145:, which not only called for the female right to vote, but the need for equal education to access confidence, achievement and employment. This included the visual arts and gradually saw the inclusion of women into the National Gallery School. The intrepid leader that was Sutherland, had enrolled as early as 1871, a good 14 years before the Women's Suffrage Society was formed in Melbourne. Unlike fields such as medicine, the study of visual arts was considered an easier area to transition into as it was already considered a suitable hobby for upper-class women. The likelihood of female artist being equal to a male artist in commission, exhibitions and respect was harder to gain.
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Sutherland's body of work mainly focus on
Australian landscapes with the inclusion of women and children interacting with nature. Narrative is suggestive in her works as she leaves an impression of the land and her figures turn away from the viewer. Despite her efforts and success, Sutherland found
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and is considered the beginning of the style known as
Australian Impressionism. However, Sutherland's and Southern's works were not exhibited. There is a continuing debate, highlighted by art historians Juliet Peers and Humphrey McQueen, if the exclusion of Sutherland and Southern was due to gender
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in 1870. The
Sutherland family soon became an important part in the formation of Melbourne's cultural influence in Australia. Uncommon at the time, Sutherland had the support and encouragement from her family to pursue a career as an artist. Due to the support of her family, Sutherland was able to
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Following
William's death in 1911, Sutherland was forced to retire and remained so until her death in 1928. Unable to paint, it was during these years that she was gradually forgotten during the turn of the century. By the time of her passing on the 28th of July, there was little to no public
264:. With William's assistance for mobility, Sutherland was able to continue painting and exhibiting her work as well as teach art to a new generation. However, the impact of her illness can be seen by the diminishing the size of her works, from large canvases to small pastels.
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In the late nineteenth century, there were two contrasting movements concerning women's education. The first being the view that a woman's role and purpose was reproduction; their importance was valued by their maternal care.
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difficulties in being considered a serious and professional artist. Sutherland was forced to price her paintings at a tenth of the value of her male peers. In one example from 1894 exhibition, Sutherland's work
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and, as Mead shown, membership formed relationships between
Sutherland, Withers, Roberts, McCubbin, Abrahams and others leading to them painting together in plein air camps as the Heidelberg School of artists.
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in
Collins Street, Melbourne, was considered a centre for the Heidelberg School with Tom Roberts and Jane Price later securing studios there. Jane Sutherland and Clara Southern both created works for
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were the first women elected as
Councillors of the Victorian Artists’ Society. During her years of active work, she was valued for her efforts in the visual arts scene of Melbourne.
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Sutherland was the leading female artist in the group of
Melbourne painters who worked outside the studio; she took plein-air sketching trips to the outlying rural districts of
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Jane
Sutherland was an important figure in a generation of Australian women who chose to pursue a career in art over marriage and creating a family. Her niece,
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557:(PhD thesis ed.). Ballarat, Australia: Collaborative Research Centre in Australian History, School of Arts, Federation University. p. 83.
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Mead, Stephen F. (December 2011). "The Search for
Artistic Professionalism in Melbourne: the activities of the Buonarotti Club, 1883 -1887".
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113:. Her advocacy to advance the professional standing of female artists during the late nineteenth century was also a notable achievement.
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In the early years of the 1900s, Sutherland suffered from a serious stroke and became fully reliant upon the care of her brother,
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roles of the time or merely that their work did not fit the curator's, Elsie Goode, overall vision. In 1900 Sutherland and
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From 1878, Sutherland exhibited at the Victorian Academy of Arts, then with the
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held in Melbourne, 1889. The exhibition held many works by artists from the
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The Melbourne Art Scene and the Victorian Artists’ Society 1870 - 2020 ()
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Wallen Prize, National Gallery School, Annual Students’ Exhibition, 1883
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Commonwealth of Australia Gazette. Periodic (National : 1977–2011)
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From 1888, Sutherland shared a studio for teaching with artist
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Peers, Juliet (1999). “The Leader Amongst the Lady Artists”.
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Completing the Picture: Woman Artists and the Heidelberg Era
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Completing the Picture: Woman Artists and the Heidelberg Era
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Peers, Juliet “The Leader Amongst the Lady Artists”.
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429:. Australia: G+B Arts International Limited, 1995.
415:. Victoria: Greenhouse Publications Pty Ltd, 1980.
283:Jane Sutherland Circuit in the Canberra suburb of
436:. Melbourne: Victorian College of the Arts, 1977.
134:live comfortably as an unmarried, working woman.
1395:National Gallery of Victoria Art School alumni
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125:to Scottish parents; the family emigrated to
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585:Hammond, Victoria and Peers, Juliet (1992).
572:Hammond, Victoria and Peers, Juliet (1992).
507:Hammond, Victoria and Peers, Juliet (1992).
457:. South Australia: Axiom Distributors, 2013.
966:Winter morning after rain, Gardiner's Creek
109:movement in Australia, and a member of the
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329:Northern Territory Museum and Art Gallery
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615:. Greenhouse Publications Pty Ltd. p. 29.
244:asking price was eighteen guineas, while
482:. G+B Arts International Limited. p.458.
1243:National Gallery of Victoria Art School
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480:Heritage: The National Woman’s Art Book
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641:. Victorian College of the Arts. p. 3.
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1370:20th-century Australian women artists
1365:19th-century Australian women artists
1355:Australian people of Scottish descent
624:National Gallery of Victoria (1992).
495:. Victorian College of the Arts. p.2.
418:Hammond, Victoria and Peers, Juliet.
385:, 1896, National Gallery of Australia
332:State Library of Victoria, Melbourne
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718:at The National Gallery of Australia
370:, 1896, National Gallery of Victoria
143:Australian women's suffrage movement
1390:American people of Scottish descent
1102:The purple noon’s transparent might
710:at The National Gallery of Victoria
335:University of Melbourne Art Museum
313:LaTrobe Library Picture Collection
1340:People from the Colony of Victoria
613:Australian Women Artists 1840-1940
413:Australian Women Artists 1840-1940
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443:. Parkdale: Artmovers Inc. 1992.
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1385:American emigrants to Australia
1375:20th-century Australian artists
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658:. National Gallery of Australia
656:Australian Prints + Printmaking
166:Australian Artists’ Association
739:Women of the Heidelberg School
734:at The Art Gallery of Ballarat
439:National Gallery of Victoria.
304:Art Gallery of South Australia
141:The second view came from the
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326:Newcastle Region Art Gallery
317:National Gallery of Australia
1360:Burials at Box Hill Cemetery
1208:9 by 5 Impression Exhibition
1086:In a corner on the Macintyre
553:Williams, Graeme H. (2020).
422:. Victoria: Artmovers, 1992.
322:National Gallery of Victoria
214:9 by 5 Impression Exhibition
121:Jane Sutherland was born in
16:Australian landscape painter
1380:Painters from New York City
731:Obstruction, Box Hill, 1887
684:. 31 August 1988. p. 9
602:. Axiom Distributors. p 12.
598:Whimpress, Bernard (2013).
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887:Charles Douglas Richardson
400:, 1897, private collection
355:, 1888, private collection
1345:Australian women painters
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1265:Victorian Artists Society
1187:George Washington Lambert
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637:Lindsay, Frances (1977).
522:Australian Journal of Art
491:Lindsay, Frances (1977).
448:Australian Journal of Art
309:Ballarat Fine Art Gallery
252:for seventy-five pounds.
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1289:Visual arts of Australia
1238:Heidelberg Artists Trail
1014:Golden Summer, Eaglemont
287:is named in her honour.
707:Field Naturalists, 1896
628:. Artmovers Inc. p. 31.
1213:Box Hill artists' camp
1156:James McNeill Whistler
715:A Cabbage Garden, 1896
611:Burke, Janine (1980).
587:Completing the Picture
574:Completing the Picture
509:Completing the Picture
420:Completing the Picture
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1255:Sydney artists' camps
867:Albert Henry Fullwood
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158:Obstruction, Box Hill
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129:in 1864 and moved to
1136:Jules Bastien-Lepage
1094:On the Wallaby Track
990:A holiday at Mentone
857:John Llewellyn Jones
726:, Private Collection
524:, Volume 14. p. 134.
453:Whimpress, Bernard.
69:Melbourne, Australia
589:. Artmovers. p. 13.
576:. Artmovers. p. 68.
536:The Latrobe Journal
511:. Artmovers. p. 12.
1233:Grosvenor Chambers
872:John Ford Paterson
797:Frederick McCubbin
478:Kerr, Joan (1995)
450:, Volume 14, 1999.
432:Lindsay, Frances.
262:William Sutherland
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209:Grosvenor Chambers
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53:New York City, USA
1320:Heidelberg School
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1070:The Golden Fleece
1038:Shearing the Rams
778:Heidelberg School
723:After Autumn Rain
652:"Ruth Sutherland"
600:Heidelberg School
455:Heidelberg School
368:Field Naturalists
353:On the Last Tramp
256:Illness and death
233:To the Dandenongs
218:Heidelberg School
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207:. The studio at
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1192:Sydney Long
1182:Hans Heysen
1151:G. P. Nerli
1118:The Pioneer
847:Ina Gregory
802:Tom Roberts
688:16 December
190:Tom Roberts
182:Templestowe
75:Nationality
62:5 July 1928
1304:Categories
1284:Naturalism
1165:Influenced
1129:Influences
1062:Bush Idyll
882:Jane Price
639:Sutherland
493:Sutherland
434:Sutherland
406:References
178:Alphington
117:Early life
78:Australian
46:1853-12-16
1277:See also
1078:Bailed Up
1054:Fire's on
942:Paintings
877:Leon Pole
131:Melbourne
107:plein-air
250:Moonrise
223:May Vale
186:Box Hill
123:New York
93:Movement
87:Painting
1201:Related
911:Patrons
662:7 April
1121:(1904)
1113:(1903)
1105:(1896)
1097:(1896)
1089:(1895)
1081:(1895)
1073:(1894)
1065:(1893)
1057:(1891)
1049:(1891)
1041:(1890)
1033:(1890)
1025:(1890)
1017:(1889)
1009:(1889)
1001:(1888)
993:(1888)
985:(1887)
977:(1886)
969:(1886)
961:(1886)
953:(1886)
291:Awards
285:Conder
272:Legacy
235:, 1888
160:, 1887
149:Career
127:Sydney
462:Notes
690:2020
664:2018
196:and
184:and
59:Died
40:Born
1306::
680:.
654:.
563:^
540:88
538:.
500:^
469:^
192:,
180:,
1261:)
1257:(
770:e
763:t
756:v
743:.
692:.
666:.
542:.
48:)
44:(
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