Home Abroad
and
Paintings of
T H E
A R T
O F
B E V E R L E Y
B U D G E N
Publishing details Catalogue published and distributed by Cairns Regional Gallery on the occasion of the exhibition Beverley Budgen: Paintings of Home and Abroad at Cairns Regional Gallery – cnr. Abbott and Shields Streets, Cairns, Queensland 4870 Australia Copyright 2010 Cairns Regional Gallery, artist and author Cairns Regional Gallery PO Box 7784 CAIRNS Queensland Australia 4870 Exhibition dates:
21 May to 18 July 2010
Exhibition credits Curator: Catalogue writer: Catalogue Editor: Catalogue Design: Catalogue Printing: Photography:
Brian Robinson Glenn Cooke Brian Robinson Amanda Page Lotsa Printing Cairns David Campbell
First published in 2010 by Cairns Regional Gallery www.cairnsregionalgallery.com.au ISBN: Edition:
978-0-646-53316-2 1000
All rights reserved. Except for reasonable purposes of fair review, no part may be stored or transmitted in any form or by any means, electronic or mechanical, including recording or storage in any information retrieval systems, without permission in writing from the publishers. No reproductions may be made, whether by photocopying or by other means, unless a license has been obtained from the publishers or their agents. Front cover [left to right]: Sandy Cove, Ireland 2005, Suncity split windscreen 1979, Alma Bay headland, Magnetic Island 2004
Sponsor:
Opposite: Manly West State School, Brisbane – Saturday morning art for children [1979] PAINTINGS OF HOME AND ABROAD
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CONTENTS Introduction: Glen Cooke
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Catalogue of Selected Works:
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Childhood Memories: Paintings of Home
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A Time To Travel: Paintings of Abroad
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A Tropical Setting: Paintings of Home
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Biographical Notes
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Exhibition List of Works
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Acknowledgements 36
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BEVERLEY BUDGEN
PAINTINGS OF HOME AND ABROAD
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BEVERLEY BUDGEN: PAINTINGS OF HOME AND ABROAD For more than forty years and with more than twenty solo exhibitions to her credit it is clear that Beverley Budgen has been committed to her art practice. This display is the salutary evidence. It is very convenient to begin this survey of Budgen’s career in art with The veils of evening enfold the land 1973 as it was selected for inclusion in the Queensland Art Gallery’s 1995 exhibition ‘A Time Remembered: Art in Brisbane 1950 to 1975’. The work provides a key indicator of her development and her influences to that time. Budgen was born in Brisbane and from an early age expressed an interest in art as a juvenile as The weigh in, Hamilton 1954 indicates. She studied with Gloria Logan at Brisbane Girls Grammar and at age 18 enrolled in the commercial art course at the Central Technical College but stayed for only six months. She decided to focus on a career in fine art despite the discouragement of the then Director, Cyril Gibbs. Budgen’s career was established in the flurry of excitement that energised the Brisbane art scene in the 1960s through the inspiration of the Directors of the Queensland Art Gallery, the support of critic Dr Gertrude Langer, the growth of commercial galleries, the proliferation of the art prize and last, but not least, the rivalry between contemporary artists Jon Molvig and Roy Churcher. She studied with Roy Churcher at the College from 1963 to 1964 and subsequently enrolled in the Queensland Arts Council’s Vacation Schools in 1964, 1976 and 1979. It was through the connection with Roy Churcher that she became a member of the Wednesday Group (and the youngest of the group at that).The Wednesday Group were women painters who were active in Brisbane in the years from 1963 to 1972 and who sub-let Churcher’s studio at St. Mary’s Anglican Church at Kangaroo Point on a Wednesday. The initial members were Dorothy Akers, Deirdre Bennett, Alison Coaldrake, Joy Hutton and Rona Van Erp who were all students of Roy Churcher. (1) Like Budgen, these women were enthusiastic participitants in the annual exhibitions of the Contemporary Art Society of Australia (Queensland Branch). Budgen was included in the Group’s exhibitions at the Moreton Gallery in 1966 and at the Design Arts Centre, Elizabeth Street, Brisbane in 1967, 1968 and 1972. The birth of her children in the mid sixties precluded her attendance at many of the vacation schools for more than a decade but she was kept ‘up to date’ via the other members. Although Budgen was largely self taught the early influence of Churcher and through him, the shared experience of the Wednesday Group is strong and continuing. Her passion for colour can be traced to these early years. The Wednesday Group developed a recognisable style, in the use of broken squarish colour patches through Churcher’s promotion of his ideas of creativity and abstraction. However, by the 1970s the regularity of the discrete colour patches softened as can be seen in The veils of evening enfold the land. This work is Budgen’s emotional response to the softening effects of light and feeling of sadness that twilight engenders. The soft lavenders and blues are broken by shimmering patches of gold leaf to reflect the last glimmers of the sun.
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1973 marks a key year for Budgen’s career as her youngest child started school and she was free to resume her focus on painting. The members of the Wednesday Group also decided to pursue their own directions and as a direct result Budgen held her first solo exhibition also at the Design Arts Centre in October. 1973 also marks the award of her first significant prize at the Warana-Caltex Oil, Watercolour, Sculpture and Pottery Contest 1973 for Oranges and lemons. Suncity split windscreen 1977 is a work tied to the experience of these early years as Budgen recalled: ‘It was based on something I glanced at when I parked my car in the city. It would have been only for a few seconds’ but it took her more than five years to resolve the image to her satisfaction. (2) Both the opening out and loosening of forms in the two works from 1973 discussed and the formalising of structure in Suncity split windscreen were to integrated to become the next major impetus to Budgen’s career. An interest in French modern art and Parisian themes was evident in her exhibition at the Point Danger Gallery in 1980 so it was quite natural for a visit to the inspirational source should follow in 1982. The narrow format of paintings such as Rue git le Coeur, Paris 1983 (the family hotel where she stayed) demonstrates her more structured approach and reveals the underlying drawing framework behind the thinly brushed overlaying paint surface. A fellow artist, Mal Leckie had remarked of her technique: Her line is confident and she doesn’t hesitate to restate a line when it has been put down in error. The erroneous line remains — it is part of the event that is a painting (3) While this is a comment accurate to the appearance of the line it is not accurate to the process as Budgen is searching for lines to suggest, not necessarily define, the form. It is rather akin to a meditative process. Budgen had visited North Queensland from 1956 and held tutorials and workshops in later years and exhibited at the Trinity Gallery, Cairns in 1976 and at the Martin Gallery, Townsville in 1977 and 1979. However her 1984 exhibition at the Martin Gallery included work that introduces the main body of her work in this survey exhibition. Budgen’s base has remained firmly in Queensland although this visit was the first of her frequent excursion to foreign places If gentleness, sensitivity, a facility for the decorative, delicacy of touch and appreciation of colour may be defined as feminine traits then Budgen’s art reflects these conditions and is intensely feminine. Budgen has been exploring the female/feminine principle in art from mid 1980s. In 1987 Budgen became introduced to the spiritual teachings of Shri Mataji Nirmala Devi and her special interpretation of Kundilini Yoga, Sahaja Yoga, and has remained deeply involved since. Apart from its spiritual and meditative disciplines and sensitivity to subtle vibrations, Sahaj Yoga espouses the principle of ‘thoughtless awareness’: being receptive to your inner spirit so the creative principle can flow through you and be expressed unmediated by the ego. She recalls of this discovery: When I heard Shri Mataji talk about Michelangelo and other famous artists and about art critics and about the vibrations that flowed from the surface of a painting which was well balance and principled, I slowly realised many of my unvoiced questions were being answered. I was comforted enough to keep working in my direction regardless of the critical reception of my work. (4) Budgen made her first pilgrimage to India in 1988, first of her frequent excursion to foreign places but her base has remained firmly in Queensland. The colour and vitality of the Indian sub-continent made its impact on her as it has made on an PAINTINGS OF HOME AND ABROAD
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incalculable number of travellers before her. This was the time when an intensely decorative patternism was seen in her work notable in a work such as Palace of the four winds, Jaipur 1989 in which the façade of the palace is reiterated in changing units and placed above a register of caparisoned elephants. And it was in India, as she later recalled, that reinforced inspiration for the female aspect of her art and reignited her passion for colour: The colours of India are wonderful but it is more than just colours. It is the tones as well. People don’t realise that the tones are as subtle as the colours are vibrant. I had a lovely rich purple background to [one] painting but I had to tone it out. It was drowning everything else out. (5) It was at this juncture that Budgen was included in an exhibition acknowledging the contribution of women to Queensland’s visual arts history which was presented at the Centre Gallery, Surfers Paradise at the time of the Australian Bicentenary: ‘A complementary caste: a homage to women artists in Queensland past and present’. The exhibition was a response to the growing awareness of feminist issues and aspiration that women could achieve anything desired as well as a revaluation of the work of Queensland’s neglected female artists. However, as a counterpoint, Sahaj Yoga supported traditional family values and the roles appropriate to the male and the female gender. In an interesting sideline decoration took on a more formal note in a series of works on paper which she produced around 1990 also inspired by her visits to India. The final work in the series, Ganapatipoule was begun during her time as visiting artist in the Queensland Art Gallery education studio in 1991. In these works, landscapes were placed centrally and framed by blocks of colours and decorative arches to that they appeared enclosed in a niche. If you notice the details of Palace of the four winds, Jaipur it will become apparent that the window elements in the palace’s facade are very similar in structure to this format. Budgen also translated this style to North Queensland subjects and works which demonstrate this quality in this exhibition are Prince of Wales Island FNQ 1989 and Alma Bay, Magnetic Island 1992. In both the landscape element functions almost as a vignette and is made subservient to the over all decorative effect. The Indian linkage is made specific in the title of the series ‘Eastern Frameworks’. Budgen has an extensive career in teaching over the years (including sessions at the Cairns Regional Art Gallery in 2010). An important commitment and a lasting influence was her stint as a tutor in drawing and paintings on the Australian Flying Art School from 1983 to 1987. This service which was begun by artist Mervyn Moriarty in 1971 who brought his innovatory art teaching practices to remote outback townships and locations in North Queensland. Her experience of the spirituality in these remote and parched landscapes later became confirmed: In the paintings I have been producing over the last seven or eight years including the landscapes I’ve done of western Queensland, I’ve tried to weld my spiritual sources into what we have here. There is no need to change what we have, because I see the same timeless beauty in it. It’s all leading back to the same source . . . (6) Budgen moved back to her childhood home at 106 Bolan Street, Bulimba in 1992 to care for her ageing mother and remained there until 1999. The interiors and the views from the house she recalled as child seeing from the railed verandahs remained much the same. In 1993 she held an exhibition of paintings inspired by the location ‘There is something about the river’ at Riverhouse Galleries, Brisbane. This included a night-time image of Brisbane’s iconic structure the Story Bridge from Mary Street Wharf. 6
BEVERLEY BUDGEN
Later works such as A walk to the Apollo Ferry 1994 shows the somewhat derelict houses and semi-industrial buildings on the waterfront which express the character of the show. Hamilton Hill 1994 depicts the view across the river to one of Brisbane’s most select addresses but the open view and period houses suggest a more gracious, earlier time than the crowded and congested actuality. A mini retrospective exhibition was held at the Café Water Street Gallery, Brisbane in 1995 which included recent works although the display included drawings and paintings of subjects from her visits to Europe in 1984, to the United Kingdom in 1985 and 1987 and drawings of Queensland’s tropical north in 1991. The paintings in her 1989 exhibition at the Red Hill Gallery, Brisbane, focussed on Cornwall and Devon and included a series of works on the famous fishing village Mousehole. She continued to exhibit at this venue and later works such as Smeaton’s Pier 2004 and subjects created in North Queensland were displayed there until 2008. The paintings from such diverse locations points to her skill in rendering local colour. Sandy cove, Ireland 2005 and Smeaton’s Pier for instance exhibit the softer colours and gentler gradation of contrasts we would expect from a location of the misty coastline of Great Britain. The palette Budgen uses in Portovenere 2008 reveals the intensity of the brighter light of the Mediterranean but even this light is subservient to the light she discovered in Queensland’s tropical north. However, since Budgen has removed to Cairns in 1999 her quantity of solo exhibitions has been much reduced. She held an exhibition of her work at the Hub Gallery, Mission Beach in 2000 but there are few commercial galleries of substance in the area. Her work however, has taken on a new lease of life in her appreciation of tropical colour and vivacity of execution — it is quite notable in works such as Alma Bay Headland, Magnetic Island 2004 or Einesleigh Rail Bridge 2009 that colour is breaking away from representational form. Modernist French art has been a continuing influence of Budgen’s career. She recalled the excitement of seeing the important exhibition of French paintings at the Queensland Art Gallery in 1953 and the sources of her exhibition at the Point Danger Gallery has already been mentioned but there couldn’t be a more potent acknowledgement of the influence of French artists on Budgen’s career than in her Composition in red 2004 which takes its inspiration from Matisse’s Red studio 1911 — Budgen’s red is even more intense. Another work, Albert Dock, Liverpool 2007, is close in character to Fauvist painting. Within the diversity of Budgen’s output there is also remarkable consistency. Consider for instance Manhattan smoke and mirrors 2009 which is the latest work in the exhibition. It is inspired by her trip to New York in 2005 but shows the tenuous sketchy underpinning that was evident in works executed more than twenty years ago such as Rue git le Coeur, Paris 1983. There are many artists who discover their individual style early in their careers and rarely develop further. Then there are artists like Lloyd Rees who, in their mature years, continue to develop and enhance the expressive and colouristic content of their art. Beverley Budgen is such an artist and an artist who will continue to grow both spiritually and professionally. Glenn R Cooke Research Curator (Queensland Heritage) Queensland Art Gallery
PAINTINGS OF HOME AND ABROAD
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CHILDHOOD MEMORIES: PAINTINGS OF HOME
The veils of evening enfold the land 1975 mixed media and gold leaf on canvas 91.5 x 122.0cm Private Collection
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BEVERLEY BUDGEN
A walk to the Apollo Ferry 1994 acrylic on canvas 51.0 x 61.0cm Private Collection
PAINTINGS OF HOME AND ABROAD
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Hamilton Hill 1994 mixed media on canvas 51.0 x 61.0cm Private Collection Wynnum Creek 2008 oil on canvas 91.0 x 91.0cm Collection of the artist
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BEVERLEY BUDGEN
Storey Bridge from Mary Street wharf 1993 oil on canvas 91.5 x 71.0cm Collection of the artist
Newcastle skyline 1984 mixed media on canvas 120.0 x 90.0cm Collection of the artist
Fly out over the bay 1983 acrylic on canvas 135.0 x 110.0cm Cairns Regional Council Collection
PAINTINGS OF HOME AND ABROAD
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Suncity split windscreen 1979 acrylic on canvas 120.0 x 180.0cm Private Collection
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BEVERLEY BUDGEN
A TIME TO TRAVEL: PAINTINGS OF ABROAD
Rue git le Coeur, Paris 1983 acrylic on canvas 120.0 x 90.0cm Private Collection PAINTINGS OF HOME AND ABROAD
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Portovenere 2008 oil on canvas 91.0 x 71.0cm Collection of the artist 14
BEVERLEY BUDGEN
Olivola,Tuscany 2002 oil on canvas 51.0 x 61.0cm Collection of the artist PAINTINGS OF HOME AND ABROAD
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Rostral towers, St Petersburg Russia 1997 oil and goldleaf on canvas 90.0 x 120.0cm Collection of the artist
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BEVERLEY BUDGEN
Palace of the 4 winds, Jaipur 1989 oil on canvas 91.0 x 91.0cm Collection of the artist
PAINTINGS OF HOME AND ABROAD
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Buckingham Palace guard 1983 acrylic on canvas 180.0 x 120.0cm Collection of the artist
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BEVERLEY BUDGEN
The Yarrow sisters 2003 oil on canvas 91.5 x 71.0cm Private Collection
St Ives 1988 acrylic on canvas 90.0 x 120.0cm Private Collection
Smeaton’s pier, St Ives 2004 oil on canvas 91.0 x 71.0cm Collection of the artist
PAINTINGS OF HOME AND ABROAD
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Albert Dock Liverpool [from Tate Liverpool Café] 2007 oil on canvas 90.0 x 90.0cm Collection of the artist
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BEVERLEY BUDGEN
Lowtide, Salcombe UK 1988 oil on canvas 51.0 x 61.0cm Collection of the artist
Sandy Cove, Ireland 2005 oil on canvas 91.0 x 101.0cm Collection of the artist
PAINTINGS OF HOME AND ABROAD
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Lindisfarne castle 2009 oil on canvas 91.5 x 91.5cm Collection of the artist Whitby, UK 2007 oil on canvas 71.0 x 61.0cm Collection of the artist
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BEVERLEY BUDGEN
Cairngorm gardens 2006 watercolour [diptych] 25.0 x 17.5cm Collection of the artist
PAINTINGS OF HOME AND ABROAD
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Manhattan smoke and mirrors 2009 oil on canvas 91.5 x 91.5cm Collection of the artist
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BEVERLEY BUDGEN
A TROPICAL SETTING: PAINTINGS OF HOME
Prince of Wales Island FNQ 1989 mixed media on paper 90.0 x 70.0cm Private Collection
Alma Bay, Magnetic Island 1992 mixed media on paper 76.0 x 56.0cm Private Collection
PAINTINGS OF HOME AND ABROAD
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Alma Bay headland, Magnetic Island 2004 oil on canvas 84.0 x 84.0cm Collection of the artist
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BEVERLEY BUDGEN
Egrets fishing 2005 oil and graphite on canvas 91.0 x 107.0cm Collection of the artist
PAINTINGS OF HOME AND ABROAD
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Trinity Inlet from Whitfield 2001 oil on canvas 90.0 x 120.0cm Collection of the artist
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BEVERLEY BUDGEN
Composition in red 2002 oil on canvas 91.5 x 91.5cm Collection of the artist
Red laquer chest 2002 oil on canvas 91.5 x 91.5cm Collection of the artist
PAINTINGS OF HOME AND ABROAD
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Paradisio 2008 oil on canvas 84.0 x 84.0cm Collection of the artist
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BEVERLEY BUDGEN
Jardiniere 2006 oil on canvas 91.5 x 91.5cm Collection of the artist
Einasleigh rail bridge 2009 oil on canvas 81.5 x 81.5cm Collection of the artist
PAINTINGS OF HOME AND ABROAD
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Wollongong harbour 2009 oil on canvas 81.5 x 81.5cm Collection of the artist
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BEVERLEY BUDGEN
BIOGRAPHICAL NOTES Born 1937, Brisbane. Lives and works in Cairns, Tropical North Queensland. Budgen, a Queensland artist began painting as a very young child. Budgen studied with Moriarty, Churcher, Gleghorn, Ed May and John Firth-Smith. Since 1982 she has travelled widely to London, Cornwall, Devon, Liverpool, Holy Island, Whitby, Scotland, Paris, Normandy, Florence, Rome, Tuscany, Italian Riviera, India, Ireland, Scotland, Amsterdam, St Petersburg, Los Angeles and New York. SELECTED PROFESSIONAL EXPERIENCE 1972 – 1978 Saturday Morning children’s art classes, Manly West State School, Brisbane 1975 – 1978 Committee Member, Queensland Art Gallery Society 1976 – 1978 Editor, Queensland Art Gallery Society Newsletter 1978 – 1983 Workshop Leader Art Link, Queensland Arts Council Painting/drawing Lecturer, Queensland College of Art Painting seminar for Urban Indigenous Artists, Queensland College of Art 1980 – 1981 Artist-In-Schools, Memerambi, Wynnum North Primary School, Australian Council and Qld Education 1981 Illustrator, Jacaranda Press 1982 – 1984 Gifted and Talented Children’s Art Program, McGreggor Primary School, Brisbane 1983 – 1987 Painting and Drawing Tutor, Australian Flying Art School 1985 Lecturer, Drawing for Design School of Design, QCA Artist-In-Schools, Ashgrove Primary School, Qld Education Department TAFE Townsville workshops James Cook University seminar, Mackay campus 1986 Painting and Drawing tutor, Queensland Art Gallery 1987 Lecturer, Drawing for Design School of Design, QCA 1987 – 1988 Painting Tutor, Queensland Cultural Centre Trust 1990 Committee Member, Queensland Art Gallery Society Painting and Drawing tutor, Queensland Art Gallery 1991 Visiting artist, Queensland Art Gallery 1991-1993 Painting and Drawing Lecturer, Griffith Artworks, Nathan Campus, Griffith University 1992 Ten Hans On Visiting artists at the 10th Birthday, Queensland Art Gallery 1999 Co-facilitator Lifeline painting workshop, Cairns 2004 Redlynch Primary School, Qld, art for children with learning difficulties 1999 – 2010 Principal/Lecturer Golden Vision Studio Art School, Cairns Australia 2010 Workshops, Cairns Regional Gallery
SELECTED SOLO EXHIBITIONS 1973 1974 1975 1976 1977 1980 1982 1984 1985 1987 1988 1989 1993 1995 2000 2010
Design Arts Centre, Brisbane Martin Gallery, Townsville Italia Gallery, Brisbane; Dunwich Hall, Stradbroke Island Trinity Gallery, Cairns Linton Gallery, Toowoomba; Martin Gallery, Townsville Town Gallery, Brisbane; Point Danger Gallery, Coolangatta Queensland College of Art Gallery, Brisbane City of Ipswich Gallery; Martin Gallery Townsville Gallerie Baguette, Brisbane Gladstone City Art Gallery; Gallery Australiana Gallery, EXPO ’88, Brisbane Red Hill Gallery, Brisbane Riverhouse Gallery, Brisbane Cafe Waterstreet Gallery, Brisbane Hub Gallery, Mission Beach, Qld Cairns Regional Gallery, Cairns
SELECTED GROUP EXHIBITIONS 1954 Sunday Mail Art Exhibition, Brisbane Qld Government Tourist Bureau Art Show, Collins Street, Melbourne 1964-68 Contemporary Art Society, Brisbane 1966/67 The Wednesday Group, Moreton Gallery 1967/71/73/75 Queensland Art Gallery, LJ Harvey Memorial Prize 1969/73/75/76 Queensland Art Gallery, Trustees Art Prize 1972/73 The Wednesday Group, The Design Art Centre 1973 Darnell de Gruchy, University of Queensland Art Museum 1974 Portia Geach Memorial Prize, Sydney; Twelve Queensland Artists, Myer Gallery, Adelaide 1976 Brisbane Painters Today, Institute of Modern Art, Brisbane 1977/78/80/81 Queensland Art Gallery, Trustees Art Prize 1978 Pedersen Prize, Queensland Art Gallery 1981 National Art Awards, Griffin Gallery, Canberra 1984 - 87 Gold Coast Art Prize Qld Australia 1988 Homage to Queensland Artists, Centre Gallery, Southport Australia 1990 Aberdare Art Award, Ipswich City Gallery 1991 Artists and Aspects of Contemporary Art Society Suncorp Finalist, Brisbane 1995 A Time Remembered, Queensland Art Gallery 1999 Past Students Artworks, Brisbane Girls Grammar School 2000 – 2009 Cairns Art Society Exhibition, Cairns Regional Gallery 2000 – 200 Red Hill Gallery, Brisbane
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AWARDS 1954 1965 1970 1973 1975 1976 1977 1979 1981 1982 1983 1986 2000 2002
SELECTED BIBLIOGRAPHIES The Sunday Mail Art Prize Brookfield Art Prize Brookfield Art Prize Caltex Warana Festival Open Award Brisbane RNA, still life and genre Booga Woongaroo Prize, Charleville Landsborough Shire Council Portrait Prize Labrador Apex Art Prize, Open Rockhampton Art Prize Beenleigh Art Prize Schonell Art Prize, Redcliffe Beenleigh Rotary Art Festival Open Commonwealth Games Warana Open Prize Manly Centenary Art Prize Hinchinbrook Drawing Prize City of Ipswich Acquisitive Prize City of Rockhampton Acquisitive Prize Cairns Art Prize, Acquisitive, Open Dirranbandi Portrait Prize Rockhampton Open acquisitive Peter Stuyvesant Cultural Foundation Prize, Moree Federal Meber for Leichhardt Award, Cairns Bendigo Bank Award, Cairns
FINE ART JUDGING 1981 Caltex Summer Exhibition, Perc Tucker Art Gallery, Townsville 1983 Booga Woongaroo Festival Art Contest, Charleville 1985 19th Annual Atherton District Art Society Exhibition, Atherton 1989 Gayndah Orange Festival Art Prize, Gayndah 1990 Townsville Art Society Exhibition Prize, Perc Tucker Art Gallery, Townsville 1991 Innisfail Art Prize, Innisfail
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Boulton, G.K. Art in North Queensland, 1987. Bradbury, K. and Cooke, G. Thorns and Petals, 1988. Considine, F. and Larner, B. Homage to Queensland Women Painters, 1988. Cooke, G.R. A Time Remembered, 1995. Curan, S. Sun, Sea and Shadows. 1998. Germaine, M. Artists and Galleries in Australia and NZ., 3rd edition, 1990. Fridemains, H. Artists and Aspects of the Contemporary Art Society, Queensland Branch, 1991. Germaine, M. Dictionary of Women Artists of Australia, 1991. Queensland Art Gallery Annual Report, 1990-91, 1991-92. England, M. From Riverbanks to Shearing Sheds: 30 years with Flying Arts, 2009. Queensland Art Gallery Library Press Clippings. The Artists personal collection of press clippings: 1954 - to the present day. ENDNOTES 1. Shirley Miller, Irene Amos, Joyce Hyam, Mona Gasteen and Marie McElwain were also members at different stages. 2. ‘Paint ‘pot of gold’, The Courier-Mail, 18 Sept. 1979. This work was awarded the open prize in the City of Rockhampton Art Competition. 3. Lekie, Mal ‘A showing art buffs should see’, Gold Coast Bulletin, 16 August 1980. 4. Conversation with artist, 16 March 2010. She recalls a similar confirmation of her direction in art when she heard the famous American critic, Clement Greenberg, speak at the Abel Smith Lecture Theatre, Queensland University in 1968. 5. Collins, K., ‘Images of India and the outback’, The Courier-Mail, 16 Sept. 1995. 6. Op. cit.
LIST OF WORKS The veils of evening enfold the land 1975 mixed media and gold leaf on canvas 91.5 x 122.0cm Private Collection
Alma Bay, Magnetic Island 1992 mixed media on paper 76.0 x 56.0cm Private Collection
Egrets fishing 2005 oil and graphite on canvas 91.0 x 107.0cm Collection of the artist
Einasleigh rail bridge 2009 oil on canvas 81.5 x 81.5cm Collection of the artist
Suncity split windscreen 1979 acrylic on canvas 120.0 x 180.0cm Collection of the artist
Rostral towers, St Petersburg Russia 1997 oil and goldleaf on canvas 90.0 x 120.0cm Collection of the artist
Wynnum Creek 2008 oil on canvas 91.0 x 91.0cm Collection of the artist
Wollongong harbour 2009 oil on canvas 81.5 x 81.5cm Collection of the artist
Fly out over the bay 1983 acrylic on canvas 135.0 x 110.0cm Cairns Regional Council Collection
Olivola,Tuscany 2002 oil on canvas51.0 x 61.0cm Collection of the artist
Whitby, UK 2007 oil on canvas 71.0 x 61.0cm Collection of the artist
Storey Bridge from Mary Street wharf 1993 acrylic on masonite 91.5 x 71.0cm Collection of the artist
Albert Dock Liverpool [from Tate Liverpool Café] 2007 oil on canvas 90.0 x 90.0cm Collection of the artist
Lindisfarne castle 2009 oil, graphite on canvas 91.5 x 91.5cm Collection of the artist
Newcastle skyline 1984 mixed media on canvas 120.0 x 90.0cm Collection of the artist Rue git le Coeur, Paris 1983 acrylic on canvas 120.0 x 90.0cm Private Collection Buckingham Palace guard 1983 acrylic on canvas 180.0 x 120.0cm Collection of the artist Lowtide, Salcombe UK 1988 oil on canvas 51.0 x 61.0cm Collection of the artist St Ives 1988 acrylic on canvas 90.0 x 120.0cm Private Collection Palace of the 4 winds, Jaipur 1989 oil on canvas 91.0 x 91.0cm Collection of the artist Prince of Wales Island FNQ 1989 mixed media on paper 90.0 x 70.0cm Private Collection
Sandy cove, Ireland 2005 oil on canvas 91.0 x 101.0cm Collection of the artist Portovenere 2008 oil on canvas 91.0 x 71.0cm Collection of the artist Smeaton’s pier, St Ives 2004 oil on canvas 91.0 x 71.0cm Collection of the artist A walk to the Apollo Ferry 1994 acrylic on canvas 51.0 x 61.0cm Private Collection Hamilton Hill 1994 mixed media on canvas 51.0 x 61.0cm Fogarty Collection Trinity Inlet from Whitfield 2001 oil on canvas 90.0 x 120.0cm Collection of the artist Alma Bay headland, Magnetic Island 2004 oil on canvas 84.0 x 84.0cm Collection of the artist
Cairngorm gardens 2006 watercolour [diptych] 25.0 x 17.5cm Collection of the artist
Manhattan smoke and mirrors 2009 oil, graphite on canvas 91.5 x 91.5cm Collection of the artist
Paradisio 2008 oil on canvas 84.0 x 84.0cm Collection of the artist Composition in red 2002 oil on canvas 91.5 x 91.5cm Collection of the artist Red laquer chest 2002 oil on canvas 91.5 x 91.5cm Collection of the artist Jardiniere 2006 oil on canvas 91.5 x 91.5cm Collection of the artist The Yarrow sisters 2003 oil on canvas 91.5 x 71.0cm Private Collection
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ACKNOWLEDGEMENTS Cairns Regional Gallery is indebted to Beverley Budgen for her commitment to the exhibition and this publication. We are honoured to have worked with her on this, the first publication dedicate to her work. Cairns Regional Gallery gratefully acknowledges the support of Cairns Regional Council through their Arts and Cultural Grant Initiative, without which this project publication would not have been possible. Special mention also goes to Judith Groube, Margaret Cossins, Pam Hardcastle, Magistrate Stephanie Tonkin, Catherine Benson [Barrister-at-Law] and Dr. Mary Ann Ghaffurian for their initial support of the project. We thank Glenn Cooke, Research Curator, Queensland Heritage at the Queensland Art Gallery for his insightful contribution to the publication; and David Campbell for photographing the works so beautifully. We are grateful to Beverley Budgen, Gail Rutherford, Ian and Judith Hamilton [Carroll Consulting Group], Ken and Sue Newman, Andrew and Rosemary Ross, Michael and Marillyn Fogarty, Daisy Flesser, Kris Miller and Cairns Regional Council for wholeheartedly agreeing to lend works for the exhibition. Cairns Regional Gallery staff: Paul Brinkman, Gallery Director Brian Robinson, Exhibition Manager Tricia Davey, Marketing Manager Kellie Robson & Carley Clarke-Rushton, Public Program Managers Jacqui Cresswell, Administration Officer Janette Laver, Collections/Curatorial Officer Hans Siahaan, Exhibition and Building Technician Kirsty Mulley,Visitor Services Officer Amie Suttie, Services Officer Cairns Regional Gallery is an initiative of the community of Far North Queensland. Ongoing support is provided by Cairns Regional Council. The Gallery is also generously supported by Hilton Cairns, Bendigo Bank, ABC Radio Far North, WHK Greenwood and the John Villiers Trust.
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2 1 M AY – 1 8 J U LY 2 0 1 0