Landscape with River and Boat

Details

Artist

Charles Conder

Title

Landscape with River and Boat

Year

1890

Medium

oil on canvas

Size

40.5 x 20.1

Details

inscribed lower left to lower right: CHAS CONDER WITH HIS SINCERE THANKS TO Dr MAUDSLEY / MARCH 1890
verso: label: National Gallery of Victoria

Stock Number

250028

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Provenance

Dr H.F. Maudsley, 1859 - 1944
Mrs H.F. Maudsley, 1944 - 1967
Mrs Colin Angus, 1971
Mr Colin Angus,
Mrs John Brack & Dr Emily Maudsley, until 1971
Christies, September 1970, lot 57
private collection, Melbourne
by descent
private collection, Melbourne

Exhibited

Melbourne C.E.G.S., 1952
''Charles Conder 1868 - 1909'', National Gallery of Victoria, 9 August - 4 September 1966, & touring, cat. no. 38
''Charles Conder Retrospective'', Art Gallery of New South Wales, 14 June - 17 August 2003, National Gallery of Victoria 6 September - 9 November 2003, 21 November 2003 - 26 January 2004, cat.no. 27
''Australian Impressionism'', National Gallery of Victoria, 31 March - 8 July 2007
''The Painted Vision: 1840 - 1963'', Lauraine Diggins Fine Art, Melbourne, 2009

Literature

Galbally, A. & Pearce, B., ''Charles Conder'', Art Gallery of New South Wales, 2003, p.66 illus. p. 97
Galbally, A., ''Charles Conder The Last Bohemian'', Melbourne University Press, 2003 (paperback edn), p. 55
Hoff, U., ''Charles Conder'', Australian Art Library, Lansdowne Press, Melbourne, 1972, p.47 & p.103 [C80]
Croll, R.H., ''Tom Roberts'', Melbourne, 1935, p.140
Hoff, U., "Charles Conder", in ''Art & Australia'', Vol. 2, no. 1, May, 1964, colour illus. p.37

Further Information

Dr Henry Carr Maudsley (1859 - 1944), was a physician & surgeon who came to Melbourne from London in 1888 and treated Conder for his recurring syphilis over the summer 1889-90.

Galbally, p.66 "Conder spent two summers at Heidelberg, the first dominated by the drought ... As he moved into the second summer - and in spite of recurring illness - his work matured. Australian Landscape (cat.no. 30), a small oil on canvas, is a highly poetic response to the area, worked broadly in terms of light and shade to suggest the reach of the valley with just the tiniest figure in the middle distance of an artist at work (Streeton). The paint handling of The Yarra, Heidelberg (cat. no. 26), Landscape with river and boat (cat.no. 27) and On the River Yarra Near Heidelberg (cat.no. 31) is that of a mature artist, secure in his aesthetic and relishing the warm brown tonality of his palette. Forms are softer and more suggestive. There is the feeling the artist has mastered the local plein air style and is ready for change."