George Washington Lambert stands as one of Australia's most distinguished and versatile artists, a painter and sculptor whose career bridged the late 19th and early 20th centuries. Renowned for his exceptional draughtsmanship, his evocative portraiture, and his powerful depictions of Australian military history, Lambert's work reflects both a deep engagement with European artistic traditions and a unique Australian sensibility. His journey from a young immigrant to a celebrated national figure is a testament to his talent, ambition, and enduring impact on the art world.
Early Life and Artistic Awakening
George Washington Thomas Lambert was born on September 13, 1873, in St. Petersburg, Russia. His father, George Washington Lambert, was an American railway engineer working in Russia, who tragically died before his son's birth. His mother, Annie Matilda, née Firth, was English. Following her husband's death, Annie Lambert moved with her infant son and three daughters first to Württemberg, Germany, and then to England to live with her own father. This early exposure to different European cultures, though perhaps not directly formative in an artistic sense at such a young age, set a precedent for the international scope of Lambert's later life.
In 1887, at the age of 13, Lambert and his mother immigrated to Australia, joining his maternal great-uncle in rural New South Wales. He initially worked as a clerk in a shipping office in Sydney, but his passion for art soon became evident. He began attending evening classes at the Art Society of New South Wales, where he studied under the influential artist and teacher Julian Ashton. Ashton, a key figure in the development of Australian art, recognized Lambert's burgeoning talent and encouraged his pursuits. Other prominent artists associated with Ashton's circle at the time, or slightly earlier, who helped shape the Sydney art scene included Tom Roberts, Arthur Streeton, and Charles Conder, leaders of the Heidelberg School, though Lambert's style would evolve distinctly.
Lambert's early works quickly gained attention. He began exhibiting with the Art Society of New South Wales and the Society of Artists, Sydney, from 1894. A significant early achievement came in 1899 when his painting Across the Black Soil Plains won the Wynne Prize for landscape painting. This iconic work, depicting a team of horses straining to pull a wool wagon through muddy terrain, showcased his keen observation, strong compositional skills, and an emerging ability to capture the character of the Australian landscape and its working life. This success was pivotal, as in the same year, he was awarded the New South Wales Society of Artists' Travelling Scholarship, valued at £150, enabling him to pursue further studies in Europe.
European Sojourn: London and Paris
In 1900, Lambert, accompanied by his new wife, Amelia Beatrice "Amy" Absell, and fellow artist Hugh Ramsay, sailed for London. He initially enrolled at the Académie Colarossi in Paris, a popular choice for international students seeking a less rigid alternative to the École des Beaux-Arts. He also studied at the Académie Delécluse. Paris, at the turn of the century, was the undisputed center of the art world, buzzing with the influences of Impressionism, Post-Impressionism, and the nascent stirrings of modernism. Artists like Claude Monet, Edgar Degas, and Paul Cézanne were either still active or their influence was profoundly felt.
While in Paris, Lambert and Ramsay formed a close friendship, sharing experiences and artistic aspirations. Lambert's time in Paris was crucial for honing his technical skills, particularly his draughtsmanship, which would become a hallmark of his style. He absorbed the lessons of the Old Masters, particularly admiring the work of Spanish master Diego Velázquez and later, the elegant portraiture of John Singer Sargent and James McNeill Whistler.
After about a year, Lambert moved to London, which became his primary base for the next two decades. He established a studio and began to build his reputation, primarily as a portrait painter. He exhibited regularly at the Royal Academy of Arts and other London galleries. He became a member of the Chelsea Arts Club and was involved with the International Society of Sculptors, Painters and Gravers, and the Modern Society of Portrait Painters. His work from this period demonstrates a sophisticated understanding of academic tradition combined with a modern sensibility in composition and paint handling. He also taught at the London School of Art (Chelsea Polytechnic). During this period, he maintained connections with other Australian expatriate artists in London and Paris, including Rupert Bunny and E. Phillips Fox.
His portraits were noted for their elegance, psychological insight, and often, a touch of theatricality. Works like Miss Thea Proctor (1903), a portrait of his friend and fellow Australian artist, and Lotty and a Lady (1906) demonstrate his growing confidence and mastery. He also produced subject pictures, often with a Symbolist or allegorical flavour, such as The Sonnet (c. 1907), which shows his engagement with literary and poetic themes, reflecting a broader European trend seen in the work of artists like Gustave Moreau or Pierre Puvis de Chavannes.
The Official War Artist: Documenting Australia's WWI Experience
The outbreak of World War I in 1914 profoundly impacted Lambert's life and career. In 1917, he was appointed an official war artist for the Australian government, attached to the Australian Imperial Force (AIF). This role took him to Egypt, Palestine, and Gallipoli, where he was tasked with documenting the experiences of Australian soldiers. This was a significant undertaking, and Lambert approached it with immense dedication and a commitment to realism.
He arrived in Egypt in December 1917 and was attached to the Australian Light Horse. He sketched and painted prolifically, capturing the landscapes, the daily life of the soldiers, and the aftermath of battles. His experiences in the Middle East were transformative. He was deeply moved by the bravery and resilience of the troops and the stark, ancient landscapes. He produced numerous portraits of officers and men, as well as dynamic battle scenes.
One of his most famous works from this period is A Sergeant of the Light Horse in Palestine (1920). This striking portrait, with its strong characterization and depiction of the sun-drenched, arid environment, became an iconic image of the Australian soldier in the Middle Eastern campaign. Another significant, albeit more complex and larger-scale, commission was Anzac, the Landing 1915, completed in 1922. This monumental painting, now in the collection of the Australian War Memorial, depicts the chaotic and heroic landing of Australian and New Zealand troops at Gallipoli. Lambert meticulously researched the event, interviewing survivors and studying photographs to ensure accuracy, though he himself was not present at the 1915 landing. He visited Gallipoli in 1919 to make sketches of the terrain.
His war art is characterized by its powerful realism, avoiding romanticization and instead focusing on the human element of conflict. He captured the grit, determination, and camaraderie of the soldiers, as well as the harsh conditions they endured. Other notable war works include The Charge of the 3rd Light Horse Brigade at the Nek, 7 August 1915 (completed 1924), a dramatic and tragic depiction of a futile assault. His contributions as a war artist were immense, providing an invaluable visual record of Australia's involvement in the Great War and shaping the nation's collective memory of these events. His work can be compared to that of British war artists like Paul Nash or William Orpen, who also sought to convey the realities of modern warfare.
Return to Australia and Later Career
In 1921, Lambert returned to Australia, a celebrated figure. His war art had brought him national recognition, and he was in high demand as a portraitist. He settled in Sydney and quickly became a dominant force in the Australian art scene. His return marked a period of prolific output and significant artistic achievements.
He continued to produce outstanding portraits, often of prominent Australians. His Self-portrait with Gladioli (1922) is a confident and flamboyant work, showcasing his technical virtuosity and his carefully constructed artistic persona. The White Glove (1921) is another elegant and psychologically astute portrait from this period. He also painted genre scenes reflecting Australian life, such as the ambitious Weighing the Fleece (1921), which revisits the theme of rural labour he had explored in Across the Black Soil Plains, but with a more sophisticated, almost classical, compositional structure.
Lambert was also a talented sculptor. In 1927, he won the Archibald Prize, Australia's most prestigious award for portraiture, not for a painting, but for a bronze sculpture, Mrs Murdoch. This was a testament to his versatility. He also created the Henry Lawson memorial statue in The Domain, Sydney, unveiled in 1931 after his death.
He was a charismatic and influential figure, known for his dapper appearance, his wit, and his strong opinions on art. He was elected an Associate of the Royal Academy (ARA) in London in 1922, a significant honour for an Australian artist. He continued to exhibit widely and was a trustee of the Art Gallery of New South Wales. He was a mentor to younger artists and played an active role in art societies. His influence extended to artists like William Dobell, who would later become a major figure in Australian portraiture.
Despite his success, Lambert's later years were marked by periods of ill health, possibly exacerbated by his wartime experiences and his demanding work schedule. He passed away suddenly from heart disease on May 28, 1930, in Cobbitty, New South Wales, at the age of 56.
Artistic Style, Influences, and Themes
George Washington Lambert's artistic style evolved throughout his career but was consistently underpinned by exceptional draughtsmanship and a strong sense of composition. His early work in Australia showed an affinity for naturalism, capturing the light and character of the Australian landscape and its people.
His European training exposed him to a wider range of influences. He admired the tonal harmonies and elegant brushwork of Velázquez and Whistler, and the bravura technique of Sargent. While he was aware of modernist movements, his own work remained largely within a representational framework, though often infused with a modern sensibility in its design and psychological depth. His portraits, for example, often go beyond mere likeness to explore the personality and social standing of the sitter, sometimes with a subtle theatricality or a sense of carefully constructed identity, as seen in Important People (c. 1914-1921).
Symbolism played a role in some of his subject pictures, particularly during his London period. These works often explored themes of beauty, art, and mortality, rendered with a refined aesthetic. His war art, while realistic, also carried symbolic weight, embodying national ideals of courage, sacrifice, and mateship.
Lambert was a master of different media, proficient in oil painting, watercolour, drawing (pencil, charcoal, and pen and ink), and sculpture. His drawings, in particular, are highly prized for their precision and vitality. He had a strong sense of design, evident in the careful arrangement of elements in his compositions, whether in a grand historical painting or an intimate portrait. His use of light was often dramatic, highlighting form and creating mood.
Notable Works: A Closer Look
Several of Lambert's works have become iconic in Australian art:
Across the Black Soil Plains (1899): This early masterpiece established his reputation. It's a dynamic and atmospheric depiction of rural Australian labour, celebrated for its realism and its evocation of the struggle against the elements.
Anzac, the Landing 1915 (1920-1922): A monumental and meticulously researched depiction of the Gallipoli landing. It is a cornerstone of the Australian War Memorial's collection and a powerful national image.
A Sergeant of the Light Horse in Palestine (1920): This portrait is admired for its strong characterization, its depiction of the harsh desert light, and its embodiment of the Australian soldier's resilience.
Self-portrait with Gladioli (1922): A confident and somewhat theatrical self-representation, showcasing Lambert's technical skill and his carefully cultivated artistic persona. The inclusion of gladioli, often associated with strength of character, adds a symbolic layer.
The White Glove (1921): An elegant and psychologically nuanced portrait of a woman, demonstrating Lambert's mastery of form, texture, and subtle expression.
Weighing the Fleece (1921): A large-scale genre scene that revisits the theme of Australian rural industry. Its formal composition and heroic depiction of labour elevate the everyday subject matter.
Important People (c. 1914-1921, reworked): This group portrait, featuring figures from London's artistic and social circles, is a complex and somewhat enigmatic work, reflecting Lambert's engagement with Edwardian society.
Relationships with Contemporaries
Lambert's career was interwoven with relationships with many other artists. His early mentorship under Julian Ashton was crucial. His friendship with Hugh Ramsay in Paris and London was significant for both artists during their formative European years. He shared a studio for a time with Sydney Long, another prominent Australian artist known for his Art Nouveau-influenced landscapes.
In London, he was part of a community of expatriate Australian artists and moved in wider artistic circles that would have included figures like Augustus John and William Orpen, who were also leading portraitists and, in Orpen's case, a significant war artist. His teaching role at the London School of Art also brought him into contact with emerging artists.
Upon his return to Australia, he was a leading figure, respected and sometimes emulated by younger artists. He was a contemporary of other significant Australian artists like Hans Heysen, known for his landscapes of the Flinders Ranges, and the post-impressionist painter Roy de Maistre. While their styles differed, they all contributed to the richness and diversity of Australian art in the early 20th century.
Exhibitions and Public Recognition
Lambert exhibited extensively throughout his career. In Australia, he showed with the Art Society of New South Wales and the Society of Artists. In Europe, he exhibited at the Royal Academy in London (from 1904), the Paris Salons (Société Nationale des Beaux-Arts from 1905), and various other international exhibitions.
His accolades were numerous:
Wynne Prize for landscape (1899) for Across the Black Soil Plains.
New South Wales Society of Artists' Travelling Scholarship (1899).
Silver medal at the International Exposition in Barcelona (1907) for The Sonnet.
Election as an Associate of the Royal Academy (ARA), London (1922).
Archibald Prize for portraiture (1927) for his sculpture Mrs Murdoch.
His works are held in major public collections in Australia, including the National Gallery of Australia, the Art Gallery of New South Wales, the National Gallery of Victoria, and the Australian War Memorial, as well as in collections in the United Kingdom.
Legacy and Historical Significance
George Washington Lambert's legacy is multifaceted. He is celebrated as one of Australia's finest portrait painters, whose works captured the likenesses and personalities of many prominent figures of his time. His technical skill, particularly his draughtsmanship, set a high standard and influenced subsequent generations of Australian artists.
His role as an official war artist was of profound national importance. His paintings and drawings from World War I provided an enduring visual record of Australia's involvement in the conflict, shaping how those events are remembered and understood. These works are not just historical documents but powerful artistic statements about war, sacrifice, and national identity.
Lambert helped to elevate the status of Australian art both at home and abroad. His success in London and his election as an ARA demonstrated that Australian artists could compete on the international stage. Upon his return, he brought a new level of sophistication and professionalism to the Australian art scene.
While he was a traditionalist in many respects, particularly in his commitment to representational art and fine craftsmanship, his work also possessed a modern vitality. He successfully navigated the transition from the 19th-century academic tradition to the more diverse artistic landscape of the early 20th century. His ability to imbue traditional genres like portraiture and historical painting with fresh energy and psychological depth ensures his enduring relevance. George Washington Lambert remains a pivotal figure in Australian art history, an artist whose skill, ambition, and vision left an indelible mark on the nation's culture.
