Helen Ogilvie

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William Pate (c.1930–39) Portrait drawing of Helen Ogilvie, in Anne Montgomery's studio in the Rialto Building, Collins Street. Collection of the State Library of Victoria

Helen Elizabeth Ogilvie (4 May 1902, in Corowa – 1 August 1993, in Melbourne) was a twentieth-century Australian artist and gallery director, cartoonist, painter, printmaker and craftworker, best known for her early linocuts and woodcuts, and her later oil paintings of vernacular colonial buildings.

Early life and education[edit]

Helen Elizabeth Ogilvie was born 4 May 1902 in Corowa and grew up in surrounding rural New South Wales where she would go sketching with her mother, Henrietta, a watercolourist, before her family moved to Melbourne in 1920. There Helen attended the National Gallery School in 1922–25 though she did not enjoy its conservative approach and prescriptive teaching methods. In her last year her style was influenced by George Bell while he briefly was the drawing master.[1][2] While at the school she became a member of the Melbourne Society of Women Painters and Sculptors and started exhibiting in 1924.[3]

Early career[edit]

Inspired by seeing a book of Claude Flight's Modernist linocuts in 1928,[4] Ogilvie produced many linocuts and woodcuts from the 1930s onwards.[5] Her work in a 1932 group show is praised, with that of other exhibitors, for skills in cutting and "an intimate artistic facility for illustrative design".[6] She was one of many women artists who took up relief printing but, unlike Eveline Syme and Ethel Spowers, Ogilvie could not afford to study it overseas, and when she took up wood engraving in the 1930s it was her friend, the artist and printmaker Eric Thake who provided instruction.[7] She focussed on subject matter familiar to her, including farm animals, rural landscapes and Australian flora and fauna. Curator Sheridan Palmer in the catalogue for a 1995 Art Gallery of Ballarat retrospective described her as;

"a fiercely independent and resourceful woman, who was sophisticated in a simple way. She could turn her hand to many things, creating out of basic materials objects which suited her needs at the time."[1]

She exhibited frequently, but in an effort to survive in the Depression years she also produced bookplates,[8] greeting cards,[9][10] and calendars.[11] In 1933 she showed in a joint exhibition with printmaker Anne Montgomery.

She enjoyed good connections at Melbourne University and the National Gallery of Victoria, with art historians Joseph Burke, Ursula Hoff, and with Russell Grimwade, producing illustrations for the latter's book Flinders Lane: recollections of Alfred Felton (Melbourne University Press,Carlton, 1947)[12] and Sir John Medley's Stolne and surreptitious verses (Melbourne University Press, Carlton, 1952).[13] Buttons bearing her designs were sold for a shilling to raise funds for the 1955 building program at Melbourne University.[14]

War years[edit]

During WW2 and after, Ogilvie worked in the Red Cross Rehabilitation Service at Heidelberg Military Hospital under Frances Wade, where she taught patients lino- and wood-cutting, and basketmaking using locally harvested European and Australian native rushes.[15][16][17] In 1948 Ogilvie, assisted by Helen Biggs, set up a school to train handicrafts instructors for Red Cross occupational therapy services.[18]

Gallerist[edit]

Ogilvie was a generous mentor of emerging artists,[19] and in 1949 Stanley Coe appointed her as one of Australia's first women gallery directors to create a commercial exhibition space on the upper floor of his interior design shop at 435 Bourke Street, Melbourne.[20] Artist Tate Adams dubbed it "the lone beacon in town for contemporary art."[21] For the period until 1955, and with advice from her friends Ursula Hoff, Arnold Shore and Alan McCulloch, she organised a program of exhibitions of the avant-garde;[19][22] John Brack,[23] Margo Lewers, Leonard French (who showed his Illiad series, amongst his earliest experiments with enamel house paint on Masonite, October 1952),[24] Inge King,[25] Arthur Boyd, Charles Blackman (whose radical 'schoolgirl' series was shown there in May 1953), Ludwig Hirschfeld Mack (whose first Australian show in a commercial gallery was there in 1953), Helen Maudsley, Clifton Pugh,[26] Michael Shannon and others.

The opening show in February 1950 of a group twenty Victorian artists associated with George Bell, whose work was also shown, included Alan Warren, Alan Sumner, Constance Stokes, Roger Kemp, William Frater, Charles Bush, Daryl Lindsay, Phyl Waterhouse, Ada May Plante, Francis Roy Thompson, and Arnold Shore,[27] and was followed by a survey show of contemporary art from Sydney. The National Gallery of Victoria purchased important contemporary works from Stanley Coe Gallery between 1950 and 1963.[19] In 1954 however, the dominance of the gallery for emerging artists was being challenged, a fact signalled by the Contemporary Art Society's massive exhibition at Tye's Gallery at 100 Burke Street in 1954 and the ascendancy of their Gallery of Contemporary Art on Flinders Street.

During her period as gallery director, work by Ogilvie was among others selected in 1950 to decorate the liner Oronsay,[28] and in 1954 her work was show together with that of Tate Adams and Kenneth Hood at the Victoria and Albert Museum, London,[29] encouraging her change of attention to Europe and back to her own art-making.

London[edit]

After moving on from her directorship, Ogilvie's own oil paintings of abandoned country structures were shown in 1956 at the gallery, which had been renamed the Peter Bray.[30] She had firmly established her reputation in Australia, with works already acquired by Hoff for the collection of the National Gallery of Victoria,[19] and had purchased a house in South Yarra.[31] That year she moved to London, where she was engaged with the Crafts Revival of the 1950s and 60s and because, as she joked in an interview, "art doesn't pay", she made a living designing modernist lampshades of Japanese papers and parchment for a period, selling them to the high society customers of interior designer David Hicks, of Knightsbridge and Oxfordshire.[31]

During her stay overseas, she visited and sketched the English countryside, and with Melbourne friend Hattie Alexander, described as her 'companion',[31] toured Italy over 11 weeks.[32] Though she produced sketches of European sites, she did not exhibit them but continued to paint small studies of Australian rural buildings, from memory and from sketches, holding two successful solo exhibitions of them in London, including one of 34 canvases, which sold out.[31]

Return to Australia and late career[edit]

Ogilvie returned to Australia in 1963 where the subjects of her paintings and drawings continued to be humble rural buildings which she was aware were disappearing; in an interview she bemoaned the lack of protection given such relics in Australia, compared to the UK.[31] While many Australian artists continued to follow European and international trends, Ogilvie devoted her art to Australian subjects, determined to create a new tradition of Australian printmaking and artistic practice.[7] Reception of her paintings in Australia however, as opposed to her earlier prints, was lukewarm; Donald Brook in reviewing her 1968 Macquarie Galleries solo describes them as 'sweet and stiff'.[33] By the late 1970s she was producing little work but remained interested in the art world. The last of her solo exhibitions that she was able to attend opened at aGOG (Australian Girls' Own Gallery), Canberra, on her 89th birthday, 4 May 1991.

Ogilvie died suddenly in Melbourne on 1 August 1993.

Legacy[edit]

Critical response to Ogilvie's work was sparse, limited mainly to the prints and to vague praise or her 'fine impressions in line and colour'[34] or of lino-cutting skills,[6] 'the work of a sound craftsman [sic]', 'decorative' and with a sense of colour that is 'agreeable and harmonious'.[35] By the time of curator Sheridan Palmer's touring Ballarat Art Gallery Ogilvie 1995 retrospective, The Age critic Robert Nelson in his review highlighted;

"the artist's deficiencies in painting which were already noted in her years at the Gallery School in Melbourne. Ogilvie's floral works in linocut show decorative flair, but this late flowering of the ornament of the '20s won't win Ogilvie a place among the mighty."[36]

Nevertheless, her work, especially her printmaking, has since enjoyed a renewed interest and reevaluation, and has featured in seven major surveys of Australian women's art (see section 'Posthumous exhibitions', below).[37][38][39]

Exhibitions[edit]

Solo[edit]

  • 1948, May: Exhibition of watercolour drawings[40]
  • 1956, April: Paintings, Peter Bray Gallery, Melbourne[30]
  • 1963, February/March: Australian Country Dwellings, shown with The Landscapes of Lucien Pissarro at Leicester Galleries Gallery, Audley Sq., Mayfair, London[41][42]
  • 1967, March: Leicester Galleries, Audley Sq., Mayfair, London
  • 1968, September: joint solo with David Rose, Macquarie Galleries, Sydney[43]
  • 1968, October: Helen Ogilvie Paintings, Leveson Street Gallery, North Melbourne[44]
  • 1972, from 3 May: Macquarie Galleries (joint solo with Nancy Borlase)[45]
  • 1974, 2–13 June: Leveson Street Gallery, Melbourne.[46]
  • 1979, 11–30 July: solo alongside Trevor Weekes and Denese Oates, Macquarie Galleries[47]
  • 1982, 1 October – 31 October: Project 39: Women's imprint, part of Women and the Arts Festival, Art Gallery of New South Wales, Sydney, New South Wales
  • 1991, May 1991: Australian Girls Own Gallery, Canberra, ACT[48]

Group[edit]

  • 1924, 18–27 November: An Exhibition Of Etchings & Drawings, with Hans Heysen, John D. Moor, Lionel Lindsay, John Goodchild, John L. Berry, Frank H. Molony, R. J. Waterhouse, Fred. C. Britten, Lloyd Rees, d’A. Boxall, J. Barclay Godson, Arthur Reed, H. Van Raake, B. E. Minns, Harold D. Herbert, James S. MacDonald, Norman Carter, Thea Proctor, Alfred T. Clint, Margaret Preston, A. Henry Fullwood, Raymond H. McGrath, Don Finley, Hamilton Mack, Adrian Feint, F. M. Grey, Montague White, Audrey Hardy, K. Sauerbier, Professor Leslie Wilkinson, Hardy Wilson, Daryl Lindsay, Sydney Ure Smith.[3] Exhibition Hall, Sixth Floor, Farmer & Company, department store, cnr. Pitt, Market & George Streets, Sydney
  • 1932, 5–16 April: with Sybil Andrews, Cyril Power, Ethel Spowers, Eveline Syme, Eric Thake, John Dick, Christian Waller, Dorrit Block, Ron Meadows, Marjorie Wood, Michael O’Connell. Everyman's Library, 332 Collins Street[6]
  • 1932, to 29 October: Helen Ogilvie, Peggie Crombie, Helen Boyd, paintings and prints. Collins House, Melbourne.[35]
  • 1933: New Melbourne Art Club exhibition, Sedon Galleries, Melbourne [49]
  • 1933, 16–23 October: The Arts and Crafts Society Annual Exhibition, Melbourne Town Hall[34]
  • 1934, The centenary art exhibition, Commonwealth Bank Chambers, 367 Collins Street, Melbourne.[50]
  • 1936: Painter-Etchers and Graphic Art Society of Australia, David Jones Art Gallery[51]
  • 1936, 14–25 July: New Melbourne Art Club exhibition, Athenaeum Gallery[52][49]
  • 1936, 15 April-1 May: Exhibition of paintings, Stair Gallery, 117 Collins Street, Melbourne[53]
  • 1937, from 12 July: New Melbourne Art Club exhibition, Athenaeum Gallery[54][49]
  • 1939, 21 August – 2 September: New Melbourne Art Club Seventh Annual Show[55][49]
  • 1949, February 22-March 4: Exhibition of pictures by Australian artists and loan collection of Indian art, in aid of University Women's College Building Appeal,. Tye's Gallery, 100 Bourke Street, Melbourne[56]
  • 1949, 5 – 13 November: Fern Tree Gully Arts Society, Sixth annual exhibition.[57]
  • 1953, October: Flowerdale CWA annual exhibition[58]
  • 1954, November: Helen Ogilvie, Tate Adams, Kenneth Hood, Victoria and Albert Museum, London[29]
  • 1954: with Braund, Blackman, Brack, Shannon, Nine Victorian Artists, Peter Bay Gallery.[59]
  • 1956, June: with Dorothy Braund, Barbara Brash, Guelda Pyke, Roma Thomson, Phyl Waterhouse, and six male artists, Paintings for Seven Guineas, Peter Bray Gallery[60]
  • 1958: Crouch Prize exhibition, Art Gallery of Ballarat[61]
  • 1964, August: with Lady Williams (President) Geoff Jones, Guelda Pyke, Edith Wall, Bill Coleman, Dorothy Braund, Guelda Gude, Madge Freeman Davis, and others of the Melbourne Contemporary Artists, Argus Gallery[62]
  • 1965, 28 February-11 March: Leveson Street Art Gallery, corner of Leveson and Victoria Streets, North Melbourne[63]
  • 1967, 26 February-9 March: Leveson Street Art Gallery, corner of Leveson and Victoria Streets, North Melbourne[63]
  • 1973, March: Leveson Street Art Gallery, corner of Leveson and Victoria Streets, North Melbourne[63]
  • 1974, March 3–21: Leveson Street Art Gallery, corner of Leveson and Victoria Streets, North Melbourne[63][64]
  • 1974, 26 September: Association for the Blind – Springfield Art Show[65]
  • 1975, 7 November-23 November: Deutsher Galleries opening exhibition – a collection of 19th & 20th century European & Australian paintings, drawings & graphics[66]
  • 1977, April 2: Exhibition marking the opening of 'Important Women Artists Gallery', 13 Emo Road, Malvern East, Victoria[67]
  • 1978, 1 April-7 May: Cicadas and gumnuts – The Society of Arts and Crafts 1906–1935, Art Gallery of New South Wales[68]
  • 1979, 16 February-4 March: inaugural exhibition Murray Crescent Galleries, 35 Murray Crescent, Manuka, Australian Capital Territory[69]
  • 1980, 21–23 November: Ogilvie works included amongst 600 items purchased for the National Gallery of Victoria by the Gallery Society from 1949–1980 which were offered for sale at an Art Mart, Caulfield Arts Centre.[70]
  • 1981/2, Nov. 1981 – Jan. 1982: with Christopher Croft, Janet Dawson, Ruth Faerber, Dusan Marek, Clifton Pugh, Lloyd Rees, Udo Sellbach, Michael Shannon, Guy Warren. Tasmania visited, Tasmanian Museum and Art Gallery.[71]
  • 1982, 27 November-5 December: Artbank purchase exhibition held in conjunction with the Victorian Artists' Society[72]
  • 1990, 9–24 December: Christmas exhibition, Jester Press Gallery, 178 Bridport Street, Albert Park[73]

Posthumous[edit]

Solo[edit]

  • 1995: All this I knew, Ballarat Fine Art Gallery, Ballarat, VIC. and travelling[1][74]
  • 1995/6, 15 December – 14 January: Helen Ogilvie Retrospective, McClelland Art Gallery, Langwarrin

Inclusions in[edit]

Collections[edit]

  • Art Gallery of Western Australia, Perth, WA
  • Queen Victoria Museum and Art Gallery, Launceston, TAS
  • Tasmanian Museum and Art Gallery, Hobart, TAS
  • Castlemaine Art Museum, Castlemaine, VIC[78]
  • Benalla Art Gallery, Benalla, VIC
  • City of Ballarat Fine Art Gallery, Ballarat, VIC
  • University of Melbourne, Melbourne, VIC
  • La Trobe Collection, State Library of Victoria, Melbourne, VIC[79]
  • National Gallery of Victoria, Melbourne, VIC[80]
  • National Gallery of Australia, Canberra, ACT[81]
  • Art Gallery of New South Wales, Sydney, NSW, Australia[82]
  • Queensland Art Gallery[83]
  • Ian Potter Museum of Art, the University of Melbourne, VIC[84]
  • Cruthers Collection of Women's Art at the University of Western Australia[85][38]

Publications illustrated by[edit]

  • Grimwade, Russell; EBSCOhost (20 February 2018), Flinders Lane : recollections of Alfred Felton, Miegunyah Press (published 2018), ISBN 978-0-522-87392-4
  • Medley, J. D. G; Ogilvie, Helen (1952), Stolne and surreptitious verses, s. n, retrieved 16 October 2020
  • Serle, Geoffrey; Medley, John, Sir, 1891–1962; Marginson, R. D. (Raymond David), 1923- (1993), Sir John Medley : a memoir, Melbourne University Press, ISBN 978-0-522-84540-2{{citation}}: CS1 maint: multiple names: authors list (link) CS1 maint: numeric names: authors list (link)

Publications about[edit]

References[edit]

  1. ^ a b c Ogilvie, Helen; Palmer, Sheridan; Ballarat Fine Art Gallery (1995), All this I knew : Helen Ogilvie retrospective exhibition, Ballarat Fine Art Gallery, ISBN 978-0-949063-07-6
  2. ^ Amelia Saward, 'Helen Ogilvie: Australian modernism and a changing sense of place,' in Younger, Gavin (17 July 2019). "Issue 23, December 2018". Museums and Collections. Retrieved 12 October 2020.
  3. ^ a b Advertisement, The Sydney Morning Herald, Tue, Nov 18, 1924, p.6
  4. ^ Maxwell, Helen (1995). "Helen Elizabeth Ogilvie biography". Design and Art Australia Online.
  5. ^ Ogilvie, Helen, 1902–1993. (1995). Wood engravings. Canberra: Brindabella Press. ISBN 0-909422-24-9. OCLC 38359628.{{cite book}}: CS1 maint: multiple names: authors list (link) CS1 maint: numeric names: authors list (link)
  6. ^ a b c ’Designs in Lino Cut’, The Age, Tue, Apr 5, 1932, p.8
  7. ^ a b c Art Gallery of Ballarat (author) ; Julie McLaren (author) ; Louise Tegart (author) (24 May 2019). Becoming Modern : Australian women artists 1920–1950. Ballarat, VIC. ISBN 978-0-648-45802-9. OCLC 1101996633. {{cite book}}: |last= has generic name (help)CS1 maint: location missing publisher (link) CS1 maint: multiple names: authors list (link)
  8. ^ "Under the covers.(Spectrum)", The Age (Melbourne, Australia), Fairfax Media Publications Pty Limited: 18, 5 December 2015, ISSN 0312-6307
  9. ^ 'Original art on Christmas cards,' The Age Thursday 23 Dec 1954, p.5
  10. ^ 'Hand-designed',The Age, Thursday 27 Oct 1955, p.10
  11. ^ The Age, Tuesday 26 Dec 1933, p.5
  12. ^ 'The story of a benefactor', The Sydney Morning Herald Saturday, 10 Jan 1948, p.8
  13. ^ Illustrations mentioned in Peter Ryan review 'A well-carved cherry-stone', of a memoir of Medley by Geoffrey Serle and John Marginson in The Age, Saturday 21 Aug 1993, p.151
  14. ^ The Age Monday 25 Apr 1955, p.2
  15. ^ "Interesting People". The Australian Women's Weekly. Vol. 10, no. 45. Australia. 10 April 1943. p. 14. Retrieved 12 October 2020 – via National Library of Australia.
  16. ^ 'Craftwork for soldiers,' The Age Saturday, 14 Nov 1942, p.4
  17. ^ 'Rushes ready for basketmaking,' The Age Tuesday 28 Dec 1943, p.3
  18. ^ 'Handcrafts school to open,' The Age Tuesday 20 Jan 1948, p.5
  19. ^ a b c d Palmer Bull, Sheridan (2004), Intersecting cultures : European influences in the fine arts : Melbourne 1940–1960, retrieved 15 October 2020
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  21. ^ Mornington Peninsula Regional Gallery (2006), From Tuesday to Tuesday, Mornington, Victoria, retrieved 16 October 2020
  22. ^ "Young people buy pictures". The Argus. No. 33, 031. Melbourne. 16 July 1952. p. 6 – via National Library of Australia.
  23. ^ Shore, Arnold (1955). 'Artist stresses human values'. (8 March 1955). The Argus (Melbourne, Victoria: 1848–1957), p. 13. Retrieved 8 July 2015, from http://nla.gov.au/nla.news-article71637449
  24. ^ Johnson, George & Heathcote, C. R. (Christopher Robin) & Zimmer, Jenny, (editor.) (2006). George Johnson : world view. South Yarra, Vic. Macmillan Art Publishing
  25. ^ Inge King's art has "the gadget air". (21 October 1952). The Argus (Melbourne, Victoria: 1848–1957), p. 5. Retrieved 8 July 2015, from http://nla.gov.au/nla.news-article23217241
  26. ^ "Four art styles". The Argus. Melbourne. 21 June 1955. p. 9 – via National Library of Australia.
  27. ^ 'Show by twenty Victorian artists,' The Age Tuesday 14 Feb 1950, p.2
  28. ^ 'Australian art will decorate new Oronsay,' The Sydney Morning Herald Thursday 26 Oct 1950, p.6
  29. ^ a b The Age Friday 19 Nov 1954, p.4
  30. ^ a b The Age Tuesday 10 Apr 1956, p.2
  31. ^ a b c d e 'Artist home after six years abroad', The Age Saturday 22 Jun 1963, p.8
  32. ^ Interview, 'Australian plans London art show', The Age Friday 05 Jun 1959, p.8
  33. ^ Donald Brook, 'Painters demonstrate', The Sydney Morning Herald Thursday 03 Oct 1968, p.9
  34. ^ a b 'The Arts and Crafts Society: Annual Exhibition,' The Age, Monday 16 Oct 1933, p.5
  35. ^ a b 'Exhibition at Collins House,' The Age, Tue, Oct 25, 1932, p.5
  36. ^ Robert Nelson, 'Neglected artist evaluated', The Age Wednesday 5 Oct 1995, p.26
  37. ^ a b Castlemaine Art Gallery and Historical Museum. (1995). Women printmakers 1910 to 1940 in the Castlemaine Art Gallery and Historical Museum. McKay, Kirsten. Castlemaine, Vic.: The Gallery and Museum. ISBN 0-646-23161-8. OCLC 37179933.
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  41. ^ catalogue, Helen Ogilvie: Australian country dwellings, London: Leicester Galleries, 1963
  42. ^ The Observer Sunday 10 Mar 1963, p.27
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  44. ^ Listing, The Age, Friday 09 Oct 1970, p.15
  45. ^ Listing, The Sydney Morning Herald Sunday, 30 Apr 1972, p.107
  46. ^ Ogilvie, Helen; Leveson Street Gallery (1974), Helen Ogilvie, Leveson Street Gallery
  47. ^ Listing, The Sydney Morning Herald, Monday 9 July 1979, p.10
  48. ^ Ogilvie, Helen; aGOG Australian Girls Own Gallery (1991), Helen Ogilvie : aGOG 4 May to 23 May 1991, aGOG, retrieved 14 October 2020
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  59. ^ 'Nine Artists exhibition', The Age Wednesday 24 Feb 1954, p.2
  60. ^ The Age Thursday 14 Jun 1956, p.8
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  67. ^ Important Women Artists [Gallery], [Important Women Artists [Gallery]. : Australian Gallery File], retrieved 16 October 2020
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  74. ^ Munk, Frances (1996), 'From Banksias to Slaughter Houses: The art of Helen Ogilvie’, Imprint, 31/1, Autumn, pp25-26, A review of the travelling exhibition 'All this I knew’ curated by Sheridan Palmer and organised by Ballarat Fine Art Gallery, Ballarat, VIC.
  75. ^ Nunn, Pamela Gerrish; Hylton, Jane; Hart, Deborah; Drayton, Joanne (2003). "Modern Australian Women: Paintings and Prints 1925–1945". Woman's Art Journal. 24 (2): 44. doi:10.2307/1358789. ISSN 0270-7993. JSTOR 1358789.
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