[Editor: This article, regarding the fighting in Papua New Guinea during the Second World War (1939-1945), was published in The Argus (Melbourne, Vic.), 27 January 1943.]
Servicemen respond to call of art
Historic record on exhibition
By Frank Fitzgerald
This exhibition of art by Australians in the fighting services, which is now open to the public in the Athenaeum Gallery, might well be called a show of Australian art out of the melting pot. The Governor, Sir Winston Dugan, in performing the opening ceremony yesterday, referred to it as “an historical occasion in our lives.”
Certainly the exhibition is unique in the history of art in Australia. It is the product of many artists and of many kinds of art; of work that is mature and much that is immature; of much work that is good, some that is bad, and plenty that is indifferent. But every bit of it is interesting, and apart from its artistic merit the show is of inestimable value as an historic record and as an example of what can be achieved under most difficult conditions by men and women who are enthusiasts in the work.
There must be some grand stories in the background of this unusual exhibition. Consider some of the titles as set out in the catalogue: “Bringing Up a 14-pounder,” “Controversy in the Cookhouse,” “A Soldier Writes Home,” “Reconnaissance,” “Fuzzy Wuzzy Princesses, Milne Bay,” “Portrait of a Soldier,’’ “Camp Concert,” “Camouflage,” “In Old Jerusalem,” “Sarge,” “Tomb in Syria,” “Aboard a Troopship,” “Pte Cain, Tobruk,” “Scotty of the 6th,” Torpedo Bomber,” “Leningrad,” “Beaufort Bombers in Action,” “Ships on the Yangtse,” and not forgetting “Somewhere in Australia.”
A call to art
When it was decided to hold this exhibition invitations to exhibit and terms of acceptance were sent to every military camp in Australia, and to all naval and RAF establishments. Every artist and art student in the forces was to be given the opportunity of exhibiting some of his work. There was no limit to the number of works which could be sent by any artist, but there was a guarantee that at least one contribution from each artist would be shown. There was to be no discrimination between professional artists and amateurs in the placing of the exhibits. It was to be an “all-in” show, and only works produced in the present war period were acceptable. The response was great.
Nearly all Australia’s younger artists are in the services now. Many of them have been abroad with the AIF, RAAF, and RAN. Many have returned, but some are still abroad serving with their units or held by the enemy as prisoners of war. In all parts of Australia, in New Guinea, and on the seas in the SW Pacific Australian artists, many of them not yet out of their student days, have been taking their place in the defence of their country, and doing a little drawing or painting or modelling in their time off duty.
And here is the response to the invitation to all these Australian artists in the forces to set their hands to the work they love. In their drawings, paintings, and statuary they tell of many phases of the greatest war in history. Their works speak for them in a way that makes their message understood by all who have the will and the imagination to see beyond the horizon of their painted skies.
Scenes from many lands
Here on the wall is a well-painted portrait by an artist who before the war was making his way to recognition, if not to actual fame. It is a portrait of a cobber in uniform. Near by is a self-portrait by another artist, also in uniform. A few feet away is a landscape, obviously the work of a student.
Here are some pictures of Tobruk — drawings and paintings by young artists who took part in the historic defence of the rat holes and ruins by the blue Mediterranean. One little picture shows some of the Rats bathing … a little recreation in between raids. And here is a fine portrait of their commander, Lt-Gen Sir Leslie Morshead.
Another artist gives some of his impressions of places he has seen in Palestine and Syria. Others present scenes from desert camps, from training areas “Somewhere in Australia,” from shore batteries, and from the decks of ships of war on the high seas.
Truly the immensity of this war is described by the exhibiting artists. Details are not overlooked. In a small group of drawings by a first class artist one sees how young soldiers are trained to advance against enemy defence lines in dangerous open country. The graceful manœuvres of fighting aircraft are depicted in 2 fine paintings. And so on.
To mention the names of even a few outstanding artists among the many exhibiting would be invidious, but it should not be out of place to tell of the special interest created by the several fine drawings by Wilfred McCulloch, VX51300, missing in Malaya. Shortly before he went abroad with the AIF, McCulloch held an exhibition of his works at this same gallery. One of his exhibits in the present show is a portrait (and a good one) of his friend, Arnold Gardiner, who went away with him, and with him is posted “Missing in Malaya.” There must be a good story in that picture.
Source:
The Argus (Melbourne, Vic.), 27 January 1943, p. 2
[Editor: Changed “an to all” to “and to all”.]
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