Charles Rolando (1842-1893) was a notable figure in the burgeoning art scene of colonial Melbourne, Australia, during the latter half of the 19th century. While perhaps not as widely known today as some of his contemporaries who would later form the Heidelberg School, Rolando made significant contributions as a painter, a teacher, and through his association with distinctive picture frame designs. His life and work offer a valuable glimpse into the artistic tastes and cultural environment of a city rapidly establishing itself on the global stage.
Navigating a New World: Rolando in Melbourne
Information regarding Charles Rolando's early life and exact origins before his arrival in Australia is somewhat scarce, a common challenge when researching figures from this period of colonial migration. The provided information indicates his lifespan from 1842 to 1893. He established himself as a "wealthy person associated with art" in Melbourne, suggesting he either arrived with means or successfully cultivated a career that afforded him a comfortable standing within the colonial society.
Melbourne in the mid-to-late 19th century was a city transformed by the gold rush, evolving from a small settlement into a bustling metropolis, often referred to as "Marvellous Melbourne." This economic prosperity fostered a growing appetite for culture and the arts. Institutions like the National Gallery of Victoria, founded in 1861, began to shape artistic education and public taste. It was within this dynamic environment that Rolando pursued his artistic endeavors.
Artistic Pursuits and Landscape Painting
Charles Rolando was primarily active as a painter. While the breadth of his subject matter isn't exhaustively detailed in all records, his work evidently included landscape painting, a genre highly popular in 19th-century Australia. Artists of this era were often captivated by the unique Australian environment, seeking to interpret its distinct light, flora, and fauna for both local and international audiences. Rolando's engagement with landscape painting placed him within a tradition that included prominent figures like Eugene von Guerard (1811-1901) and Louis Buvelot (1814-1888), Swiss-born artists who significantly influenced the depiction of the Australian bush with their European-trained sensibilities.
Rolando's approach to landscape likely reflected the prevailing Victorian tastes, which often favored detailed observation, a degree of romanticism, and a narrative or picturesque quality. The meticulous rendering of natural elements was highly valued, and artists often undertook sketching expeditions into the countryside to capture authentic details for their studio compositions.
The "Rolando Frame": Artistry in Presentation
A particularly interesting aspect of Charles Rolando's artistic footprint in Melbourne was his association with a specific style of picture frame, known as the "Rolando frame." He had a close professional relationship with John Thallon (1848-1918), a prominent Melbourne-based frame maker. Thallon's firm was renowned for its high-quality, often ornate frames, which were considered integral to the presentation of artworks in the Victorian era.
The "Rolando frame" style is characterized by its highly decorative nature. Key features often included acanthus leaf scrolls, typically adorning the top edge or corners, and a distinctive sanded frieze or flat section within the frame profile. This combination of classical ornamentation (the acanthus motif has ancient Greek and Roman origins) and textured surfaces created a rich and visually impressive border for paintings. Such elaborate frames were not merely protective casings but were designed to enhance the artwork, guide the viewer's eye, and signify the value and importance of the piece. The collaboration between painters and frame makers like Thallon was common, with artists often having specific preferences for how their work was presented. Rolando's name becoming attached to a particular style suggests his influence or strong preference in this domain.
Other notable frame makers and artists who paid significant attention to framing in this period, underscoring its importance, included Frederick McCubbin (1855-1917) and Tom Roberts (1856-1931), who, though slightly younger, were emerging as leading figures and also understood the impact of presentation.
A Notable Work: Fern Gully and the Victorian Fern Craze
One of Charles Rolando's representative works is the painting Fern Gully, dated circa 1885. This piece is particularly significant as it connects Rolando to a widespread Victorian cultural phenomenon known as "Pteridomania," or the fern craze. Throughout the British Empire, including Australia, ferns became incredibly popular, collected, cultivated, and represented in art and decorative motifs.
Fern Gully (c. 1885) likely depicted a lush, shaded glen filled with various fern species, a common and picturesque subject in Australian landscapes, particularly in regions like the Dandenong Ranges near Melbourne. Such scenes appealed to the Victorian appreciation for the sublime and the picturesque in nature, offering an escape into a seemingly untouched, verdant world. The painting is held in the collection of the Bendigo Art Gallery, having been acquired in 1912 through the bequest of Sir William Zeal, a prominent Victorian politician and public figure. This acquisition by a significant regional gallery underscores the painting's perceived artistic merit and cultural relevance at the time.
The depiction of such botanical detail would have required careful observation and skilled rendering, aligning with the scientific interests and the romantic appreciation of nature prevalent in the 19th century. Artists like Marianne North (1830-1890) in Britain, known for her botanical illustrations from around the world, exemplify this detailed approach to flora, though her style was more overtly scientific. In Australia, artists like Ellis Rowan (1848-1922) also became famous for their exquisite wildflower paintings, sharing a similar dedication to capturing botanical beauty.
Collaboration with Jan Hendrik Scheltema
An important aspect of Charles Rolando's later career was his collaboration with the Dutch-born Australian artist Jan Hendrik Scheltema (1861-1941). Scheltema arrived in Melbourne in 1888 and became known for his paintings of rural life, particularly his skillful depictions of cattle and other livestock.
According to records, Rolando and Scheltema worked together on some paintings between 1889 and 1893. In these collaborative pieces, Rolando was typically responsible for painting the landscape settings, while Scheltema would insert the animals. This division of labor was not uncommon in the art world, allowing artists to play to their respective strengths. For Scheltema, newly arrived in the colony, this collaboration would have provided valuable connections and opportunities within the Melbourne art scene, especially as Rolando was an established figure.
This partnership is particularly poignant given that Rolando's health was reportedly deteriorating during these years. He required the assistance of others, including Scheltema, in his studio to continue his work. This suggests a determination to remain active in his profession despite physical challenges. Their joint works would have combined Rolando's landscape expertise with Scheltema's adeptness at animal portrayal, likely resulting in pastoral scenes that appealed to the tastes of the time.
Teaching and Influence
Beyond his own painting practice, Charles Rolando was also involved in art education. He is noted to have continued teaching even when his health was failing, utilizing assistants to help manage his studio and instruction. This dedication to teaching indicates a commitment to fostering artistic talent in Melbourne.
Art education in Melbourne during this period was becoming more formalized with institutions like the National Gallery of Victoria Art School, which produced many of Australia's most famous artists, including key members of the Heidelberg School such as Arthur Streeton (1867-1943) and Charles Conder (1868-1909). While Rolando's teaching may have been conducted privately or in a smaller studio setting, his role as an instructor contributed to the city's growing artistic ecosystem. His students would have benefited from the experience of a practicing artist familiar with both local landscape and European traditions.
The Artistic Milieu: Contemporaries of Rolando
Charles Rolando operated within a vibrant and evolving art world in Melbourne. Besides those already mentioned (von Guerard, Buvelot, Scheltema, McCubbin, Roberts, Streeton, Conder), other significant artists active during or overlapping with Rolando's career included:
Nicholas Chevalier (1828-1902): A Russian-born Swiss artist who worked in Australia and New Zealand, known for his landscapes and as the first cartoonist for Melbourne Punch.
Julian Ashton (1851-1942): An English-born artist who became a highly influential figure in Sydney, but whose earlier career and influence were felt more broadly. He was a key proponent of plein air painting.
John Longstaff (1861-1941): A Melbourne-born portrait painter who won the first National Gallery of Victoria Travelling Scholarship.
Walter Withers (1854-1914): An English-born artist who became associated with the Heidelberg School, known for his atmospheric landscapes.
Jane Sutherland (1853-1928): A key female artist associated with the Heidelberg School, known for her landscapes and genre scenes.
Clara Southern (1860-1940): Another important female member of the Heidelberg School, recognized for her lyrical depictions of the bush.
Aby Altson (1866-1949): A contemporary who also studied at the National Gallery School and was known for his figure paintings and portraits.
While Rolando's style may have been more aligned with the earlier Victorian traditions compared to the emerging Impressionist-influenced Heidelberg School, he was undoubtedly part of the fabric of this artistic community. The interactions, exhibitions, and shared cultural environment would have created a stimulating, if sometimes competitive, atmosphere.
Later Years and Legacy
The final years of Charles Rolando's life, from 1889 until his death in 1893, were marked by declining health. Despite this, his continued activity in painting and teaching, supported by assistants like Scheltema, speaks to his passion and resilience. His death in 1893 occurred just as the Heidelberg School was reaching its zenith, a movement that would come to define Australian art for subsequent generations.
Charles Rolando's legacy is perhaps more nuanced than that of the Heidelberg School giants. He represents an important strand of Victorian-era artistry in Australia – one that valued detailed representation, the picturesque qualities of the landscape, and the ornate presentation of artworks. His painting Fern Gully remains a testament to a specific cultural fascination, and his association with the "Rolando frame" highlights his contribution to the broader aesthetics of art presentation in colonial Melbourne. His collaborations and teaching activities further underscore his role as an active participant in the city's artistic development.
While further research might unearth more details about his oeuvre and specific influences, Charles Rolando stands as a noteworthy artist who contributed to the rich tapestry of 19th-century Australian art, a period of significant growth and cultural self-discovery in the young nation. His work, and the work of his contemporaries, laid the foundations upon which later Australian art movements would build.
