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lobby, found themselves in a beautifully decorated living room in the case of The offerings of peace and a bedroom for The offerings of war. The elevated rooms allowed visitors to see the sculptures at close hand, resituated in familiar environments. The giant horse and rider appeared as if wading through the bedsheets or emerging triumphant from the coffee table. Created to be viewed from a distance, from plinths that raise them above our heads, these monuments could now be encountered face to face.
222:
decided that its advantages would be offset by difficulties, for if the statues were placed thus they would dwarf the portico itself, and the massive simplicity of the entrance-way has always given the trustees matter for pride. Accordingly, they are placing the pieces halfway between the central portico and the semi-circular groups of pillars at either end of the facade.
217:
statues had been delivered, the gallery trustees decided instead to install the works on free-standing plinths halfway down either side the length of the facade. In May 1926 a separate tender was called for the plinth construction and the installation of the sculptures, with the eventual installation taking place in
October.
225:
There is no doubt that the new arrangement, in preserving the massiveness of the building design, has sacrificed some of the vigour of the sculpture. Alongside the steps the figures would have been set at an angle of forty-five degrees, so that people going in could obtain a side view of both of them
295:
From the outside, War and peace and in between, 2009, wrapped in plastic sheeting and temporary building materials, resembled the scaffolding that encased the sculptures during restoration; but inside, a different revitalisation had occurred. The public entered via ramps and, after passing through a
216:
The expectation at the time of commissioning the sculptures was that they would be situated at an angle on either side of the portico at the top of the entrance steps. Purpose-built plinths had been included in the construction of the facade for the statues' eventual installation. However, once the
221:
There has been a certain amount of criticism in artistic circles of the position in which these statues are being placed. They were designed originally to be set on either side of the main steps, flanking the columns of the portico. The trustees, however, on further consideration of this plan,
266:
254:
to address the problems. The Art
Gallery's Conservator wrote that "Until we can solve our social problems, conservators will continue to search for better corrosion inhibitors, more durable waterproof coatings and innovative ways to prevent vandalism".
126:
holds a staff, a bundle of swords and broken spear shafts. Artistically, they "make no concession to the twentieth century" and are "...completely at one with the neo-classical
Victorian facade , which is in itself allegorical."
876:
Public Art: Who Cares? Proceedings of the 1993 Seminar presented by the
Sculpture, Monuments & Outdoor Cultural Materials special interest group of the Australian Institute for Conservation of Cultural
349:
At least one contemporary source says that the commission was given in 1914 not 1916. If true this would mean that the models produced in 1915 were to seek approval for the design rather than as an initial
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In 1903 Bayes was commissioned to design a bronze relief panel for the façade of the New South Wales Art
Gallery. "Subjects typical of Assyrian or Egyptian art were required." His design depicting
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was interrupted by the war itself, from which Bayes was exempted because of this commission. Full size plaster statues were finally completed in 1919,
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197:, considered by contemporaries to be "the finest bronze caster in the world". These would be the first of several Sydney commissions for Burton.
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Standing 14 feet high and weighing six tons, the works were originally commissioned for £1500 each; the eventual cost rose to £2300 each.
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The facade of the
National Art Gallery (1900s) showing the empty plinths, set at 45 degrees, on the corners of the portico
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and the following year he received the commission to produce large bronze versions to flank the museum's main entrance.
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changed its name to "The
National Art Gallery of New South Wales" in 1883 and reverted to its original name in 1958.
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151:, King of Assyria, was produced in 1906 and in 1907 became the first panel to be installed on the façade.
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By 1993 the sculptures needed conservation treatment as a result of damage from air and sea pollution –
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Other bronze statues cast by Burton on display in close proximity in Sydney include the figures of the
287:(b. 1960) in which the sculptures were incorporated into domestic scenes. The work was commissioned by
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394:. Other earlier works in Sydney cast at the same foundry but under previous ownership include
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in June) and erected in 1926. The statues were, according to their inscription, cast at the
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110:(on the right) each show a male rider astride a horse. The models for the works are the
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at night, showing the two sculptures in silhouette flanking the entrance portico (2013)
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190:
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36:
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194:
441:
Free, Renée (January 1972). "Late
Victorian, Edwardian and French Sculptures".
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1003:"British bronze sculpture founders and plaster figure makers, 1800-1980 - T"
978:"British bronze sculpture founders and plaster figure makers, 1800-1980 - B"
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from car exhausts and chlorides from the sea. Funds were allocated from the
43:. They have been on permanent display since their installation in 1926.
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28:
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In 1915, after the outbreak of World War I, Bayes submitted to the
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of
Tragedy and Comedy representing "the arts" and "plenty", while
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That our House may stand forever and that
Justice and Mercy grow.
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The Real and Lasting Victories Are those of Peace and Not of War.
181:
in England in 1923, shipped separately to Sydney in 1924 (first
637:"Equestrian groups to be erected in front of the Art Gallery"
114:
and the riders carry symbolic items as their "offerings".
291:
and was on display from October 2009 to February 2010.
879:. Sydney: Art Gallery of New South Wales. p. 62.
272:, appearing inside a bedroom built around it by Nishi.
702:"Art Gallery. Equestrian statue. "Offerings Of War""
158:"a pair of 18 inch bronzed plaster figures entitled
1044:Collection of the Art Gallery of New South Wales
710:. Sydney, Australia. 4 February 1924. p. 10
293:
219:
226:as if they were leaping out from each corner.
8:
522:. Liverpool University Press. p. 174.
819:"National Gallery. Gilbert Bayes' Statues"
675:. Somerset, England: Yeovil. p. 127.
106:(on the left of the Gallery entrance) and
673:Gilbert Bayes : sculptor, 1872-1953
671:Irvine, Louise; Atterbury, Paul (1998).
519:Cultural Hijack: Rethinking Intervention
317:List of public art in the City of Sydney
134:
428:
156:National Art Gallery of New South Wales
928:"40 Years: Kaldor Public Art Projects"
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39:commissioned for the entrance of the
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382:; and the soldier and sailor of the
576:"Assur Natsir Pal, King of Assyria"
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926:McDonald, John (31 October 2009).
738:. Sydney. 10 June 1924. p. 15
14:
1034:1926 establishments in Australia
900:Bond, Anthony (September 2009).
582:. Art Gallery of New South Wales
497:. Art Gallery of New South Wales
471:. Art Gallery of New South Wales
73:
50:
1049:Equestrian statues in Australia
766:Design and Art Australia Online
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906:Art Gallery of New South Wales
902:"Archive: More on Tatzu Nishi"
337:Art Gallery of New South Wales
330:
41:Art Gallery of New South Wales
1:
855:. 27 October 1926. p. 18
827:. 15 October 1926. p. 12
1039:Outdoor sculptures in Sydney
443:Art Gallery of NSW Quarterly
277:War and Peace and in between
260:War and peace and in between
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953:"Project 19 – Tatzu Nishi"
303:Kaldor Public Art Projects
289:Kaldor Public Art Projects
252:Department of Public Works
1007:National Portrait Gallery
982:National Portrait Gallery
874:Midwinter, Donna (1993).
852:The Sydney Morning Herald
824:The Sydney Morning Herald
795:Elmbridge Borough Council
707:The Sydney Morning Herald
645:. 19 May 1926. p. 16
642:The Sydney Morning Herald
613:. 19 May 1926. p. 14
610:The Sydney Morning Herald
233:The Sydney Morning Herald
957:kaldorartprojects.org.au
465:"The offerings of peace"
491:"The offerings of war"
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84:(right side of facade)
20:The Offerings of Peace
791:The Elmbridge Hundred
787:"Arthur Bryan Burton"
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61:(left side of facade)
730:"Offerings of Peace"
605:"Equestrian statues"
366:(1926) opposite the
363:Shakespeare Memorial
281:installation artwork
279:was a site-specific
270:The Offerings of War
24:The Offerings of War
932:johnmcdonald.net.au
847:"Equestrian Statue"
516:Parry, Ben (2011).
380:St Mary's Cathedral
120:Greek theatre masks
863:– via Trove.
835:– via Trove.
718:– via Trove.
416:Joseph Edgar Boehm
274:
214:
185:in February, then
160:Offerings of Peace
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58:Offerings of Peace
33:equestrian statues
392:Bertram Mackennal
236:, 15 October 1926
91:Accession no.3255
68:Accession no.3254
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37:Gilbert Bayes
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1010:. Retrieved
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857:. Retrieved
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769:. Retrieved
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746:– via
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712:. Retrieved
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653:– via
647:. Retrieved
640:
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621:– via
615:. Retrieved
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31:allegorical
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374:(1928) and
285:Tatzu Nishi
195:A.B. Burton
193:foundry by
99:Description
1028:Categories
886:0731003497
580:Collection
495:Collection
469:Collection
423:References
410:(1888) in
398:(1878) by
396:James Cook
386:(1929) in
378:(1933) at
131:Commission
451:0004-3192
404:Hyde Park
390:– all by
350:proposal.
877:Material
311:See also
299:—
229:—
169:Work on
1012:17 June
987:17 June
962:17 June
831:18 June
800:17 June
771:17 June
735:The Sun
714:18 June
560:17 June
551:"Works"
501:16 June
475:16 June
445:: 651.
937:7 July
911:7 July
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859:8 July
742:6 July
679:
649:8 July
617:6 July
586:5 July
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449:
29:bronze
748:Trove
655:Trove
623:Trove
323:Notes
187:Peace
175:Peace
141:AGNSW
116:Peace
104:Peace
1014:2016
989:2016
964:2016
939:2016
913:2016
881:ISBN
861:2016
833:2016
802:2016
773:2016
744:2016
716:2016
677:ISBN
651:2016
619:2016
588:2016
562:2016
524:ISBN
503:2016
477:2016
447:ISSN
406:and
335:The
179:cast
173:and
162:and
139:The
22:and
414:by
402:in
283:by
183:War
171:War
124:War
108:War
35:by
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
