Charles David Jones Bryant (1883-1937) stands as a significant, if sometimes overlooked, figure in early 20th-century Australian art. Primarily celebrated for his evocative maritime paintings and his poignant contributions as an official war artist during World War I, Bryant’s career bridged the traditions of European plein-air painting with a distinctly Australian sensibility. His life and work offer a fascinating window into the artistic currents of his time, both in Australia and in the vibrant art colonies of Britain.
Early Life and Artistic Awakening in Sydney
Born in Erskineville, Sydney, New South Wales, on 11 May 1883, Charles Bryant, as he was commonly known, displayed an early inclination towards the arts. His initial foray into the professional world, however, was more conventional. He took up a position as a clerk at the Bank of New South Wales, a role that provided financial stability but likely did little to satisfy his burgeoning artistic ambitions. This period of his life, though not directly related to his later artistic output, would have provided him with a grounding in the everyday realities of colonial Sydney.
Bryant's formal art education began in Sydney, where he took art courses. He studied under the prominent Australian marine and landscape painter W. Lister Lister, an artist renowned for his large-scale, traditional depictions of the Australian coastline and bush. This tutelage undoubtedly instilled in Bryant a foundational understanding of marine subjects and the techniques required to capture the dynamic interplay of light and water. He also attended John Ashton's Art School in Sydney, a significant institution that nurtured many Australian artists of the era, including Elioth Gruner and George Lambert (though Lambert was an earlier student). John Ashton, son of the more famous Julian Ashton, continued a tradition of academic training mixed with an appreciation for capturing the Australian landscape.
The European Sojourn: St Ives and Beyond
In 1908, driven by a desire to further hone his skills and immerse himself in the European art scene, Bryant embarked for London. This was a common path for ambitious colonial artists seeking to measure themselves against international standards and learn from established masters. His journey led him to the picturesque fishing village of St Ives in Cornwall, which had, by then, become a renowned international art colony, attracting artists captivated by its unique light and rugged coastal scenery.
In St Ives, Bryant studied under Julius Olsson, a highly respected British maritime painter known for his dramatic nocturnal seascapes and his ability to capture the power and mood of the ocean. Olsson was a pivotal figure in the St Ives school, and his influence on Bryant’s approach to marine painting would have been profound, particularly in terms of brushwork, an understanding of wave dynamics, and the depiction of atmospheric effects. Bryant also received instruction from John Noble Barlow, another British landscape and marine artist associated with St Ives, known for his tranquil, light-filled scenes. The St Ives environment, with its emphasis on plein air (open air) painting and its community of artists like Algernon Talmage and Louis Grier, provided an ideal setting for Bryant to develop his specialization in marine art.
During his time in Europe, Bryant achieved considerable recognition. He exhibited regularly at prestigious venues such as the Royal Academy of Arts in London, the Royal Institute of Oil Painters, and the Paris Salon (Société des Artistes Français), where he was awarded an honourable mention in 1911. This success abroad was a testament to his skill and his ability to engage with the prevailing tastes for well-executed, traditional representational art. He also travelled, painting in Brittany and elsewhere in France, further broadening his artistic horizons.
Answering the Call: Bryant as Official War Artist
The outbreak of World War I dramatically reshaped the lives and careers of many artists. In December 1917, Charles Bryant was appointed an official war artist with the Australian Imperial Force (AIF) on the Western Front in France. He was attached to the 2nd Australian Division, tasked with documenting the experiences of Australian soldiers and the landscapes of war. This was a significant and often perilous undertaking, requiring artists to work close to the front lines.
Bryant’s role was to create a visual record that would convey the realities of the conflict to the Australian public and serve as a historical document for posterity. He joined a distinguished group of Australian official war artists, including Arthur Streeton, George Lambert, Will Dyson, and Frank Crozier, each bringing their unique styles to the task. Bryant’s established skills in landscape and his ability to capture atmosphere were well-suited to depicting the scarred battlefields, the daily life of soldiers, and the machinery of war.
His appointment lasted until December 1918, shortly after the Armistice. The works he produced during this period are characterized by their observational accuracy and a sense of sober reflection rather than overt glorification of combat. He captured scenes of devastation, such as ruined villages and trench systems, but also moments of human activity amidst the chaos. Paintings like The Battle of Messines (though sometimes attributed or depicting scenes related to it) and various studies of battlefields showcase his ability to convey the grim atmosphere of the Western Front.
Return to Australia and Continued Service to Art
Bryant returned to Australia in 1921, but his work related to the war was not yet complete. He continued to work on commissions for the Australian War Memorial, refining his battlefield sketches into larger exhibition pieces and ensuring the historical accuracy of his depictions. This commitment to the national record was a significant part of his post-war career.
In 1923, the War Memorial Committee commissioned him to travel to former German New Guinea (then under Australian mandate) to paint a series of works related to the Australian Naval and Military Expeditionary Force's occupation of the territory in 1914. These paintings, such as Rabaul, New Britain, from the top of the South Daughter, provided valuable visual documentation of this less-known theatre of Australia's early war involvement and the tropical landscapes of the region.
Beyond his war-related commissions, Bryant re-established himself in the Sydney art scene. A notable commission came in 1925 when he was tasked with painting the arrival of the American Fleet (the "Great White Fleet's" successor) in Sydney Harbour. The resulting work, The Arrival of the American Fleet in Sydney Harbour, 23 July 1925, is a vibrant and panoramic depiction, showcasing his mastery of complex maritime scenes filled with numerous vessels and atmospheric effects. This painting captured a significant moment of public celebration and international relations.
From 1924 to 1930, Bryant resided in Manly, a coastal suburb of Sydney. During this time, he reportedly ran a paint shop, a practical venture that perhaps supplemented his income from art sales. More significantly for the local arts community, he was a key figure in the establishment of the Manly Art Gallery and Historical Collection, one of the earliest metropolitan regional galleries in New South Wales. His involvement underscores his commitment to fostering art appreciation and providing a venue for artists in his community.
Artistic Style, Themes, and Techniques
Charles Bryant’s artistic style remained largely rooted in the traditions of British and European representational painting, particularly influenced by the St Ives school. His primary subject was the sea, in all its moods and manifestations. He possessed a remarkable ability to depict the translucency of water, the crash of waves against a rocky shore, and the subtle interplay of light on the ocean surface. His seascapes often convey a sense of grandeur and the sublime power of nature.
His brushwork, while controlled, often showed an impressionistic concern for capturing fleeting effects of light and atmosphere. Unlike the more decorative or avant-garde approaches being explored by some of his Australian contemporaries like Margaret Preston or Roy de Maistre, Bryant maintained a commitment to naturalism and verisimilitude. His palette was generally true to life, capable of capturing both the bright sunlight of the Australian coast and the more sombre tones of the North Atlantic or the battlefields of France.
In his war art, Bryant combined his landscape skills with a documentary imperative. His works are less about the heroics of individual combat and more about the broader environment of war – the logistics, the aftermath of battle, and the presence of troops within the landscape. He was adept at depicting naval subjects, a skill that naturally extended from his maritime specialization.
His compositions were typically well-structured, often employing traditional perspectival techniques to create depth and guide the viewer's eye. Whether painting a busy harbour scene, a solitary stretch of coastline, or a battlefield, Bryant demonstrated a consistent technical proficiency and a deep understanding of his chosen subjects. He can be seen as a successor to earlier Australian maritime painters like John Allcot, though Bryant brought a more sophisticated European training to his work.
Notable Works
Several key works define Charles David Jones Bryant’s artistic contribution:
The Arrival of the American Fleet in Sydney Harbour, 23 July 1925: Held by the Royal Australian Historical Society, this large painting is a tour-de-force of maritime depiction, capturing the excitement and scale of the event with numerous meticulously rendered ships and a lively harbour atmosphere.
War Paintings (various): Housed primarily in the Australian War Memorial collection, works such as A German Pillbox near Broodseinde, H.M.A.S. Sydney, H.M.A.S. Melbourne and H.M.J.S. Ibuki escorting the first convoy from Albany, 1914 (painted later from records and accounts), and scenes from the Western Front like Zero Hour, Glencorse Wood, Ypres, 1917 demonstrate his contribution to the war art scheme. These works are invaluable historical documents.
New Guinea Series (various): Also largely in the Australian War Memorial, paintings like Rabaul, New Britain, from the top of the South Daughter (1924) and The Bitapaka Road, New Britain (1924) document the Australian presence in the former German colony and the unique tropical environment.
Coastal and Seascapes: Throughout his career, Bryant produced numerous paintings of the Australian and European coastlines. Titles like Bondi Beach or scenes from Cornwall exemplify his dedication to marine art. These works are found in various state galleries and private collections. For instance, the Art Gallery of New South Wales holds works like The Silver Sea.
Contemporaries and Context
Bryant operated within a rich and diverse art world. In Australia, he was a contemporary of artists who were pushing Australian art in various directions. While the Heidelberg School figures like Tom Roberts and Arthur Streeton (who also became a war artist) had established a national school of landscape painting, a younger generation was exploring modernism. Artists such as Grace Cossington Smith, Roland Wakelin, and the aforementioned Margaret Preston and Roy de Maistre were introducing Post-Impressionist and Cubist influences. Bryant’s work, however, remained firmly aligned with more traditional, representational approaches, finding kinship with artists like Hans Heysen in his dedication to capturing the Australian scene with technical skill, or Penleigh Boyd who also painted coastal scenes.
His time in St Ives placed him among a community dedicated to marine and landscape painting. Besides his teachers Olsson and Barlow, artists like Laura Knight and Lamorna Birch were also associated with the St Ives and nearby Newlyn schools, though their styles evolved differently. The emphasis on outdoor painting and capturing natural light was a common thread.
As a war artist, he worked alongside and his art is often considered in conjunction with that of George Lambert, Arthur Streeton, Will Dyson, Frank Crozier, and H. Septimus Power, all of whom made significant contributions to Australia's visual record of World War I. Each artist brought a different perspective, with Lambert known for his figure work and heroic compositions, and Dyson for his incisive and often critical drawings.
Legacy and Contribution
Charles David Jones Bryant passed away in Manly, Sydney, on 22 January 1937. His legacy is multifaceted. He was, first and foremost, a highly skilled maritime painter, arguably one of Australia's finest in the early 20th century. His ability to capture the essence of the sea, from its tranquil beauty to its formidable power, was exceptional. His works provide a visual link to the strong maritime traditions of both Britain and Australia.
His contribution as an official war artist is of enduring historical importance. His paintings offer a valuable and often moving record of Australia's involvement in World War I and its aftermath, particularly the scenes from the Western Front and the occupation of New Guinea. These works continue to be studied and exhibited by the Australian War Memorial, ensuring their accessibility to new generations.
Furthermore, Bryant's role in the founding of the Manly Art Gallery and Historical Collection highlights his commitment to community arts. This institution remains a vibrant part of Sydney's cultural landscape, a testament to the vision of its early supporters, including Bryant.
While perhaps not as revolutionary as some of his modernist contemporaries, Charles David Jones Bryant carved out a distinguished career through his technical mastery, his dedication to his chosen subjects, and his significant contributions to Australia's national and artistic heritage. His paintings remain admired for their beauty, their historical significance, and their heartfelt depiction of the sea and the human experiences connected to it. He was a chronicler of his times, capturing moments of national significance and the enduring allure of the maritime world with skill and integrity.
