Thomas William "Tom" Roberts, a pivotal figure in Australian art history, is widely celebrated as one of the principal founders and leaders of the Heidelberg School, an art movement that has become synonymous with Australian Impressionism. Born in Dorchester, Dorset, England, on March 9, 1856, Roberts emigrated to Australia with his widowed mother and siblings in 1869, settling in Collingwood, a suburb of Melbourne. His profound impact on Australian art stems from his dedication to capturing the unique light, atmosphere, and burgeoning national identity of his adopted country, leaving an indelible legacy that continues to inspire. His life, spanning until his passing on September 14, 1931, in Kallista, near Melbourne, was one of artistic exploration, innovation, and a deep connection to the Australian landscape and its people.
Early Life and Artistic Awakening
Upon arriving in Australia, the young Tom Roberts quickly found work, initially in photography, which may have subtly influenced his later compositional choices and his keen eye for detail and light. However, his artistic inclinations soon led him to pursue formal training. He began attending evening classes at the Collingwood Artisan School of Design in 1873, and by 1874, he was studying at the National Gallery of Victoria Art School. Here, he studied under influential artists such as Thomas Clark and the Swiss-born landscape painter Louis Buvelot, whose plein-air approach to capturing the Australian bush had a significant impact on a generation of younger artists, including Roberts.
During his time at the National Gallery School, Roberts formed lasting friendships with fellow students who would become key figures in the Australian art scene, most notably Frederick McCubbin. Other contemporaries at the school included Charles Douglas Richardson and Bertram Mackennal. These early years were formative, instilling in Roberts a disciplined approach to drawing and a growing desire to interpret the Australian environment in a new, more authentic way, moving away from the darker, more sombre palettes often inherited from European traditions. His early works from this period already showed a sensitivity to local character and an emerging interest in the effects of Australian sunlight.
The European Sojourn: Broadening Horizons
In 1881, driven by a desire to further his artistic education and experience the vibrant art scenes of Europe, Tom Roberts embarked on a journey to London. He enrolled at the prestigious Royal Academy Schools, where he studied from 1881 to 1884. This period was crucial for his development, exposing him to a wide range of artistic styles and techniques. While the Royal Academy maintained a relatively conservative curriculum, London itself was a hub of artistic debate and innovation. Roberts was particularly drawn to the work of artists who emphasized naturalism and the direct observation of life.
During his time abroad, Roberts also undertook walking tours in France and Spain in 1883 with fellow Australian artist John Peter Russell, who would later introduce him to Impressionist circles and figures like Vincent van Gogh and Claude Monet. In Spain, Roberts was deeply impressed by the works of Spanish masters such as Diego Velázquez and Laureano Barrau. He encountered artists practicing plein-air painting, a method that involved working outdoors to capture the fleeting effects of light and atmosphere directly. He met a number of Spanish painters, including Ramon Casas and Santiago Rusiñol, who were also exploring modern approaches to art. This exposure to European naturalism and the burgeoning Impressionist movement, particularly the emphasis on light and everyday subjects, profoundly shaped his artistic vision. He learned about the importance of tonal values and the way light could define form and mood, lessons he would bring back to Australia.
Return to Australia and the Genesis of the Heidelberg School
Tom Roberts returned to Melbourne in 1885, brimming with new ideas and techniques. He quickly became a central figure in a group of artists eager to develop a distinctly Australian school of painting. He, along with Frederick McCubbin, Arthur Streeton, and Charles Conder, formed the nucleus of what would later be known as the Heidelberg School. They established artists' camps in rural locations around Melbourne, such as Box Hill, Mentone, and later Heidelberg, where they could immerse themselves in the landscape and paint en plein air. These camps became crucibles of creativity and camaraderie, fostering an environment of shared learning and artistic experimentation.
The group sought to capture the unique qualities of the Australian light, which was harsher and clearer than that of Europe, and the distinctive colours of the Australian bush. Roberts, often seen as the intellectual leader and a charismatic figure, encouraged his peers to adopt the new techniques he had observed in Europe, particularly the emphasis on capturing a momentary impression. Other artists associated with or influenced by this circle included Walter Withers, Louis Abrahams, and Jane Sutherland. Their collective efforts aimed to forge an art that was authentically Australian, reflecting the life and landscape of the continent.
The 9 by 5 Impression Exhibition
A landmark event in Australian art history, and a defining moment for the Heidelberg School, was the "9 by 5 Impression Exhibition," held in Melbourne in August 1889. The exhibition, organized by Roberts, Streeton, and Conder, with contributions from McCubbin, Richardson, R.E. Falls, and Herbert Rose, showcased small, sketch-like works, many painted on cigar-box lids measuring approximately 9 by 5 inches (23 x 13 cm), hence the exhibition's name. These "impressions" were intended to capture fleeting moments and atmospheric effects, emphasizing spontaneity and directness.
The exhibition was radical for its time in Melbourne and provoked considerable controversy. Prominent critic James Smith, writing for The Argus, famously derided the works, questioning their finish and artistic merit. However, the exhibition was a bold statement of the artists' modernist intentions and their commitment to Impressionist principles. Roberts himself contributed significantly to the catalogue, articulating the group's aesthetic aims. Despite the mixed critical reception, the exhibition was a popular success and helped to cement the reputation of these artists as pioneers of a new movement in Australian art. It highlighted their departure from academic conventions and their embrace of a more personal and immediate response to their surroundings.
Iconic National Narratives: Capturing the Australian Spirit
Tom Roberts is perhaps best known for a series of large-scale paintings that depicted iconic scenes of Australian rural life, particularly the pastoral industry. These works became powerful symbols of the burgeoning national identity in the lead-up to Federation in 1901. Among the most celebrated is "Shearing the Rams" (1888–1890). To create this masterpiece, Roberts spent considerable time at Brocklesby station near Corowa, New South Wales, making numerous preparatory sketches and immersing himself in the life of the shearing shed. The painting is a detailed and heroic depiction of Australian pastoral labour, capturing the heat, dust, and intense activity of the shearing process. It was lauded for its realism and its celebration of the Australian worker.
Another significant work in this vein is "A Break Away!" (1891), which dramatically portrays a drover attempting to turn back a stampeding flock of sheep in a drought-stricken landscape. This painting captures the dynamism and challenges of life on the land. "Bailed Up" (1895), depicting a stagecoach hold-up by bushrangers, tapped into the romantic and rebellious mythology of the Australian bush. These paintings were more than just depictions of rural scenes; they were ambitious attempts to create a national art, reflecting themes of hard work, resilience, and the unique character of the Australian experience. Roberts' meticulous research and his ability to convey both the grandeur and the grit of Australian life were central to their success.
Portraiture and "The Big Picture"
While renowned for his landscapes and narrative paintings, Tom Roberts was also a highly accomplished portrait painter throughout his career. He possessed a keen ability to capture the likeness and character of his sitters. He painted numerous portraits of friends, fellow artists, and prominent figures in Australian society. His portraits are characterized by their psychological insight and their often direct and unpretentious style. Notable examples include his portraits of fellow artist Charles Conder and the writer Florence Greaves.
Perhaps his most monumental achievement in portraiture, and indeed in his entire oeuvre, is "The Opening of the First Parliament of the Commonwealth of Australia by H.R.H. The Duke of Cornwall and York (later H.M. King George V), May 9, 1901," commonly known as "The Big Picture." Commissioned to commemorate this historic event, the painting is an enormous canvas measuring over three by five metres and features more than 250 individual portraits of the dignitaries and attendees. Roberts undertook extensive travel and sittings to ensure accuracy. The project was a Herculean task that consumed him for nearly two years, involving meticulous planning and execution. Completed in 1903, "The Big Picture" stands as a significant historical document and a testament to Roberts' skill and perseverance as an artist.
Later Years and Continued Artistic Endeavours
After the completion of "The Big Picture," Roberts and his family moved to London in 1903, partly due to the strain the massive commission had placed on his eyesight and finances. He continued to paint and exhibit in England, though he found it challenging to achieve the same level of recognition he had enjoyed in Australia. He produced many fine landscapes and portraits during this period, often returning to themes of light and atmosphere. Artists he would have encountered or whose work was prominent in London at this time included John Singer Sargent, Philip Wilson Steer, and members of the New English Art Club.
During World War I, despite being nearly 60, Roberts served as an orderly at the 3rd London General Hospital in Wandsworth. This experience, while arduous, also provided subjects for his art, and he produced a number of sensitive depictions of hospital life. His first wife, Elizabeth (Lillie) Williamson, whom he had married in 1896, passed away in 1928. Roberts had returned to Australia in 1919 for a visit, and then permanently in 1923, settling in Kallista in the Dandenong Ranges, Victoria. He married Jean Boyes in 1928. In his later years, he continued to paint landscapes, often smaller, more intimate works that reflected a serene appreciation of the Australian bush he had always loved. These later works, while perhaps less heroic in scale than his earlier national narratives, demonstrate a continued mastery of light and colour.
Artistic Style, Techniques, and Influences
Tom Roberts' artistic style is characterized by its foundation in European naturalism and Impressionism, adapted to the unique conditions of the Australian environment. A key proponent of plein-air painting, he emphasized direct observation and the rapid capturing of fleeting moments. His palette evolved from the darker tones of his early training to embrace the brighter, more vibrant colours needed to depict the intense Australian sunlight and the distinctive hues of the bush – the blues of distant ranges, the ochres and browns of the dry earth, and the subtle greens of eucalypts.
His technique often involved broken brushwork to convey the shimmer of light and a strong sense of atmosphere. While influenced by French Impressionists like Claude Monet and Camille Pissarro in their approach to light and colour, Roberts, like many of his Heidelberg School colleagues, often retained a stronger sense of form and drawing, a characteristic also seen in the work of artists like Jules Bastien-Lepage, whose naturalistic depictions of rural life were influential. The Spanish masters, particularly Velázquez, influenced his tonal control and compositional strength. Roberts was not merely an imitator; he synthesized these influences into a style that was distinctly his own and deeply attuned to his Australian subjects. He was also a meticulous craftsman, undertaking extensive preparatory studies for his major works.
Roberts and His Contemporaries: A Collaborative Spirit
Tom Roberts was a gregarious and influential figure among his peers. His relationships with Frederick McCubbin, Arthur Streeton, and Charles Conder were foundational to the Heidelberg School. McCubbin, a lifelong friend, shared Roberts' dedication to Australian subjects, though often with a more poetic and narrative focus on pioneer life. Streeton, younger and more flamboyant, excelled at capturing the expansive light and heat of the Australian landscape, often working side-by-side with Roberts at the artists' camps. Conder, with his lyrical and decorative style, brought a different sensibility to the group before his departure for Europe.
Beyond this core group, Roberts interacted with and influenced many other artists. Louis Abrahams was a close friend and supporter, often involved in the practical organization of their camps and exhibitions. Walter Withers, another key member of the Heidelberg School, focused on more subdued, atmospheric landscapes. Julian Ashton, an older artist and influential teacher in Sydney, shared Roberts' commitment to developing an Australian school of painting and was a significant figure in the Sydney art scene when Roberts later spent time there. Girolamo Nerli, an Italian-born artist who worked in Australia and New Zealand, also brought a sophisticated European sensibility that interacted with the local art scene. Roberts' ability to inspire and collaborate was crucial to the collective energy and achievements of Australian Impressionism. His influence extended to encouraging younger artists and fostering a sense of shared purpose in creating a national art.
Enduring Legacy and Critical Reception
Tom Roberts' position in Australian art history is secure and highly esteemed. He is often referred to as the "Father of Australian Landscape Painting," although Louis Buvelot also holds a strong claim to this title for his earlier influence. Roberts, however, took this foundation further, infusing it with Impressionist techniques and a nationalist sentiment that resonated deeply with the Australian public. His major narrative paintings, such as "Shearing the Rams" and "A Break Away!," have become iconic images in Australian culture, reproduced countless times and firmly embedded in the national consciousness.
Critically, while his work, particularly the "9 by 5" impressions, initially faced some conservative backlash, his larger paintings were generally well-received for their skill and their perceived "Australianness." Over time, his reputation has only grown. Art historians recognize his crucial role in translating European modernism into an Australian context, and in fostering a cohesive art movement that defined a particular era. His dedication to capturing the authentic character of Australian life and landscape set a benchmark for subsequent generations of artists. Major retrospectives of his work continue to draw large audiences, and his paintings are prized possessions in all major Australian art galleries. His influence can be seen in the work of later landscape painters and those who continued to explore themes of Australian identity, such as Hans Heysen or Elioth Gruner, even if their styles evolved differently.
Conclusion: A Visionary of Australian Art
Tom Roberts was more than just a skilled painter; he was a visionary who played an instrumental role in shaping the course of Australian art. Through his leadership, his innovative techniques, and his profound connection to the Australian landscape and its people, he helped to define a national school of painting. From the intimate "9 by 5" impressions to the grand national narratives and insightful portraits, his body of work reflects a deep engagement with his adopted country and a relentless pursuit of artistic truth. His legacy endures not only in his iconic paintings but also in the spirit of artistic inquiry and national pride that he fostered, cementing his place as one of Australia's most important and beloved artists. His work continues to offer a powerful and evocative vision of Australia at a formative period in its history.
