Julian Rossi Ashton stands as a towering figure in the annals of Australian art history. An artist of diverse talents, an educator of profound influence, and a passionate advocate for Australian artistic identity, Ashton's career spanned a transformative period for art in the nation. From his arrival in Australia in the late 19th century, he dedicated himself to capturing the unique light and character of the Australian landscape and its people, while simultaneously nurturing generations of artists who would go on to shape the country's cultural fabric. His legacy is not only etched in his own paintings but also in the enduring institution he founded, the Julian Ashton Art School, and in his tireless efforts to champion a distinctly Australian vision in art.
Early Life and Artistic Awakening
Born on January 27, 1851, in Addlestone, Surrey, England, Julian Rossi Ashton's artistic inclinations were apparent from a young age. His father, Thomas Briggs Ashton, an American amateur painter who also ran a business selling art supplies, provided his son's initial guidance in the arts. This early exposure to the materials and practice of art undoubtedly laid a foundational understanding for the young Julian. The family later moved to Penzance, Cornwall, where the rugged coastal scenery may have further stirred his visual sensibilities.
His formal art education began in London, where he attended night classes at the West London School of Art. This period would have exposed him to the academic traditions prevalent in British art institutions of the time, focusing on drawing from casts and the human figure, and the principles of composition and perspective. Seeking to broaden his artistic horizons, Ashton, like many aspiring artists of his generation, made his way to Paris. He enrolled at the prestigious Académie Julian, a private art school renowned for its less rigid approach compared to the official École des Beaux-Arts, and for attracting a diverse international student body. At Académie Julian, students often studied under notable academic painters like Gustave Boulanger and Jules Joseph Lefebvre, though Ashton's specific tutors are not always prominently highlighted, the environment itself was one of rigorous figure study and exposure to contemporary European art currents. This Parisian sojourn was crucial, immersing him in an atmosphere where new ideas, including the burgeoning Impressionist movement, were challenging established norms.
Arrival in Australia and Early Career
In 1878, at the age of 27, Julian Ashton emigrated to Australia, initially settling in Melbourne. He was engaged by David Syme, the proprietor of The Illustrated Australian News, to work as an illustrator. This role was common for many artists of the period, as photography was not yet sophisticated enough for widespread newspaper reproduction. Illustrators like Ashton were vital for visually documenting news, events, and social scenes. His skills in draughtsmanship were well-suited to this work, providing him with a steady income and a way to engage directly with Australian life. His contemporaries in the illustration field in Australia included the likes of the English-born Phil May, who also made a significant impact on black-and-white art in the colonies.
After five years in Melbourne, Ashton moved to Sydney in 1883, continuing his career as an illustrator for the Picturesque Atlas of Australasia and later for The Sydney Morning Herald and The Bulletin. This work required him to travel and observe, further deepening his understanding of the Australian landscape and its people. While illustration provided his livelihood, Ashton's passion for painting remained undiminished. He began to exhibit his paintings, quickly establishing a reputation as a skilled artist in both oils and watercolours.
Championing Impressionism and Plein Air Painting
Julian Ashton became a leading proponent of plein air (outdoor) painting in Sydney, a practice that was central to the Impressionist movement. He believed passionately in the importance of directly observing and capturing the fleeting effects of light and atmosphere in the Australian landscape, which was so different from that of Europe. He often organized and participated in sketching camps around Sydney Harbour and along the Hawkesbury River, locations that offered rich and varied subject matter.
He was a key figure in what is sometimes referred to as the Sydney Impressionist movement, a parallel development to the more widely known Heidelberg School in Melbourne, which included artists like Tom Roberts, Arthur Streeton, Charles Conder (who also spent time in Sydney and collaborated with Ashton), and Frederick McCubbin. Ashton's approach, while influenced by Impressionist principles of light and colour, often retained a strong foundation in drawing and a commitment to capturing the specific character of the Australian scene.
He collaborated closely with other artists who shared his enthusiasm for outdoor work. Figures such as A.J. Daplyn, who had also studied in France and brought back knowledge of Impressionist techniques, Frank P. Mahony, known for his depictions of Australian rural life and horses, and the aforementioned Charles Conder, were among his companions on these painting expeditions. Together, they explored the visual possibilities of the Australian bush and coastline, contributing significantly to the development of a national school of landscape painting. Henry Fullwood, another significant artist of the period, also joined Ashton in establishing an artists' camp at Balmoral Beach, further fostering this collaborative and experimental spirit.
The Julian Ashton Art School: A Legacy in Education
Perhaps one of Julian Ashton's most enduring contributions was the establishment of his art school. In 1890, he began teaching at the Art Society of New South Wales, but his desire to create an institution based on his own pedagogical principles led him to found the Julian Ashton Art School in 1896, initially known as the Sydney Art School, in The Rocks area of Sydney. The school quickly became a vital centre for art education in Australia.
Ashton's teaching philosophy was rooted in the classical studio system, emphasizing rigorous training in drawing as the foundation of all art. He believed that a thorough understanding of anatomy, perspective, and the accurate depiction of form was essential before students could effectively express their individual creativity. He stressed the importance of drawing from life – both the human figure and the natural world – and encouraged his students to develop keen observational skills.
However, his approach was not rigidly academic in a stifling sense. He fostered an environment that encouraged individuality and personal expression. He was known for his personalized teaching style, allowing students to focus on subjects that interested them and providing a flexible learning environment without a dogmatic curriculum. While he championed traditional skills, he was also open to new ideas and encouraged students to explore their own artistic paths. He famously advocated for the use of high-quality materials, believing that good tools were essential for good work.
The Julian Ashton Art School attracted a remarkable cohort of students who would go on to become some of Australia's most celebrated artists. Among them were George Lambert, a brilliant draughtsman and painter; Sydney Long, known for his decorative and Art Nouveau-influenced depictions of the Australian landscape; and Elioth Gruner, celebrated for his sensitive renderings of light and atmosphere. Other notable artists who passed through the school's doors over the years include Thea Proctor, William Dobell (though his main studies were later and elsewhere, he did attend), and John Olsen, attesting to the school's lasting impact across generations. The school, still in operation today, stands as a testament to Ashton's vision and dedication to art education.
Key Artistic Themes and Representative Works
Julian Ashton's oeuvre encompasses portraits, landscapes, and genre scenes, executed in both oil and watercolour. His work is characterized by its strong draughtsmanship, its sensitivity to light and atmosphere, and its honest depiction of Australian subjects.
One of his most iconic early works is Evening, Merri Creek (1882). Painted during his Melbourne period, this work already shows his interest in capturing the specific qualities of Australian light and landscape, depicting a tranquil scene imbued with the soft glow of twilight. It is considered an important early example of Australian Impressionism.
A Waterhole on the Hawkesbury River (1885) is another significant landscape. This painting reflects his deep engagement with the Hawkesbury region, a favoured sketching ground. It showcases his ability to render the subtle interplay of light on water and foliage, and the distinctive colours of the Australian bush. The work conveys a sense of peace and the timeless quality of the landscape.
Ashton also addressed the human figure within the Australian context. The Prospector (1889) is a powerful character study. It depicts a solitary gold prospector, a figure symbolic of an important era in Australian history. The painting captures the rugged determination and perhaps the weariness of the subject, reflecting on themes of Australian identity and the harsh realities of colonial life. This work is often lauded for its psychological depth and strong composition.
His watercolour A Solitary Ramble (1888) is celebrated for its delicate handling of the medium and its evocative atmosphere. It depicts a figure in a landscape, conveying a sense of quiet contemplation and the vastness of the Australian environment. This work is often highlighted as one of the finest watercolours in Australian art history.
Ashton also showed an interest in depicting Indigenous Australians, as seen in works like Aboriginal family group (circa 1886). While such depictions by colonial artists are now viewed through a more critical lens, they form part of the historical record of intercultural encounters and artistic representations of the time. Ashton approached these subjects with a degree of observation that aimed for realism within the conventions of his era.
Throughout his career, Ashton was a prolific portrait painter, capturing the likenesses of many prominent figures of his day. His portraits were known for their solid construction and insightful characterization.
Advocacy, Influence, and Public Life
Julian Ashton was not content to merely create art and teach; he was also a vocal advocate for Australian art and artists. He served as a trustee of the Art Gallery of New South Wales for many years, from 1889 to 1899. In this capacity, he played an important role in shaping the gallery's collection and promoting the acquisition of works by Australian artists. A notable instance of his influence was his support for the gallery's purchase of Arthur Streeton's masterpiece, Still glides the stream, and shall for ever glide (1890), a key work of the Heidelberg School. This demonstrated his commitment to recognizing and supporting contemporary Australian talent, even if it emerged from a different city's artistic milieu.
He was an active member and president of the Society of Artists in Sydney, an organization that played a crucial role in exhibiting and promoting the work of local artists, often providing an alternative to the more conservative art establishment. Ashton was known for his strong opinions and his willingness to engage in public debate on art matters. He fought for better funding for the arts, improved art education, and greater public appreciation for Australian artistic achievements. His writings and public statements often emphasized the need for an art that was true to Australia's unique environment and national character.
His influence extended beyond the art world. He was a respected public figure, known for his integrity and his passionate commitment to his beliefs. He was awarded the Society of Artists' medal in 1924 and was appointed a Commander of the Order of the British Empire (CBE) in 1930 for his services to art.
Later Life and Enduring Legacy
Julian Ashton remained active as an artist and teacher well into his old age. He continued to paint and to oversee the Julian Ashton Art School, which became an institution synonymous with his name and his artistic principles. His dedication to the school ensured its survival and continued relevance, with family members, including his son, J. Richard Ashton, and later his grandson, Henry Gibbons, continuing his work.
He published his memoirs, Now Came Still Evening On, in 1941, providing valuable insights into his life, his artistic philosophy, and the development of Australian art during his lifetime. The book offers a personal account of the challenges and triumphs of an artist working to forge a national artistic identity.
Julian Rossi Ashton passed away on April 27, 1942, in Bondi, Sydney, at the age of 91. His death marked the end of an era, but his influence on Australian art remains profound and multifaceted. He was a pioneer who helped to define Australian Impressionism, particularly in Sydney, and who championed the importance of depicting the local landscape with honesty and sensitivity. His representative works, such as The Prospector and Evening, Merri Creek, are treasured icons of Australian art.
Beyond his own artistic output, his greatest legacy is perhaps the Julian Ashton Art School, which has nurtured countless artists and continues to uphold his commitment to foundational skills and artistic excellence. Artists like Howard Ashton (his son, also a painter and critic), Max Meldrum (though their philosophies diverged, Meldrum was an early student), and many others who studied or were influenced by his circle, carried forward aspects of his dedication to observation and craft. He was a bridge between European traditions and the emerging Australian school, adapting and transforming influences to suit the unique conditions of his adopted country. Julian Ashton's life and work are a testament to the power of art to shape cultural identity and to inspire future generations.
