Art and Artists, Paintings, Painters, Prints, Printmakers, Illustration, Illustrators
While searching ffffound.com I stumbled across the artwork of Rosalie Gascoigne and through some investigating found out that she was a New...
i was lucky enough to go along with a friend and my brother, his partner and young archer wilton claffey (my 8-month-old nephew in pram) to catch the final day of the retrospective of artist rosalie gascoigne an the ngv ian potter museum last sunday. my friend most eloquently commented (something along the lines, oh i wish i would write the wonderful things people say down straight away) that the respect in rosalie gascoigne's work for the intrinsic humility of the object is truly beautiful. my first impression was that rosalie gascoigne finds and expresses a particularly australian beauty in the found objects - discarded wooden road signs, rusting corrugated iron and weathered timber - she uses for her work. my favourites were her linoleum - using scraps of 30s/40s/50s-era lino patterns and placing them together to make beautiful multi-hued collages. i also very much like the subtle whites, creams, eggshells, powder blues that were in many of her simple timber crosshatch or battened pieces. the exhibition biography says that rosalie studied sogetsu school of ikebana, and that she credited this study with her appreciation of line and form. i think that her works also are a beautiful example of the philosophy of wabisabi - the japanese aesthetic that finds beauty in the imperfect, the humble, the simple and the incomplete. and the way that rosalie collected and honoured what to many eyes might be viewed as useless, or be discarded as rubbish, reminds me of the beautiful agnes varda film the gleaners and i. all images of rosalie gascoigne's works here are from the roslyn oxley9 gallery (except for the final two which were taken by my manifestly inadequate camera phone!)
Artist : Rosalie Gascoigne (1917 – 1999) Title : Rosalie Gascoigne: A Catalogue Raisonné Formats : Online (PDF and ePub); print-to-order and limited hardbound edition Publisher : Australian National University Press, Canberra Publication Date : August, 2019 Availability and price : Onlin
Rosalie Gascoigne biography, exhibitions and artworks. Follow artist. Enquire about Rosalie Gascoigne artworks for sale.
After my recent post on Helen Frankenthaler, I thought I’d take a look at the work of another female artist – quite different, but one whose work follows on neatly from that of Christopher Wool, featured in my last posting. Rosalie Gascoigne (1917 – 1999) was a New Zealander – Australian sculptor. She showed at the Venice Biennale in 1982, becoming the first female artist to represent Australia there. In 1994 she was awarded the Order of Australia for her services to the arts. Gascoigne was born Rosalie Norah King Walker in Auckland, New Zealand. She emigrated to Canberra, Australia in 1943 at the age of 26 to marry astronomer S. C. B (Ben) Gascoigne, later to become an eminent professor, and set up home in the isolated scientific community of Mount Stromlo. In the late 1960s she started experimenting with small scrap iron sculptures and later wooden boxed assemblages, all composed of materials she found while on scavenging expeditions in the Canberra hinterland. She learnt to love the "boundless space and solitude" of her new home. Much of her art reflects this, though some also harks back to her roots in New Zealand. 1977 Sir Bagby iron Gascoigne was strongly encouraged by artist Michael Taylor and by James Mollison, then director of the National Gallery of Australia in Canberra, who spotted her distinctive artistic talents early. Her first serious exhibition was at Ann Lewis's Gallery A in Paddington, Sydney, in 1974, when Gascoigne was 57; it was an instant success, and a mere four years later she had become a major figure in the Australian art world, with a survey at the National Gallery of Victoria. Her assemblages moved through many stages, to a certain extent dictated by the colours and types of materials she was currently interested in. She said that her art-making materials "need to have been open to the weather." She thus used mostly found materials: wood, iron, wire, feathers, and most famously yellow and orange retro-reflective road signs, which flash and glow in the light. Some of her other best-known works use faded, once-bright drinks crates; thinly-sliced yellow Schweppes boxes; ragged domestic items such as torn floral lino and patchy enamelware; vernacular building materials such as galvanised tin, corrugated iron and masonite; and fibrous, rosy cable reel ends. These objects represent, rather than accurately depict, elements of her world. "The countryside's discards ... no longer suggest themselves but evoke experiences, particularly of landscape.” Text is another important element of her work; she would cut up and rearrange the faded, naive lettering found on these items to create abstract yet evocative grids of letters and word fragments, sometimes alluding to the crosswords and poetry of which she was so fond. Knowledgeable and widely read, she was inspired amongst others by the artists Colin McCahon, Ken Whisson, Dick Watkins and Robert Rauschenberg. However gradually both colour and text seemed to fade from her work, and in her final years she created meditative, elegiac compositions of white or earth-brown panels. 1999 Earth 4 sawn builders form wood Although working vigorously into her 80s, with occasional help from an assistant, her age at the height of her success precluded the travelling that would have been necessary to build the international audience her work deserved. Although she exhibited occasionally overseas - including the 1982 Venice Biennale (the first Australian woman to do so), Switzerland and Sweden as well as throughout Asia - the major holdings of her work remain in Australia and New Zealand, both of which claim her as their own. Fine examples of Gascoigne's oeuvre can be found in most Antipodean galleries; and the Metropolitan Museum of Art, New York, owns one of her smaller pieces. Rosalie Gascoigne died in Canberra in 1999. 1976 The Colonel's Lady mixed media 1976 Triptych mixed media 1980-1 Untitled (12 squares of 6) sawn weathered wood 1984 Untitled (25 scallop shells) 1985 Pineapple Pieces No. 4 1988 Painted Words spray painted masonite on plywood 1989 Tesserae 1 sawn / split soft drink crates on plywood 1990-2 Regimental Colours (B) sawn / split soft drink crates on plywood 1992 Port of Call cut tea crates and weathered formwork on plywood 1992 Text sawn / split soft drink crates on plywood 1992-3 Rose Red City #6 corrugated iron on wood 1993 Lily Pond linoleum and plywood 1993-4 White City wood on craft-board 1994 Bread and Butter sawn wood on craft-board 1994 Compound timber and masonite 1994-5 The Apple Isle sawn wood on craft-board 1995 Gentlemen of Japan retro reflective road sign on craft-board 1995 White Garden corrugated iron on wood 1998 Full Fathom Five sawn wood on wood 1998 Magpie sawn wood on wood 1998 Tartan sawn wood on wood 1999 Metropolis retro reflective road-sign on wood 1999 Parasol retro reflective road-sign on wood 1999 Valentine retro reflective road-sign on wood
Rosalie Gascoigne.
After my recent post on Helen Frankenthaler, I thought I’d take a look at the work of another female artist – quite different, but one whose work follows on neatly from that of Christopher Wool, featured in my last posting. Rosalie Gascoigne (1917 – 1999) was a New Zealander – Australian sculptor. She showed at the Venice Biennale in 1982, becoming the first female artist to represent Australia there. In 1994 she was awarded the Order of Australia for her services to the arts. Gascoigne was born Rosalie Norah King Walker in Auckland, New Zealand. She emigrated to Canberra, Australia in 1943 at the age of 26 to marry astronomer S. C. B (Ben) Gascoigne, later to become an eminent professor, and set up home in the isolated scientific community of Mount Stromlo. In the late 1960s she started experimenting with small scrap iron sculptures and later wooden boxed assemblages, all composed of materials she found while on scavenging expeditions in the Canberra hinterland. She learnt to love the "boundless space and solitude" of her new home. Much of her art reflects this, though some also harks back to her roots in New Zealand. 1977 Sir Bagby iron Gascoigne was strongly encouraged by artist Michael Taylor and by James Mollison, then director of the National Gallery of Australia in Canberra, who spotted her distinctive artistic talents early. Her first serious exhibition was at Ann Lewis's Gallery A in Paddington, Sydney, in 1974, when Gascoigne was 57; it was an instant success, and a mere four years later she had become a major figure in the Australian art world, with a survey at the National Gallery of Victoria. Her assemblages moved through many stages, to a certain extent dictated by the colours and types of materials she was currently interested in. She said that her art-making materials "need to have been open to the weather." She thus used mostly found materials: wood, iron, wire, feathers, and most famously yellow and orange retro-reflective road signs, which flash and glow in the light. Some of her other best-known works use faded, once-bright drinks crates; thinly-sliced yellow Schweppes boxes; ragged domestic items such as torn floral lino and patchy enamelware; vernacular building materials such as galvanised tin, corrugated iron and masonite; and fibrous, rosy cable reel ends. These objects represent, rather than accurately depict, elements of her world. "The countryside's discards ... no longer suggest themselves but evoke experiences, particularly of landscape.” Text is another important element of her work; she would cut up and rearrange the faded, naive lettering found on these items to create abstract yet evocative grids of letters and word fragments, sometimes alluding to the crosswords and poetry of which she was so fond. Knowledgeable and widely read, she was inspired amongst others by the artists Colin McCahon, Ken Whisson, Dick Watkins and Robert Rauschenberg. However gradually both colour and text seemed to fade from her work, and in her final years she created meditative, elegiac compositions of white or earth-brown panels. 1999 Earth 4 sawn builders form wood Although working vigorously into her 80s, with occasional help from an assistant, her age at the height of her success precluded the travelling that would have been necessary to build the international audience her work deserved. Although she exhibited occasionally overseas - including the 1982 Venice Biennale (the first Australian woman to do so), Switzerland and Sweden as well as throughout Asia - the major holdings of her work remain in Australia and New Zealand, both of which claim her as their own. Fine examples of Gascoigne's oeuvre can be found in most Antipodean galleries; and the Metropolitan Museum of Art, New York, owns one of her smaller pieces. Rosalie Gascoigne died in Canberra in 1999. 1976 The Colonel's Lady mixed media 1976 Triptych mixed media 1980-1 Untitled (12 squares of 6) sawn weathered wood 1984 Untitled (25 scallop shells) 1985 Pineapple Pieces No. 4 1988 Painted Words spray painted masonite on plywood 1989 Tesserae 1 sawn / split soft drink crates on plywood 1990-2 Regimental Colours (B) sawn / split soft drink crates on plywood 1992 Port of Call cut tea crates and weathered formwork on plywood 1992 Text sawn / split soft drink crates on plywood 1992-3 Rose Red City #6 corrugated iron on wood 1993 Lily Pond linoleum and plywood 1993-4 White City wood on craft-board 1994 Bread and Butter sawn wood on craft-board 1994 Compound timber and masonite 1994-5 The Apple Isle sawn wood on craft-board 1995 Gentlemen of Japan retro reflective road sign on craft-board 1995 White Garden corrugated iron on wood 1998 Full Fathom Five sawn wood on wood 1998 Magpie sawn wood on wood 1998 Tartan sawn wood on wood 1999 Metropolis retro reflective road-sign on wood 1999 Parasol retro reflective road-sign on wood 1999 Valentine retro reflective road-sign on wood
Thanks to Dijanne Cevaal for reminding me of the work of Rosalie Gascoigne who works with re-cycled timber:
While searching ffffound.com I stumbled across the artwork of Rosalie Gascoigne and through some investigating found out that she was a New...
Art and Artists, Paintings, Painters, Prints, Printmakers, Illustration, Illustrators
While searching ffffound.com I stumbled across the artwork of Rosalie Gascoigne and through some investigating found out that she was a New...
Art and Artists, Paintings, Painters, Prints, Printmakers, Illustration, Illustrators
Rosalie Gascoigne AM (25 January 1917–23 October 1999) was a New Zealand-born Australian sculptor. She showed at the Venice Biennale in…
National Gallery of Victoria shows Retrospective of Rosalie Gascoigne See the article related to this image at: National Gallery of Victoria shows Retrospective of Rosalie Gascoigne Courtesy of Art Knowledge News
i was lucky enough to go along with a friend and my brother, his partner and young archer wilton claffey (my 8-month-old nephew in pram) to catch the final day of the retrospective of artist rosalie gascoigne an the ngv ian potter museum last sunday. my friend most eloquently commented (something along the lines, oh i wish i would write the wonderful things people say down straight away) that the respect in rosalie gascoigne's work for the intrinsic humility of the object is truly beautiful. my first impression was that rosalie gascoigne finds and expresses a particularly australian beauty in the found objects - discarded wooden road signs, rusting corrugated iron and weathered timber - she uses for her work. my favourites were her linoleum - using scraps of 30s/40s/50s-era lino patterns and placing them together to make beautiful multi-hued collages. i also very much like the subtle whites, creams, eggshells, powder blues that were in many of her simple timber crosshatch or battened pieces. the exhibition biography says that rosalie studied sogetsu school of ikebana, and that she credited this study with her appreciation of line and form. i think that her works also are a beautiful example of the philosophy of wabisabi - the japanese aesthetic that finds beauty in the imperfect, the humble, the simple and the incomplete. and the way that rosalie collected and honoured what to many eyes might be viewed as useless, or be discarded as rubbish, reminds me of the beautiful agnes varda film the gleaners and i. all images of rosalie gascoigne's works here are from the roslyn oxley9 gallery (except for the final two which were taken by my manifestly inadequate camera phone!)
Art and Artists, Paintings, Painters, Prints, Printmakers, Illustration, Illustrators
While searching ffffound.com I stumbled across the artwork of Rosalie Gascoigne and through some investigating found out that she was a New...
After my recent post on Helen Frankenthaler, I thought I’d take a look at the work of another female artist – quite different, but one whose work follows on neatly from that of Christopher Wool, featured in my last posting. Rosalie Gascoigne (1917 – 1999) was a New Zealander – Australian sculptor. She showed at the Venice Biennale in 1982, becoming the first female artist to represent Australia there. In 1994 she was awarded the Order of Australia for her services to the arts. Gascoigne was born Rosalie Norah King Walker in Auckland, New Zealand. She emigrated to Canberra, Australia in 1943 at the age of 26 to marry astronomer S. C. B (Ben) Gascoigne, later to become an eminent professor, and set up home in the isolated scientific community of Mount Stromlo. In the late 1960s she started experimenting with small scrap iron sculptures and later wooden boxed assemblages, all composed of materials she found while on scavenging expeditions in the Canberra hinterland. She learnt to love the "boundless space and solitude" of her new home. Much of her art reflects this, though some also harks back to her roots in New Zealand. 1977 Sir Bagby iron Gascoigne was strongly encouraged by artist Michael Taylor and by James Mollison, then director of the National Gallery of Australia in Canberra, who spotted her distinctive artistic talents early. Her first serious exhibition was at Ann Lewis's Gallery A in Paddington, Sydney, in 1974, when Gascoigne was 57; it was an instant success, and a mere four years later she had become a major figure in the Australian art world, with a survey at the National Gallery of Victoria. Her assemblages moved through many stages, to a certain extent dictated by the colours and types of materials she was currently interested in. She said that her art-making materials "need to have been open to the weather." She thus used mostly found materials: wood, iron, wire, feathers, and most famously yellow and orange retro-reflective road signs, which flash and glow in the light. Some of her other best-known works use faded, once-bright drinks crates; thinly-sliced yellow Schweppes boxes; ragged domestic items such as torn floral lino and patchy enamelware; vernacular building materials such as galvanised tin, corrugated iron and masonite; and fibrous, rosy cable reel ends. These objects represent, rather than accurately depict, elements of her world. "The countryside's discards ... no longer suggest themselves but evoke experiences, particularly of landscape.” Text is another important element of her work; she would cut up and rearrange the faded, naive lettering found on these items to create abstract yet evocative grids of letters and word fragments, sometimes alluding to the crosswords and poetry of which she was so fond. Knowledgeable and widely read, she was inspired amongst others by the artists Colin McCahon, Ken Whisson, Dick Watkins and Robert Rauschenberg. However gradually both colour and text seemed to fade from her work, and in her final years she created meditative, elegiac compositions of white or earth-brown panels. 1999 Earth 4 sawn builders form wood Although working vigorously into her 80s, with occasional help from an assistant, her age at the height of her success precluded the travelling that would have been necessary to build the international audience her work deserved. Although she exhibited occasionally overseas - including the 1982 Venice Biennale (the first Australian woman to do so), Switzerland and Sweden as well as throughout Asia - the major holdings of her work remain in Australia and New Zealand, both of which claim her as their own. Fine examples of Gascoigne's oeuvre can be found in most Antipodean galleries; and the Metropolitan Museum of Art, New York, owns one of her smaller pieces. Rosalie Gascoigne died in Canberra in 1999. 1976 The Colonel's Lady mixed media 1976 Triptych mixed media 1980-1 Untitled (12 squares of 6) sawn weathered wood 1984 Untitled (25 scallop shells) 1985 Pineapple Pieces No. 4 1988 Painted Words spray painted masonite on plywood 1989 Tesserae 1 sawn / split soft drink crates on plywood 1990-2 Regimental Colours (B) sawn / split soft drink crates on plywood 1992 Port of Call cut tea crates and weathered formwork on plywood 1992 Text sawn / split soft drink crates on plywood 1992-3 Rose Red City #6 corrugated iron on wood 1993 Lily Pond linoleum and plywood 1993-4 White City wood on craft-board 1994 Bread and Butter sawn wood on craft-board 1994 Compound timber and masonite 1994-5 The Apple Isle sawn wood on craft-board 1995 Gentlemen of Japan retro reflective road sign on craft-board 1995 White Garden corrugated iron on wood 1998 Full Fathom Five sawn wood on wood 1998 Magpie sawn wood on wood 1998 Tartan sawn wood on wood 1999 Metropolis retro reflective road-sign on wood 1999 Parasol retro reflective road-sign on wood 1999 Valentine retro reflective road-sign on wood
i was lucky enough to go along with a friend and my brother, his partner and young archer wilton claffey (my 8-month-old nephew in pram) to catch the final day of the retrospective of artist rosalie gascoigne an the ngv ian potter museum last sunday. my friend most eloquently commented (something along the lines, oh i wish i would write the wonderful things people say down straight away) that the respect in rosalie gascoigne's work for the intrinsic humility of the object is truly beautiful. my first impression was that rosalie gascoigne finds and expresses a particularly australian beauty in the found objects - discarded wooden road signs, rusting corrugated iron and weathered timber - she uses for her work. my favourites were her linoleum - using scraps of 30s/40s/50s-era lino patterns and placing them together to make beautiful multi-hued collages. i also very much like the subtle whites, creams, eggshells, powder blues that were in many of her simple timber crosshatch or battened pieces. the exhibition biography says that rosalie studied sogetsu school of ikebana, and that she credited this study with her appreciation of line and form. i think that her works also are a beautiful example of the philosophy of wabisabi - the japanese aesthetic that finds beauty in the imperfect, the humble, the simple and the incomplete. and the way that rosalie collected and honoured what to many eyes might be viewed as useless, or be discarded as rubbish, reminds me of the beautiful agnes varda film the gleaners and i. all images of rosalie gascoigne's works here are from the roslyn oxley9 gallery (except for the final two which were taken by my manifestly inadequate camera phone!)
After my recent post on Helen Frankenthaler, I thought I’d take a look at the work of another female artist – quite different, but one whose work follows on neatly from that of Christopher Wool, featured in my last posting. Rosalie Gascoigne (1917 – 1999) was a New Zealander – Australian sculptor. She showed at the Venice Biennale in 1982, becoming the first female artist to represent Australia there. In 1994 she was awarded the Order of Australia for her services to the arts. Gascoigne was born Rosalie Norah King Walker in Auckland, New Zealand. She emigrated to Canberra, Australia in 1943 at the age of 26 to marry astronomer S. C. B (Ben) Gascoigne, later to become an eminent professor, and set up home in the isolated scientific community of Mount Stromlo. In the late 1960s she started experimenting with small scrap iron sculptures and later wooden boxed assemblages, all composed of materials she found while on scavenging expeditions in the Canberra hinterland. She learnt to love the "boundless space and solitude" of her new home. Much of her art reflects this, though some also harks back to her roots in New Zealand. 1977 Sir Bagby iron Gascoigne was strongly encouraged by artist Michael Taylor and by James Mollison, then director of the National Gallery of Australia in Canberra, who spotted her distinctive artistic talents early. Her first serious exhibition was at Ann Lewis's Gallery A in Paddington, Sydney, in 1974, when Gascoigne was 57; it was an instant success, and a mere four years later she had become a major figure in the Australian art world, with a survey at the National Gallery of Victoria. Her assemblages moved through many stages, to a certain extent dictated by the colours and types of materials she was currently interested in. She said that her art-making materials "need to have been open to the weather." She thus used mostly found materials: wood, iron, wire, feathers, and most famously yellow and orange retro-reflective road signs, which flash and glow in the light. Some of her other best-known works use faded, once-bright drinks crates; thinly-sliced yellow Schweppes boxes; ragged domestic items such as torn floral lino and patchy enamelware; vernacular building materials such as galvanised tin, corrugated iron and masonite; and fibrous, rosy cable reel ends. These objects represent, rather than accurately depict, elements of her world. "The countryside's discards ... no longer suggest themselves but evoke experiences, particularly of landscape.” Text is another important element of her work; she would cut up and rearrange the faded, naive lettering found on these items to create abstract yet evocative grids of letters and word fragments, sometimes alluding to the crosswords and poetry of which she was so fond. Knowledgeable and widely read, she was inspired amongst others by the artists Colin McCahon, Ken Whisson, Dick Watkins and Robert Rauschenberg. However gradually both colour and text seemed to fade from her work, and in her final years she created meditative, elegiac compositions of white or earth-brown panels. 1999 Earth 4 sawn builders form wood Although working vigorously into her 80s, with occasional help from an assistant, her age at the height of her success precluded the travelling that would have been necessary to build the international audience her work deserved. Although she exhibited occasionally overseas - including the 1982 Venice Biennale (the first Australian woman to do so), Switzerland and Sweden as well as throughout Asia - the major holdings of her work remain in Australia and New Zealand, both of which claim her as their own. Fine examples of Gascoigne's oeuvre can be found in most Antipodean galleries; and the Metropolitan Museum of Art, New York, owns one of her smaller pieces. Rosalie Gascoigne died in Canberra in 1999. 1976 The Colonel's Lady mixed media 1976 Triptych mixed media 1980-1 Untitled (12 squares of 6) sawn weathered wood 1984 Untitled (25 scallop shells) 1985 Pineapple Pieces No. 4 1988 Painted Words spray painted masonite on plywood 1989 Tesserae 1 sawn / split soft drink crates on plywood 1990-2 Regimental Colours (B) sawn / split soft drink crates on plywood 1992 Port of Call cut tea crates and weathered formwork on plywood 1992 Text sawn / split soft drink crates on plywood 1992-3 Rose Red City #6 corrugated iron on wood 1993 Lily Pond linoleum and plywood 1993-4 White City wood on craft-board 1994 Bread and Butter sawn wood on craft-board 1994 Compound timber and masonite 1994-5 The Apple Isle sawn wood on craft-board 1995 Gentlemen of Japan retro reflective road sign on craft-board 1995 White Garden corrugated iron on wood 1998 Full Fathom Five sawn wood on wood 1998 Magpie sawn wood on wood 1998 Tartan sawn wood on wood 1999 Metropolis retro reflective road-sign on wood 1999 Parasol retro reflective road-sign on wood 1999 Valentine retro reflective road-sign on wood
