朱利安·阿什顿认领

Ashton's 'Sentry-box Reach' was painted when he was a staff artist for The picturesque atlas of Australasia; a position which allowed him to travel widely. The Hawkesbury soon became a favourite haunt for painting. He returned to it frequently with artist friends. 'Sentry-box Reach' is a classic example of nineteenth-century British watercolour technique – transparent washes of watercolour over barely perceptible pencil outlines, occasionally with some minor scraping out for highlights. It is a particularly convincing study of the expanse and conditions of the Hawkesbury landscape.

Julian Ashton was one of the most influential figures in the Sydney art world from his arrival here in 1883 to work on the Picturesque atlas of Australasia. He took a leading role in the Art Society of NSW, which undertook art instruction and exhibitions for the most significant artists of the day and was an early Trustee of the Art Gallery of New South Wales (1889-99), where he championed the collection of contemporary Australian art by the Gallery. However it was the example Ashton set as a painter and as a teacher at his eponymous Sydney Art School (est. 1890) that was to have the most profound effect on a generation of ‘Bohemian’ artists who wished to forge a distinctively independent school of painters of Australian life and landscape.The subject of this atmospheric, poetic watercolour is the ferry wharf at Mosman’s Bay – a popular subject for a number of artists associated with the artists’ camps of Mosman in the 1880s and 90s. Situated in the next bay, Little Sirius Cove, was the artists’ Curlew Camp, and further to the north was the Edwards Beach camp, (today’s Balmoral Beach), where Ashton was a frequent resident. This watercolour was painted the same year his other watercolour, 'A solitary ramble' 1880, was acquired by the AGNSW.Depicted in the centre of the painting is Lewis’s Refreshment Rooms, built next to the wharf and a focus of leisure for leisure and relaxation, although a place of comparative bustle and activity compared to the more isolated artists’ camps nearby. Ashton championed the practice of painting outdoors (en plein air); this work captures the impressions of nature – sunlight, haze, water – as well as the human activity by the foreshore, witnessed in all its prosaic everyday-ness by the artist in its midst.