Prediction and Climate Variability Group. He began his career with the Bureau of Meteorology in Brisbane in 1967 while completing a BSc at the University of Queensland. After postgraduate training in Melbourne, Mike worked as a weather forecaster in Perth and Port Hedland before moving to Pearce RAAF Base in 1971. A short stint in Port Moresby was followed by a four-year posting to RAAF Base, Point Cook, as meteorology instructor to Defence Force pilots. Mike then worked as a senior forecaster in Hobart from 1978 to 1985 and spent the 1983-84 summer at Casey in Antarctica. After completing a PhD at the University of Tasmania in 1994 he worked as an academic, science communicator and administrator at the Antarctic CRC before moving to CSIRO in 2002. Mike was ABC Tasmania’s TV weather presenter for approximately 18 years from 1985 to the end of 2002.

  • 28 May 2016 4:57 PM | Anonymous


    Image: Leva Saulis


    After World War II, thousands of migrant women from Britain and Europe arrived in Tasmania, and along with migrant men and children they were part of the largest number of free migrants to arrive in such a short period of time in the island state. There would not be many among us whose families have not included women from this migration, and as a society we are immeasurably richer for it.

    The Snapshot Photography and Migrant Women exhibition was based on stories collected by Dr Nicolá Goc, Researcher at the University of Tasmania. She used the women's snapshot photographs to assist them in recalling memories of their migrant experience. The exhibition was so much more than photographs framed on a wall. Whole rooms were created -- kitchens, living rooms, bedrooms -- complete with the treasures of a lifetime, the photographs sent back and forth to families across the years.

    Dr Nicolá Goc spoke to members about the process of putting together the exhibition, and gave us some insights into a number of women and their stories. In addition to showing us their precious photographs, Nicolá was able in many instances to let us hear snippets of their stories told in their own voices.

    After the talk we visited the exhibition in the company of Nicolá and Elspeth Wishart, Senior History Curator at TMAG. It was the kind of exhibition that's very hard to leave, and in the end we had to round up the last of the guests so that the museum could close for the night.

    Thanks very much to Nicolá and Elspeth for a wonderful exhibition and a night to remember.


    About Nicolá Goc

    Dr Nicolá Goc is a senior lecturer in Journalism, Media and Communications at the University of Tasmania. She is a feminist scholar with a commitment to better understanding the lives of women and the ways in which they use various forms of media in their lives. She has written widely about the media's representation of the 'deviant' female, exposing the ways in which the media demonises women. 

    The Snapshot Photography and Migrant Women Exhibition comes out of her research on post-war migrant women and an examination of the ways in which they use family photography as a form of social media. Nicolá interviewed more than 50 women in Tasmania over three and a half years for the project. The exhibition was made possible by a Tasmanian Community Fund Grant. 

    For more photos see the Photos section on our website. Thanks very much to Elspeth Wishart for photos taken at our event.


    Above, from left: Anne Tucceri, Nicola Goc and Helen Kalis.

    Above: Friends member Joy Smith absorbed in a photo album.

  • 19 Apr 2016 3:01 PM | Anonymous



    One of the most popular recent events for the Friends of TMAG took place on Thursday April 14 2016. Entitled Where Science Meets Art: The Botanical Illustrations of Rod Seppelt, members enjoyed a fascinating talk from Professor Rod Seppelt of the Tasmanian Herbarium, and a viewing of the current TMAG exhibition.

    After the usual refreshments upon arrival, almost 80 members were welcomed to the event by John Sexton, Immediate Past President of the Friends, who then introduced our guest speaker. Professor Seppelt  is one of Australia's most accomplished botanical illustrators and the exhibition presents a selection of his illustrations of bryophytes (mosses and liverworts). The Tasmanian Herbarium holds an important collection of over 35,000 botanical specimens collected from Antarctica and the subantarctic islands. Many were collected by Rod himself, who participated in numerous expeditions to both polar regions and conducted research in these areas.

    Rod Seppelt's talk had two strands: firstly, he gave a brief but very entertaining survey of 4,000 years of botanical illustrations, beginning with the Sumerians and Egyptians, and then secondly he talked about his own career and how he had come to specialise in botanical illustration, particularly of mosses, liverworts and lichens.

    Rod talked to us about the processes involved and the differences between botanical art (the portrait of a plant) and scientific illustration (which combines both the portrait with all the cell and anatomical detail).

    This talk provided an excellent spring-board for members to then view the exhibition itself, and the success of this event can probably be best measured by the fact that many of our members found it difficult to pull themselves away from the exhibition when it came time to leave.

    Our thanks go to Professor Seppelt for his generosity and enthusiasm in making this such a successful event.

    For more photos taken at this event, browse the Photos section on our website. If you attended this event, chances are you will be in one of the pictures. Photography by Jack Robert-Tissot.





  • 25 Feb 2016 9:29 AM | Anonymous

    Pattern Play has been a very successful TMAG exhibition, and a hardy group of Friends enjoyed some behind-the-scenes explanation of this fascinating show. Our members' function happened to coincide with two other noteworthy events: a short but violent rain storm and traffic gridlock through much of central Hobart. This  probably explains why not all who had booked for this event actually made it - and many who did arrived looking bedraggled and somewhat frazzled with stories of prolonged travel time in miserable conditions. Some restorative refreshments soon got everyone's equilibrium back on an even keel, and we had a very enjoyable event. 

     Friends' Vice President Chris Thomas, on behalf of our absent President Julie Hawkins, welcomed members and introduced Andy Baird, TMAG's Acting Deputy Director (Audience Engagement), and Dr Catherine Byrne, Senior Curator of Zoology.

     Andy Baird gave members an overview of the Pattern Play exhibition, and then members were split into two groups: one experienced the hands-on aspects of Jemima Wyman's Pattern Bandits, a Queensland Art Gallery/Gallery of Modern Art (QAGOMA) travelling exhibition, while the second group inspected Patterns in Nature, a TMAG exhibition, under Dr. Cathy Byrne's direction. After half an hour or so the two groups swapped so everyone could enjoy both exhibitions.

    One of the highlights of this Friends' event was that it encouraged members to bring  children and grand-children with them, and it was wonderful to see kids and oldies sitting down together at tables to play and let their imaginations run riot with the materials that formed an essential part of the exhibition.

    Another highlight for members was to see how our own fund-raising activities had been put to great use in the presentation of the Bornemissza beetle collection within Patterns in Nature.

    A number of Members expressed their great delight with this event, particularly as its hands-on element meant that it had a different feel from the structure of our 'normal' Members' nights. Having a number of children present also added to the interest of the occasion and we are hoping to be able to do something like this again in the future.

  • 23 Dec 2015 3:40 PM | Anonymous


    For this event, we were very fortunate to have historian Dr Alison Alexander speak to us about Hobart's early days as shown in the exhibition Panoramic Views. 

    Alison has kindly given us a transcript of her talk, reproduced below. If you'd like to go back for another look at Panoramic Views before it closes on 17 January 2016, a printout of her talk would give you valued insights into the paintings, and what went on behind the scenes.

    Julie Hawkins



    -------------------------------

    Panoramic views

    The word ‘panorama’ comes from two Greek words, ‘pan’ meaning all, and ‘orama’ meaning view. The late eighteenth century was a time when people like quirky inventions, and artist Robert Barker invented the panorama, in which people walked in into a round room and saw a 360˚ painting all round the room.  This was an exciting novelty in 1791.

                      Not everyone had a large round room, and panorama came to mean the painting from the walls laid out flat, and then merely a long painting. The question of when a painting turns from a panorama into a landscape is one I couldn’t find an answer for, but that needn’t bother us. We can concentrate on the beauty a panorama can portray.

                      And surely, of all cities in the world, our Hobart is among the leaders as the subject of a panorama, up there with Rio de Janeiro and Naples. So many cities are flat: Sydney, Melbourne, London, New York, Paris and so on. Beautiful perhaps, but flat. A panorama needs height as well as length. Real height, not just skyscrapers, the sort of height provided by mountains in the background. It also needs a mixture of subjects: not just forest or bush, not just buildings, and certainly not just sky. It’s best if it has an expanse of water in front, and an impressive mountain behind. Hobart, in fact.

                      When artists sailed up the Derwent and saw Hobart, their fingers must have itched for the brush. What a noble mount behind (in the language of the day)! Towering above the small town, so lofty and picturesque! Such a beautiful deep blue, and with its majestic dolerite columns of the Organ Pipes! Surrounded by attractive foothills of all shapes and sizes, in changing shades of blue-green, from pretty, noble Knocklofty to the gentle slopes of Battery Point, and with all sorts of bays, inlets, headlands and beaches leading to the water in such an attractive way. Then there was the town, a pretty little collection of buildings – you don’t want too much city in your panorama, because a lot of buildings tend to get a bit boring, rather bitty and repetitive. In front, the beautiful River Derwent, with little waves tossed by the breeze, and an attractive assortment of vessels, from grand sailing ships, their sails swelling in the breeze, to quaint little fishing dinghies. What more could the artist want?

                      I’m going to concentrate on the panoramas of Hobart in this talk, partly because of time, and partly because they make such a good contrast. The painting of Mauritius is fine, and fits in well, partly because its artist, Augustus Earle, also painted a panorama of Hobart, and partly because Mauritius is like Tasmania. In fact when I looked up ‘Mauritius historic’ in google images, there was a painting that looked so like Collins St with Mount Wellington in the background that I had to check the title to see it was in fact Mauritius. The other panoramas all have their attractions, but tonight Hobart is the subject.

     

    Why do people paint panoramas? There are many reasons. For sale, to make a profit. To illustrate a book, nearly the same thing: as an attractive illustration to make the public open their wallets. To send Home (Britain), as an illustration of their new home. For the family. For their private enjoyment. For a friend or neighbour. As a work of art. The various motives affect the end result: how is the artist trying to depict the subject? As a success or failure? Beauty or ugliness? Civilisation or wilderness? With each of these panoramas it helps to understand the painting if we look at the artist’s situation and possible motives, as well as the actual subject. These panoramas were painted over a period of sixty years, during which Hobart developed enormously.  The surroundings remained the same – the hills and Mount Wellington are still just the same, of course – but the objects made by humans developed.

                      How did the artist balance accuracy and artistic endeavour?  Some of these paintings are very accurate, almost down to the last brick and leaf. Others are more concerned with general atmosphere. Again, this question is bound up with the artist’s aims, and also perhaps with how talented he or she was. A question to bear in mind. The accuracy point I judge by looking at the artist’s depiction of Mount Wellington. If you want to be accurate, there it is, its shape clearly outlined. If you get it wrong, either you want to depict it differently for some reason, or you aren’t skilled enough to get it right. After all, we’re not all Turners and Constables.

                      Hobart was founded in 1804, part of the great British Empire – though an extremely remote part, almost as far from Britain as one could travel, and highly disreputable in that it was a convict colony, where Britain got rid of the criminal element from its own shores. As a convict colony, it had a dreadful reputation in Britain, not so much because of what it was, but because of what the British thought it must be – the home of thieves and murderers. It’s another aspect of these paintings: they were done with this background. How was the artist affected by it?

                      If you’re interested, and most people are, you can pick out many individual buildings in these paintings.  Some are less accurate than others, of course, but some are amazingly so, and it’s a great sport to find what’s there and what isn’t. ‘Is that government house?’ ‘I think he’s put the barracks in the wrong place’, and so on. Just don’t get so enthralled you forget when your parking meter expires.

     

    A digression. I recently published a book about Hobart’s first twenty years, Corruption and Skullduggery, a title that shouted at me after I had completed much of the research, because it was exactly what I found. Because I published the book myself, I could include as many images as I liked, and I tried to depict every painting of Hobart in its first two decades. The one I chose for the cover was painted by a convict artist, W.H. Craig, in 1815, and I liked it because it showed Hobart as rough and ready, rather wild-west-looking, a struggling little settlement on the edge of the world, not the prim and proper town depicted by artists like Joseph Lycett, of which more later. Lycett’s paintings are very pretty and are often chosen as covers for books (I’ve had several myself) but this wasn’t the Hobart I’d found in my research. I really enjoyed trying to show this early, ramshackle little town, and Julie Hawkins who designed it so brilliantly entered into the spirit as well – we had a great time together.  I’m saying this so you can realise the town’s background: a place of drunkenness, corruption, adultery, pubs and brothers, with ramshackle little houses, no rubbish collection, roads which were just tracks, often with tree stumps still in them, night soil flowing into the rivulet – as suggested, at least partly, by this painting. Craig painted it as a present for Governor Davey, who led the way in the drunkenness, corruption etc, and presumably revelled in the idea. No need for Craig to pretend Hobart was anything it wasn’t. In any case, he was in the not-Turner league, and probably just painted what he saw.

                      The first panorama in this exhibition was painted five years later in 1830 by George Evans. It depicts an extremely attractive little town, neat, prim, proper, tidy, without a pub or brothel in sight. Instead of being wilderness at the end of the world, it looks like an English park. There’s a very proper-looking couple who might have come straight out of Jane Austen, a gentleman in elegant clothes and a lady in a charming dress. Even the animals are tamed, a horse and cows doing what they are told by humans. The only evidence of Australianness is a couple of small, quiet, inoffensive kangaroos under a tree. No Aborigines, of course. None of these panoramas include them, and the kangaroos are a rarity; mostly, everything on view is thoroughly English (not even Scottish or anything else). This panorama is saying: isn’t this a successful transplanted English town! Wilderness tamed, a charming town built on unknown antipodean shores in under 20 years! This is what makes the Empire! Aren’t we wonderful! Evans published a book about Van Diemen’s Land in London, which said much these things, presenting a very positive picture of a colony with wonderful climate, scenery, soil, and prospects for the British. He managed to avoid mentioning convicts (although it was a convict colony) and it was the same with this painting, which might have been done as an illustration for the book, or at any rate for sale in London, showing British success.

                      The irony of this is that Evans was very much part of the scene of corruption and skulduggery of the first twenty years. He was the surveyor-general. Settlers brought letters from the secretary of state in England, allowing them so many acres free. The governor gave his permission and provided a location order; the settlers chose the land, the surveyors measured it, and the governor gave the settler a land grant. But settlers complained that they could not get their grant surveyed without paying bribes.  One bribe got the survey done, another got it done generously. Thomas Gregson even gave Evans a piano to get a larger amount of land. Evans was in the thick of the bribery, doing very nicely, thank you. In 1820 when he painted this panorama, he was right in the middle of all the shenanigans. However, hypocrisy was alive and well in Hobart, and he painted this picture of an idyllic, and therefore utterly honest and upright, English town.

                      The second panorama is a huge contrast. For a start it’s anonymous, so we can’t place it according to the artist. Probably, however, it means it was not done by an artist who lived in Hobart, since these tended to be known in the small community. Perhaps it was done by a visitor, who would see the new colony as an object of curiosity?  This would be a credible suggestion, for this painting shows Hobart as darkly Gothic: menacing, gloomy, with glowering brutal hills from which a dragon or man-eating bear might emerge at any moment. The town is small, unimpressive; there are no people. It is worth looking closely at this painting, because it’s probably the only time you will ever see the organ pipes painted horizontally. I think we’re back in the not-Turner group here. But it is certainly interesting, the way a visitor might well see a new, wild, mysterious colony from the deck of his ship. I think it’s the panorama where Hobart appears the smallest, just a few of the larger buildings.

                      Next we come to Joseph Lycett. Born around 1774 in England, Lycett was an artist, who was convicted of forgery and transported to Sydney in 1814. Once given a conditional pardon in 1819, he resumed his career of painting. He was given an absolute pardon in 1822, and returned to England. There he published books of NSW and Van Diemen’s Land views. His pictures of Van Diemen’s Land are pretty accurate, but it’s not clear if he ever came here. If not, he must have had something to copy: what? Artists were thin on the ground in Hobart at about 1820, and so are records. No detailed biography has been written of Lycett, and it is possible that he made a quick trip to Van Diemen’s Land – presumably he was planning on these views, and would have wanted to include it. He was a quick and prolific artist. He could have sailed from Sydney (about 10 days), spent a couple of days painting Hobart roughly, to be filled in later; gone to New Norfolk, travelled to Launceston, then returned to Sydney inside a month. On the other hand, his paintings are rather like Evans’s: perhaps he commissioned Evans to make him sketches, which the surveyor would do with great accuracy? However, that’s not really important, though fascinating. What is important for this talk is the end result.

                      Lycett was painting for the market. His views of Van Diemen’s Land look more like England, that English park of Evans, than Van Diemen’s Land. Also like Evans, everything is tame, obedient, law-abiding, proper – as well as neat and pretty. There are two versions of this painting of Hobart: a sketch in black and white, which looks very geographically correct, and the painting, which like most Lycetts is very attractive. It’s a sunny painting, with lots of blue and white, and surely it attracted a good price in London, Lycett’s aim. It told the British that they were successful colonisers. Only two decades, and here is this previous wilderness, just like anywhere in England!

                      Next we come to a painting by either Augustus or Elizabeth Prinsep. Augustus Prinsep was born in London in 1803 and joined the East India Company, arriving in Calcutta in 1822. He rose fast through the ranks of the civil service, and in 1828, as Commissioner of Pergunnah Palamow, he married Elizabeth Acworth, from a distinguished naval family. Augustus’ ill-health drove the Prinseps on a trip to salubrious Van Diemen’s Land, where they arrived in 1829. They remained six months, then returned to Calcutta, but Augustus died at sea. Elizabeth published his letters home with illustrations, perhaps done by her – she was an accomplished artist. The book did not include the present panorama.

                      This is a lively, cheerful painting, more of the river than the town. The ships with their billowing sails, the picturesque harbour – it makes a charming picture to hang in your drawing room. It is an early part of the strong maritime tradition of Hobart, of those who see it more as a port full of shipping and maritime activity than a city with a hinterland. However, there is Mount Wellington, more accurate than most of this period. It would be understandable if a senior Indian civil servant, the Commissioner of Pergunnah Palamow, liked accuracy. Or his wife.

                      And now it’s back to George Evans, with a panorama of Hobart he painted in 1828. By this time the new LG, upright and competent George Arthur, had managed to get rid of this dishonest scoundrel of a surveyor, who retired on a generous pension. In 1828 he was not in Hobart, having gone to England, so presumably this was done from memory, or from another painting. This is very neat and accurate, as you’d expect in a surveyor, even a crooked one. As before, it shows a very neat and orderly town, in park-like surroundings. Hobart has fine buildings for a town only 24 years old: it’s a progressive-looking colony, a credit to the British Empire.

                      What marks this panorama out from others are the humans in it. The other panoramas have no people, or small figures mostly in the background. This one has larger men in the foreground, and one of them is the surveyor at work, looking competent and gentlemanly. Certainly no bribes poking out of his pocket! It’s easy to imagine Evans enjoying putting in his alter ego, in charge of the project, making some new infrastructure vital to the colony’s development.

                      As well, Evans included convicts.  This is really rare. There are hardly any convicts in early Van Diemen’s Land paintings, as artists did not want to mention this blot on the colony’s escutcheon, so it’s interesting that Evans does.  Although they’re very neat and obedient convicts, working away as they should, and it doesn’t matter for the British market that they are convicts, because there’s nothing to show it, no uniform or brand, let along leg irons. British viewers would probably take them for ordinary labourers. Tasmanians know they are convicts, because only convicts did such manual labour, but Evans wasn’t painting for them.  

                      Earle’s Mauritius follows, a very dramatic work of towering mountain peaks. In 1827 Earle also painted a panorama of Hobart which is less dramatic, much longer, a real panorama, almost the full 360 degrees. It’s very charming, and also very accurate, so that you can stand on the place where it was painted and see the bays and headlands, an enjoyable activity.  They were for sale a few years ago, and I can tell you that a panorama is in fact very impractical because it’s hard to find a place on your walls to put it, with doors and windows occurring at inconvenient intervals. It’s no wonder landscape shapes are far more popular.

                      Now comes an anonymous panorama, entitled ‘After W.J Huggins’. William John Huggins was a sailor with the East India Company who during his voyages made many drawings of ships and landscapes. Retiring to London, he became well known for his maritime art, his paintings selling well. In 1828 the Colonial Times advertised his marine views for sale in Hobart.  Did Huggins visit Hobart and someone copied the result, or does the ‘after Huggins’ merely mean someone painted Hobart a la Huggins? Whichever it was, it resulted in a pretty view, another park-like, English image.  The next painting is similar: again by an unknown artist, again very neat, clean and tidy, with no people visible.

                      Frederick Strange was another artist who became a convict, transported for stealing a watch. He arrived in Hobart in 1838, became a government messenger, and when he obtained some freedom, started painting portraits and giving art lessons. However, he made only a miserable living. In the end he opened a grocer’s in Launceston. So he’s another in the not-Turner school. This painting, from Knocklofty, is rather impressionist and vague, the buildings just sketched in.

                      Now we come to the cream of the crop, as my husband put it: Hobart in 1848 by Francis Simpkinson de Wesselow. Born plain Francis Simpkinson, taking on the aristocratic de Wesslow when he inherited money, the lad was the nephew of Jane Franklin. Encouraged by his Uncle John, he joined the navy at an early age, and from 1844 was stationed at the magnetic observatory in Hobart for five years. An accomplished artist, he made many portraits all around Van Diemen’s Land: see the wonderful book of his paintings Max Angus published some years ago. This panorama of Hobart is magnificent – though, perhaps rather strangely, it doesn’t make full use of Mt W to bring height into the picture. However, the angle it’s painted from, on the Domain, gives an attractive blue bay at left, balanced by blue mountains at right, an unusual and striking perspective. It’s the full 360˚, stretching nearly two metres across ix sheets of paper. It’s not only the largest panorama in this exhibition, but the one which brings Hobart most to life. There are all sorts of ships in the harbour, from traditional sailing vessels to a modern steam ferry, tied up at the Old Wharf at Hunter Street. On the Domain, soldiers are marching, striking in their red and white uniforms. A vehicle is bowling along a road, and other people are busily active. De Wesselow was not painting for profit, or to prove any point, but for his own enjoyment, and this emerges in his panorama.

                      In the 28 years from the earliest panorama in the exhibition, Hobart has not developed enormously. It has grown, certainly, but de Wesselow’s depiction is not so dissimilar from Evans’ 1820 picture, from much the same spot. Now, however, for the last panoramas we jump through the decades, 20 and 30 years. Hobart is now the capital of independent Tasmania. Convicts are history. The colony’s population had doubled, from 50,000 to 100,000 and though I could find no figures for Hobart, the capital city would doubtless have doubled too. It has impressive new buildings, many built in the first heady days of independence in the 1850s. The Hobart City Council has modernising projects in hand. The Hobart of these paintings is not a small outpost of a convict colony, but a mid-Victorian city, proud of its growth and its position as capital.

    First comes an 1876 panorama by E.P.B. It’s frustrating not to know the artist. Edwin Percival Browne, a visitor, from the deck of his ship? Eleanor Phoebe Butler, member of a prominent Hobart family? This panorama is more of wonderful scenery than the town of Hobart, with beautiful inlets, hills, beaches and water views. Similar is the Hobart regatta in 1868, also anonymous, full of boats, and spectators watching in herds on the shore. I can’t get too enthusiastic about the Albert Charles Cooke drawing of Hobart, which is very accurate, intriguing if you want learn about the streets and buildings, but rather boring and dingy just to look at. It’s time to move to the centre display cabinets, and look at Glover’s intriguing sketches, and the Oyster Bay painting which reminds us what a panorama was all about, with the piece at the end still rolled up. 

    Alison Alexander

    -------------------------


  • 23 Dec 2015 3:32 PM | Anonymous


    We have been trying to organise a Friends visit to the old Mercury building in its new transformation into the headquarters of Detached, the arts foundation set up by Penny Clive and Bruce Neill. Penny is a major supporter of TMAG and is currently a Trustee, so when a window of opportunity opened for us to visit we emailed an invite to all Friends with email and filled the thirty places within a couple of days.

    And it was (as expected) an experience to remember. Not to everyone's taste, it must be said, as the permanent exhibition of Penny's collection of contemporary visual Patricia Piccinini can be challenging as well as powerful and compelling. 

    Magdalena Lane of Detached gave us a great introduction to the organisation and its future, after we had a preliminary walk around the entire ground floor, where the industrial spaces that housed the old printing presses have been reused to house the works of Piccinini and her partner Peter Hennessey. His huge sculptural installation fits superbly into the rough walled space with its high ceilings, and is set off by the almost delicate fantasy/surreal/lifelike boy with female creature tableau of Piccinini. And that was just the start...

    We are very grateful to Penny and Magdalena for giving us the privilege of a visit to this exciting venue at such short notice. if you missed out, keep an eye open for the next time the exhibition will be open to the public, possibly during Mofo early next year. And keep an eye on Detached -- we know Penny and her team have exciting plans for the future and we look forward to hearing more about them over the coming year.

    John Sexton


  • 24 Nov 2015 8:21 PM | Anonymous


    On Thursday 19 November 2015 fifty Friends and guests gathered at Narryna for a fascinating insight into this historic home. Interestingly for many this was their first visit to Narryna. Scott Carlin, Manager, House Museums at TMAG introduced us to the house which was built in the late 1830s. The property tells its own distinctly Tasmanian story and it is this that Scott is keen to share with visitors. Through careful work, evidence of Narryna’s original decoration has been uncovered. This includes graining, marbling and wallpapers dating from 1840. Faux finishes were very popular at this time and Narryna obviously embraced that trend enthusiastically.

    Incredibly (and very luckily!) we have our own historic wallpaper expert and craftsman, Alan Townsend here in Tasmania. Alan gave a very entertaining presentation on the research techniques and methods used to reproduce the wallpapers now hanging at Narryna. Designs including button satin and ashlar were sourced from Tasmanian properties contemporary with Narryna. In order to create the desired texture in the wallpapers, for example in the button silk design, a series of wood block prints in slightly varying shades of grey needed to be applied very carefully, one on top of the other. Whilst today’s technology makes this much easier than in the 1840s, it is still a very challenging process. Alan also shared some other wallpaper and frieze designs from the time, many of which were incredibly ornate. Going downstairs after Alan’s talk we looked at the walls and wallpaper with a whole new appreciation.

    Continuing the theme of attention to detail there was also the opportunity to also view the entries and winner in the Tasmanian Art Quilt Prize which were on display at Narryna.

    Our thanks to both Scott and Alan for this most enjoyable and interesting event.

    --Gabrielle Balon

    Go to our Photos page to see more images of our visit to Narryna.

  • 22 Oct 2015 4:43 AM | Anonymous

    TMAG Director Janet Carding addresses members at the Friends of TMAG Annual General Meeting, September 2015

    As mentioned previously, once the formal business of our AGM on 24 September was finished with, members were provided with a review of recent projects and a tantalising preview of forthcoming events and activities by Tasmanian Museum and Art Gallery Director, Janet Carding.

    This is a transcript of her address.

    >>>

    I’ve been at TMAG for less than six months so I can’t tell you about everything we’ve done over the last year, but here are some highlights of 2014–15:

    The many exhibitions included Bush Blitz in Focus: Discovering New Species in Tasmania, City of Hobart Art Prize 2014, George Davis: Master Draughtsman, Jorg Schmeisser: Antarctic Paintings, 21 Up, Things I Once Knew: The Art of Patrick Hall and The Suspense is Awful: Tasmania and the Great War

    Participation by TMAG scientists in the national Bush Blitz Program field expedition to the Arthur, Pieman and Savage River areas

    Acquisitions have added to our collections including a new piece by Patrick Hall, depth of field bought with the support of the Foundation; a watercolour by Benjamin Duterrau, Schone Castle, Scotland; 1960s dining room suite by Schulim Krimper (dining table, dining chairs, side table, sideboard), coffee table and desk; Patricia Dukes Antarctic collection, 1995–2005. Equipment and supporting documentation for the 1997 Spirit of Australia South Pole expedition, 2000 International Trans Antarctic expedition and the 2002 Arctic expedition; Voucher collection of Tasmanian freshwater invertebrates from Australian River Assessment System (AUSRIVAS) sampling program, of unknown value

    Expansion of key partnerships, particularly with the City of Hobart in the delivery of the inaugural summer Friday Nights at TMAG series supported by the council’s cultural initiative, Creative Hobart   

    Expansion of outreach and art education activities delivered through AccessArt and supported by Detached Cultural Foundation including live virtual tours, Make Your Mark: Freedom youth art initiative and the Artist in Residence Program, January 2015

    Expansion of learning programs to include a hands-on program milaythina Makara takila-ti or Country forever in our hearts presented by Tasmanian Aboriginal community members and TMAG staff and the very popular Colonial Hobart Comes Alive

    NAIDOC Week and National Science Week programming and a new partnership with Questacon, The National Science and Technology Centre in the delivery of the Invention Convention at TMAG

    And looking ahead we’ve signed an MOU with the Natural History Museum, Le Havre in conjunction with six other museums around Australia to be part of a touring exhibition throughout 2016 and 2017 of original artworks from Baudin’s expeditions to Australia.

    We have finished the year [with visitor numbers] around 360,000. This is good news as we expected to drop back from the giddy heights of the 475,000 the previous year, but I understand drops of up to 50% are not uncommon in the second year after a reopening.

    I know that TMAG is a much-loved organization and the recent redevelopment has been positively received. We have:

    • Strong collections, 1 million strong, with a unique Tasmanian focus – we tell the stories of Tasmania
    • Lots of programs, and considerable innovation happening
    • Dedicated supporters in Volunteers, Friends, Foundation and TMAGgots
    • Good in-house expertise eg in Conservation, registration, outreach, Aboriginal engagement
    • A wonderful location for our main site, and good collection facilities at Rosny.

    Around the world museums and galleries are changing as we see more programs and events alongside the exhibitions and educational activities, evening openings, collaborations around research, new initiatives for early years, wellness and medical, and increase in collections online. Over the next few years we’ll see increasing use of big data, and gain a better understanding of how museums strengthen communities – giving people a strong sense of identity grounded in history, art and landscape – in this globalised world.

    Within Tasmania we’re seeing a push to increase tourism to 1.5 million visitors, but also initiatives around educational attainment – in all of these areas TMAG can and will play an important role.

    With the first stage of the redevelopment completed now is the time to build on what we’ve achieved and focus on how we bring the museum and art gallery to life everyday. We’re working on our plans for the future and by the end of the year will have a new strategic plan, but what I can tell you today is that we should be:

    • The leading destination to explore the stories of Tasmania
    • A must-do for tourists and popular with locals

    We do this by being:

    • Compelling for adults, families and school students
    • A centre for volunteering, philanthropy and citizen science/humanities
    • The State’s collections content hub, supporting culture, tourism, research and education state-wide

    This year while we plan we’re making a start by using our next exhibitions to build awareness of the role we play in the community. Let me give you some of the highlights:

    We’ve put together the evening events that take place at TMAG, so we can better promote what goes on here, and you can put them in your diary well in advance.

    The Hobart Art Prize has just returned, putting us in the spotlight around contemporary practice in Tasmania.

    A week later on Sat 26 Sept we will be opening Colonial Panoramic Views, a rich display curated by Sue Backhouse

    In mid-December we open Pattern Play, an exhibition that uses the patterns in art and nature to inspire families and young people in their creativity, major show from QAG, with additional material by TMAG which runs until late May next year. We are delighted that the committee of the Friends has committed $15,000 to support the development of new exhibitions about patterns in nature for this show.

    Snapshot photography in mid-March 2016 – documenting the experience of women migrating to Tasmania from 1945 to 1975

    And then in mid-June 2016 our major exhibition, The Tempest, will open to coincide with Dark MOFO.

    Alongside all of this we’ll be completing our plans, building partnerships, promoting ourselves to tourists, increasing our volunteering opportunities and building the case for major investment in our technology – particularly our collections management system – the way we aim to digitise our collections and build a platform that can be shared with the other state organisations to put Tasmania on the map in terms of online access to our unique resources, libraries, archives, museum and galleries.

    It is a lot to do and very exciting, and we’ll need your help to make TMAG truly thrive in this world. A museum is as strong as the community that supports it and, whether your interest is in Tasmania’s art, education, research or history, your support can make a major difference.

    I’ve already been struck by the joy, enthusiasm and generosity of the Friends, always enjoying learning and new experiences, whilst supporting TMAG. Thank you for making me welcome, and I look forward to talking more with you as each new idea for TMAG take shape.

  • 19 Oct 2015 10:56 PM | Anonymous


    After our first visit to the Theatre Royal sold out quickly, we were able to schedule a second visit for those who missed out. 

    Most of us are familiar with the theatre from the seating in the stalls, the balcony, and even the gods, but not many have seen it from the other side of the stage.

    Our guide Robyn Rheinberger took us first outside, where layers of sandstone, brick and steel reveal the history of the building. Inside is a rabbit warren of dressing rooms, narrow corridors, the green room (which isn't green), the orchestra pit, and finally the stage, with its ancient boards and modern lighting and curtain-raising. 

    A fascinating insight and a great afternoon tea to follow!


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