朱利安·阿什頓認(rèn)領(lǐng)

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阿什頓在1878年與戴維·西姆（David Syme）合作制作了《圖解澳大利亞新聞》（Australian News），遂移居墨爾本，在那里住了五年，然后才移居悉尼。他強(qiáng)調(diào)繪畫的整體氛圍（即直接來(lái)自自然，而不是基于工作室的繪畫），并為澳大利

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朱利安·阿什頓（Julian Ashton，1851年1月27日-1942年4月27日），全名朱利安·羅西·阿什頓（Julian Rossi Ashton），澳大利亞藝術(shù)家和老師，以在悉尼建立了朱利安·阿什頓藝術(shù)學(xué)校（Julian Ashton Art School）而聞名，并鼓勵(lì)澳大利亞畫家捕捉當(dāng)?shù)厣詈惋L(fēng)景，從而極大地影響了海德堡畫派的運(yùn)動(dòng)。阿什頓在1878年與戴維·西姆（David Syme）合作制作了《圖解澳大利亞新聞》（Australian News），遂移居墨爾本，在那里住了五年，然后才移居悉尼。他強(qiáng)調(diào)繪畫的整體氛圍（即直接來(lái)自自然，而不是基于工作室的繪畫），并為澳大利亞的印象派運(yùn)動(dòng)奠定了基礎(chǔ)。作為新南威爾士州美術(shù)館的受托人，他擁護(hù)了海德堡畫派的新興澳大利亞藝術(shù)家，美術(shù)館之所以決定收集這些作品，很大程度上歸功于他的影響力。阿什頓以他的畫作《晚間》、《梅里溪》（Merri Creek，1882年）、《孤獨(dú)的漫步》（A Solitary Ramble，1888年）等著稱。

影視作品

圍場(chǎng)的角落

悉尼格洛斯特街，巖石區(qū)

生活在倫敦

新南威爾士州霍克斯伯里河崗?fù)ず佣?/div>

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.

莫斯曼灣

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.