Representing a family of five artists, this unique exhibition features works that have never been exhibited side by side before.¹ This rare opportunity enables us to ponder the role of family in artistic practice, whilst several personal insights, from Kathleen Mangan (nee McCubbin) and Charles McCubbin, provide elucidation into life within this remarkable dynasty.

A Creative Lineage

Frederick McCubbin (1855–1917) remains one of Australia’s most revered artists from the late nineteenth and early twentieth centuries. Associated with the Heidelberg School (the Australian ancillary to Impressionism) and a practitioner of plein air (open air) painting, Frederick is renowned for his iconic works depicting pioneering life in the Australian bush. Yet the impact of his legacy on members of his family is a story that is little told. By bringing together over sixty portraiture, landscape and still-life images by five members of the McCubbin family, including Frederick, we are offered a new insight into their creative dynasty. Rarely viewed works by Frederick’s son Louis, his daughter Sheila, his daughter-in-law Winifred, and his grandson Charles, are presented in this exhibition and together demonstrate the McCubbin family’s commitment to the arts; a commitment that continues today by virtue of Frederick McCubbin’s grandson and local resident to Gippsland, Charles McCubbin (b. 1930–).

A sixth member of the family was also drawn to the arts. Frederick’s youngest child, Kathleen, grew up to become a writer and in marrying, became Kathleen Mangan (1906–1999). Kathleen recorded many accounts of life within the McCubbin family, many of which may be found in her book: Autumn Memories, A McCubbin Family Album (1988).²

Family Life

It is clear that family played a large role in Frederick’s life as a painter. The family unit as a subject can be seen in many of his iconic works, including The Pioneer, oil on canvas, 1904 or, as viewed in this exhibition, Home Again, oil on canvas, 1884. Moreover, the family home, as well as Frederick’s own family, would often be incorporated into paintings – family members often posed as models within the home environment. As a father to seven children, he had many subjects to select from.

In the portrait Kathleen, oil on board, 1910, we see Kathleen depicted at a young age; the artist tenderly captures her pose with an obvious affection for his sitter. Kathleen is pictured within the family cottage Fontainebleau³ at Mount Macedon, holding her favourite doll. Many interiors were painted within the cottage walls whilst beyond its walls lay the bushland that captivated Frederick’s imagination.

Kathleen provided insight into her father’s methodology of painting. In A Study in Grey, oil on canvas, 1900, her mother, Annie McCubbin (1865–1928), is pictured in a bush setting. She wears a long, grey dress that falls to the ground and trails behind her. A romantic image, it has been produced through a technique described by Kathleen:

“My father would first sketch in the subject on the white canvas, in charcoal, before he painted… I can remember him roughing in a subject – either a portrait or a landscape – and then he would rub it with pumice stone and would then paint over it again. By doing this, he was able to produce a sort of misty effect.”⁴

“My father would first sketch in the subject on the white canvas, in charcoal, before he painted… I can remember him roughing in a subject – either a portrait or a landscape – and then he would rub it with pumice stone and would then paint over it again. By doing this, he was able to produce a sort of misty effect.”

This ‘misty effect’, or process of scumbling, that Kathleen describes seems to be responsible for the halo of softened colour encircling Annie’s head. It was also used by Frederick to produce the work portraying Kathleen’s younger sister, Sheila McCubbin (1898-1976), entitled Sheila; Kitchen Macedon, oil on canvas, 1910. Sheila is also pictured in Fontainebleau at a young age, reading a book.

Louis McCubbin (1890–1952) was Frederick and Annie’s first born and also studied at the National Gallery School in Melbourne. Louis enjoyed capturing the colours of Australia’s landscapes, as did his father, but his technique and style was markedly different. Kathleen contends:

“Unlike father, who painted many of his subjects with a palette knife to evoke a sensitive image… Louis wielded his brush with lavish amounts of paint.”⁵

In Adelaide from a Flat in North Terrace, oil on canvas, 1947, we see Adelaide depicted as the city of churches it is renowned for, through a vista of brightly coloured trees. As with all of the works selected for this exhibition, Louis’ paintings demonstrate a consistent devotion to rendering the chosen subject with sincerity and simplicity. Louis, who held the position of Director of the National Gallery of South Australia from 1935 to 1950, often depicts pastoral subjects and rural settings. According to Charles, he felt it improper to pursue a career as an artist whilst holding this position. He exhibited very rarely but his works are very accomplished and held in significant collections within Australia.

The tradition of painting was also kept alive by Sheila, although Kathleen recalls that Sheila, despite showing “a great aptitude for drawing”, was initially discouraged by her parents from making art her career.⁶  Frederick and Annie had felt that two artists in the family – Frederick and Louis –were sufficient. However, when it became clear that painting was Sheila’s passion, Frederick supported her vocation and, whilst she was a student at the National Gallery, he even taught her.

Sheila was heavily influenced by Impressionism, as can be seen in the broken colour of her work Untitled (The Deanery), oil on canvas, circa 1930. The McCubbins moved into The Deanery in 1926, nine years after Frederick’s passing and lived there for six years. In Sheila’s portrayal of The Deanery, there is a golden light filtering through the foliage of the trees. Sheila has painted her family residence in joyous tones that reinforce Kathleen’s sentiments that it was a dearly loved home:

“There was something about The Deanery that seemed to greet you the moment you entered. There was an air of serenity about the old house… It conjured up wonderful memories.”⁷

In 1936, she joined the Melbourne Society of Women Painters and Sculptors and, in 1974, a solo exhibition of her work was presented at the Athenaeum Galleries.Winifred McCubbin (1893–1967) nee Francis, was married to Frederick McCubbin’s fourth son, Hugh McCubbin, a company director. Winifred was a portrait artist who also specialised in still lifes. At one stage, she supported her family through the commissioning of her portraits. As the Great Depression worsened in 1929 and Hugh was unable to maintain secure employment, the income derived from Winifred’s art practice was crucial. Her status as an artist was enhanced when, in 1941, she joined the Melbourne Society of Women Painters and Sculptors and exhibited regularly with them.

Winifred McCubbin (1893–1967) nee Francis, was married to Frederick McCubbin’s fourth son, Hugh McCubbin, a company director. Winifred was a portrait artist who also specialised in still lifes. At one stage, she supported her family through the commissioning of her portraits. As the Great Depression worsened in 1929 and Hugh was unable to maintain secure employment, the income derived from Winifred’s art practice was crucial. Her status as an artist was enhanced when, in 1941, she joined the Melbourne Society of Women Painters and Sculptors and exhibited regularly with them.

Winifred’s paintings are vibrant in colour and characterised by sinuous line-work and a strong compositional flair. In works such as Remembering Gallipoli, oil on canvas, 1944, she has continued the McCubbin tradition of having her family pose for her. Hugh holds a stern and direct gaze toward us, the viewer. Flanked by what would appear to be his two sons, it seems that each model has posed in separate sittings, as the light source varies on each of their faces. The seriousness of the image, with the background depicting the arrival of troops at Gallipoli, is lightened by the joyous colour scheme Winifred has selected. Winifred and Hugh’s son Charles posed for his mother and is featured on the right hand side of the image. Charles recalls that, “Although I posed for this image, my mother changed the colour of my eyes as she wished for me to represent a different character than myself within the image”. In considering Charles’ recollections, this image poses many questions in terms of the meaning of its content. Perhaps the intention was to convey the loss of childhood experienced within the harsh battleground of war rather than a portrayal of Hugh with his two sons.

Charles McCubbin’s artistic career was largely focused toward the depiction of the natural world and saw him traverse Australia’s remote and wild terrain on various expeditions. His interest in entomology attracted significant attention, most notably from the publisher Thomas Nelson, who commissioned him to write and illustrate a definitive work entitled Australian Butterflies (1971).⁸ Charles was also commissioned by the Gippsland Art Gallery to produce one of his most significant works, Sale in the year of the tree, oil on canvas, 1983. This work reflects upon the impact of progress on the natural landscape. Across four panels, he devised a strong pictorial device of a painted frame within the picture’s borders. This device documents the effects of environmental degradation against a backdrop of a suburban Sale street. Charles’ works exhibit an influence of his mother’s style, often in the same bright hues, but they are far more meticulous and detailed in approach, perhaps a direct influence of his grandfather’s technique. Charles remains a practicing artist and is represented in many private and public collections, including the National Gallery of Australia.

A Comparative Standpoint

A particular comparison has been enabled through the hanging of two paintings alongside one another. They share the same title, media and year – Louis McCubbin (As a boy in fancy dress), oil on canvas, 1908. One has been loaned from the National Gallery of Victoria (Painting A), whilst the other is on loan from a private collection (Painting B). In viewing these works side by side, we are offered a fascinating insight into Frederick’s steadfastness in capturing his subject. It could even be postulated that one is a study for the other. At his father’s request, Louis McCubbin held a pose whilst wearing a raiment and headscarf fitting for a sultan. According to Charles, this was the outfit Louis wore to the Victorian Arts Theatre Balls. Indeed, Charles recalls the theme for one such ball was Kismet.

Perhaps it is destiny that both of these portraits of Louis in fancy dress may now be presented together for the first time. In Painting A, Louis holds a penetrating gaze toward us, the viewer. The paintwork is freer than in Painting B and there is an indescribable sentiment captured in his eyes. In Painting B, Louis’ posture is more rigid, he turns away from us and we become aware of a sword held in his right hand. His physical stance embodies the regality of his apparel. Louis’ figure merges into the shadows beyond, creating more depth than portrayed in Painting A. These two paintings clearly represent two distinct styles in Frederick’s oeuvre. One style seeks to capture the form, line and colours of a given person or place in broad markings, whilst the other style is governed more by a desire for rendering the subject in a realistic way, with considered brushstrokes and meticulous attention to detail.

Charles McCubbin: The Final Custodian?

Delving into the rich layers of one of Australia’s most reputable arts family, we find that, for the McCubbins, painting was a normal part of life. Modeling for an artwork was, quite simply, expected – even producing art seemed to be standard. Charles reveals that, “Being a McCubbin, I always thought that being an artist was a normal thing to do” and that he feels “a great sense of pride in belonging to the McCubbin family”. However, the painter’s life was not to be for the progeny of Charles, and so at this stage it is unlikely that there will be a part two to this significant, but largely untold, chapter tracing the creative legacy of this family. It is indeed an honour for Gippsland Art Gallery to present this unique survey. This is a family whose exceptional contribution to the arts and enduring spirit has persevered through three generations – a most extraordinarily gifted family, the McCubbins.

Claire Watson
April 2008
Curator: Gippsland Art Gallery, Sale

Bibliography:
Galbally, A. (1981) Frederick McCubbin, Hutchison Group, Richmond, Victoria.
Mackenzie, A. (1990) Frederick McCubbin 1855- 1917 “The Prof” and His Art, Mannagum Press, Melbourne.
Mangan, K. (1988) Autumn Memories: A McCubbin Family Album, Georgian House, Melbourne.