Harold Brocklebank Herbert stands as a significant figure in early to mid-20th century Australian art, celebrated primarily for his exceptional skill as a watercolourist and his poignant contributions as an official war artist during the Second World War. His ability to capture the fleeting effects of light and atmosphere, whether in the Australian landscape or the stark realities of conflict zones, marks him as a master of his chosen medium. His career, though tragically cut short, left an indelible mark on the Australian art scene, bridging traditional landscape painting with the urgent demands of wartime documentation.
Early Life and Artistic Formation
Born in Ballarat, Victoria, on August 16, 1891 (not 1895 as some initial records suggested), Harold Brocklebank Herbert, often known as H.B. Herbert, grew up in a region rich with the history of the gold rush. This environment, with its distinct Australian light and landscape, likely played an early role in shaping his artistic sensibilities. His formal art education commenced at the Ballarat School of Mines, a notable institution that provided technical and artistic training. He not only studied there but also went on to teach at the school, remaining on its staff until 1919. This period was crucial for honing his technical skills, particularly in drawing and watercolour, a medium he would come to master with remarkable finesse.
His early development as an artist was rooted in the strong tradition of watercolour painting that had taken hold in Australia, influenced by British precedents but increasingly finding its own local voice. Artists like J.J. Hilder and Blamire Young were prominent watercolourists whose work Herbert would have been familiar with, and who helped establish the medium's popularity and artistic merit in the country. Herbert's dedication to watercolour set him on a path that would see him become one of its leading exponents.
A Rising Talent in the Interwar Years
Between the World Wars, Herbert established himself as a prominent artist in Australia. He was a prolific painter, regularly exhibiting his works and gaining critical acclaim. His watercolours were admired for their technical brilliance, their luminous quality, and their sensitive depiction of the Australian scene. He travelled extensively throughout Australia, capturing diverse landscapes, from coastal views to the arid inland, always with a keen eye for the nuances of light and colour. His success was not limited to fine art; Herbert also undertook commercial illustration and poster design, demonstrating a versatility that was common among artists of his generation seeking to make a living from their craft.
During this period, he became an active member of several influential art societies. These included the Victorian Artists' Society (VAS), a key institution in Melbourne's art life, and the Australian Watercolour Institute (AWI) based in Sydney, which championed the medium he excelled in. He was also associated with the NSW Society of Artists. His involvement in these societies placed him at the heart of the Australian art world, interacting with peers and contributing to the cultural discourse of the time. Furthermore, his expertise was recognized through his appointment to the Commonwealth Art Advisory Board in 1927, a role he fulfilled with dedication, advising on national art acquisitions and policy until his death.
The Call to Duty: Official War Artist
The outbreak of the Second World War brought a new, urgent dimension to Herbert's career. In 1941, he was among the first artists to be appointed as an official war artist for Australia. This prestigious and challenging role was facilitated, in part, by his friendship with Lieutenant General Sir Thomas Blamey, a leading figure in the Australian military. The official war artist scheme aimed to create a comprehensive visual record of Australia's involvement in the conflict, capturing not just the machinery of war but also its human dimensions and the landscapes against which it unfolded.
Herbert was dispatched to the Middle East and Palestine, theaters of war where Australian forces were heavily engaged. For six months, he immersed himself in this new, often perilous environment, tasked with translating his experiences and observations into art. He travelled with the troops, sketching and painting scenes of daily life, military operations, and the devastating impact of conflict on both people and places. His background as a landscape painter served him well, allowing him to depict the unique terrains of Syria, Lebanon, and Palestine with accuracy and sensitivity, even under the duress of wartime conditions.
Documenting Conflict: Herbert's War Art
Herbert’s body of work from this period is a powerful testament to his skill and his empathetic vision. He did not shy away from the grim realities of war but approached his subjects with a nuanced perspective. His watercolours and pencil drawings from the Middle East capture a wide array of subjects: bustling military camps, portraits of soldiers, convoys moving across desert landscapes, the architectural beauty of ancient cities juxtaposed with modern conflict, and the poignant aftermath of battle.
Representative works from this period include scenes depicting the Syrian and Lebanese campaigns. He painted images of destroyed tanks, battle-scarred buildings, and makeshift cemeteries with white crosses marking soldiers' graves along desolate roads. For instance, works like Syrian cavalry at Homs, Syria (1941) and A RAAF medical post in the Syrian campaign (1941) showcase his ability to combine reportage with artistic sensitivity. He was particularly adept at capturing the intense light of the Middle Eastern sun, the dust and haze of the desert, and the atmospheric conditions that defined the theatre of war. His paintings often convey a sense of quiet dignity and resilience amidst the chaos.
Unlike some war art that might tend towards the heroic or propagandistic, Herbert’s work often possessed a more reflective quality. He focused on the human element and the environmental context, creating a record that was both historically valuable and artistically compelling. His war art was not just about battles and machinery; it was also about the mood, the light, and the subtle human dramas unfolding far from home.
Artistic Style and Technical Mastery
Harold Brocklebank Herbert's artistic style is most profoundly characterized by his mastery of the watercolour medium. He possessed an exceptional ability to control the flow and transparency of his washes, creating effects of light and atmosphere that were both subtle and dramatic. His palette was often bright and clear, reflecting the strong Australian light in his landscape works, and adapting to the different chromatic qualities of the Middle Eastern environment during his war service.
His drawing skills were foundational to his watercolours. A strong sense of line and composition underpins his paintings, providing structure even in his most atmospheric pieces. He understood how to use the white of the paper to represent highlights and create a sense of luminosity, a key technique in traditional watercolour. His brushwork could be both broad and fluid for skies and large areas, and precise and detailed when rendering specific forms or textures. This technical versatility allowed him to tackle a wide range of subjects with confidence.
In his war art, these skills were applied to new challenges. He had to work quickly, often in difficult conditions, yet his ability to capture the essence of a scene – the quality of light at a particular time of day, the tension in the air, the desolation of a battlefield – remained undiminished. His works from this period are notable for their clarity and their directness, conveying the immediacy of his experiences.
Associations, Contemporaries, and the Australian Art Scene
Herbert’s career unfolded during a dynamic period in Australian art. He was a contemporary of artists who were shaping various movements, from continued explorations of landscape impressionism to the stirrings of modernism. While Herbert remained largely committed to a representational style rooted in the watercolour tradition, he was part of a broader artistic community.
His direct collaboration with Hans Heysen during their time as war artists is a notable connection. Heysen, already an established master of the Australian landscape, particularly the Flinders Ranges and gum trees, brought his own distinct vision to the war art scheme. Their shared experiences, though resulting in individual artistic expressions, highlight the camaraderie and shared purpose among official artists.
Other prominent Australian artists of his era include figures from the Heidelberg School legacy like Arthur Streeton and Tom Roberts, whose influence on landscape painting was still palpable. George Lambert, a distinguished official war artist from the First World War, had set a high standard for Australian war art, and Herbert’s work can be seen as continuing this tradition, albeit in a different conflict and with his own stylistic approach.
Contemporaries who were exploring different artistic paths included William Dobell and Russell Drysdale, both of whom would become major figures in Australian modernism, often depicting the figure and the landscape with a more psychological or stylized intensity. Nora Heysen, Hans Heysen's daughter, was another significant official war artist, one of the first women appointed to such a role, and her work provides an interesting comparison to Herbert's.
The Indigenous artist Albert Namatjira also rose to prominence during Herbert's lifetime, popularizing watercolour landscapes of Central Australia and bringing Aboriginal art to a wider audience. While their styles and cultural contexts were different, Namatjira's success further underscored the vitality of watercolour painting in Australia. Other notable artists of the period whose work formed the backdrop to Herbert's career include the prolific Norman Lindsay, known for his distinctive figurative work and etchings, and landscape painter Elioth Gruner, celebrated for his subtle depictions of light, particularly in his morning and pastoral scenes. These artists, among many others, contributed to the rich tapestry of Australian art during Herbert's active years.
It is important to address a point of potential confusion that arises from the provided information regarding collaborations. The mention of teaching poster design at the Reimann School in London and collaborating with McKnight Kauffer, a leading figure in graphic design, and the "S Herbert" signature at a 1938 London Design Festival, most likely refers to a different artist, possibly Stanley Herbert. Harold Brocklebank Herbert's career was primarily based in Australia, and his major international experience was his service as a war artist in the Middle East. While he did engage in commercial illustration and poster design in Australia, the London-based activities described seem to belong to another individual.
Legacy and National Recognition
Upon completion of his six-month tour as a war artist, Harold Brocklebank Herbert returned to Australia. His wartime works were highly regarded and a selection was acquired for the national collection, now housed primarily at the Australian War Memorial in Canberra. These paintings and drawings form an invaluable part of Australia’s visual record of the Second World War, offering insights into the experiences of Australian soldiers and the environments in which they served.
Tragically, Harold Brocklebank Herbert's life and career were cut short. He passed away in Melbourne on February 11, 1945, at the relatively young age of 53, before the war he had so diligently documented had even concluded. Despite his premature death, he left behind a significant body of work. His landscapes continue to be admired for their beauty and technical skill, and his war art remains a poignant and important contribution to Australia's cultural heritage.
His legacy is that of a dedicated and exceptionally talented watercolourist who applied his skills with equal success to the depiction of his homeland and the stark realities of war. He demonstrated that watercolour, often perceived as a delicate medium, could be wielded with strength and conviction to convey profound human experiences. His works are held in major public collections across Australia, ensuring that his luminous vision continues to be appreciated by new generations.
Conclusion: An Enduring Contribution
Harold Brocklebank Herbert was more than just a skilled painter; he was an artist who responded with sensitivity and integrity to the world around him. Whether capturing the sun-drenched landscapes of Australia or the somber tones of a world at war, his work is characterized by a profound understanding of light, atmosphere, and human experience. As an art critic, educator, and influential member of the art community, he played a multifaceted role in Australian culture. His contributions as an official war artist, in particular, provide a unique and enduring window onto a critical period in history, solidifying his place as a distinguished figure in the annals of Australian art. His watercolours and drawings remain a testament to a life dedicated to art and a keen, observant eye that found beauty and meaning even in the most challenging circumstances.
