William Blamire Young (1862-1935) stands as a significant, if sometimes enigmatic, figure in the landscape of early 20th-century art, bridging the artistic currents of both Britain and Australia. A man of diverse talents, Young was not only a highly regarded watercolourist but also an innovative poster designer, illustrator, writer, critic, and even a teacher. His artistic output, characterized by a romantic sensibility, decorative flair, and a distinctive use of colour, left an indelible mark, particularly in Australia where he spent a considerable part of his productive life. His legacy is perhaps most popularly encapsulated in his design for Australia's first Commonwealth postage stamp, yet his broader contributions to the visual arts merit deeper exploration.
Early Life and Formative Influences
Born on August 9, 1862, in Londesborough, Yorkshire, England, William Blamire Young's early academic inclinations did not immediately point towards a career in the arts. He was the son of Colonel John Charles Young, and his upbringing was steeped in the traditions of the English gentry. He pursued mathematics at Pembroke College, Cambridge, graduating with a Bachelor of Arts in 1884. This scientific grounding might seem at odds with his later artistic pursuits, but it perhaps contributed to the meticulousness and intellectual underpinning evident in some of his work and writings.
Following his graduation, Young sought opportunities abroad, a common path for many educated Britons of his era. In 1885, he accepted a position as a mathematics master at Katoomba College in the Blue Mountains of New South Wales, Australia. It was during this initial period in Australia that the continent's unique light and landscape began to captivate him, likely sowing the seeds for his future artistic endeavors. His time in Australia was formative, exposing him to a different environment and, presumably, the burgeoning local art scene, which included figures like Tom Roberts, Arthur Streeton, and Charles Conder, who were then forging a distinctly Australian school of painting, often associated with the Heidelberg School.
The English Interlude and the Rise of Poster Art
Despite his growing interest in art, Young returned to England in 1893. This move was pivotal, as it was here that he formally committed to an artistic career. He enrolled at Hubert von Herkomer's art school in Bushey, Hertfordshire. Herkomer's academy was a significant training ground for many artists of the period, known for its practical approach and emphasis on draughtsmanship. It was at Bushey that Young encountered fellow students James Pryde and William Nicholson. This meeting would prove highly influential.
Pryde and Nicholson, under the moniker "J. & W. Beggarstaff" or simply the "Beggarstaff Brothers," were pioneers in modern poster design. They championed a revolutionary style characterized by simplified forms, flat areas of colour, bold silhouettes, and a dramatic use of negative space, drawing inspiration from Japanese prints and the work of French artists like Henri de Toulouse-Lautrec. Young was deeply impressed by their innovative approach and collaborated with them on several poster designs. This association with the Beggarstaffs was crucial in shaping Young's understanding of graphic design and the communicative power of visual art in a commercial context. His own poster work, though perhaps not as radically minimalist as some of the Beggarstaffs' output, demonstrated a strong sense of composition and an eye for impactful imagery, placing him among the notable figures of the British poster movement, alongside contemporaries like Dudley Hardy and Phil May.
Return to Australia and Mastery of Watercolour
In 1895, armed with new skills and a refined artistic vision, Blamire Young returned to Australia, settling in Melbourne, which was then a vibrant cultural hub. While he continued to engage in poster design and illustration, it was in the medium of watercolour that he truly began to distinguish himself. He developed a highly individualistic style, often described as romantic, poetic, and decorative. His technique was complex and innovative, involving the use of wet-on-wet washes, blotting, scraping, and a sophisticated understanding of colour theory to achieve luminous and atmospheric effects.
Young's watercolours often depicted the Australian landscape, but not in a purely naturalistic or topographical manner. Instead, he imbued his scenes with a sense of fantasy, mystery, and lyrical beauty. He was particularly adept at capturing the subtle nuances of light and atmosphere, often favouring twilight or moonlit scenes that allowed for a more imaginative interpretation. His palette was distinctive, frequently employing a harmonious blend of bright and cool tones to create what critics described as "extraordinary effects." He was less concerned with literal representation than with evoking a mood or telling a story, often drawing on historical or legendary themes. This approach set him apart from some of his Australian contemporaries, such as Hans Heysen or J.J. Hilder, who, while also masters of watercolour, often pursued a more direct, though equally poetic, engagement with the landscape.
Key Themes and Subjects in Young's Oeuvre
Blamire Young's subject matter was diverse, reflecting his wide-ranging interests. Landscapes, particularly those of the Australian bush and countryside, were a recurring theme. His 1910 exhibition featuring a series of works depicting Mount Buffalo in Victoria was met with considerable acclaim, praised for its rich colour and decorative qualities. These were not mere transcriptions of nature but rather imaginative reconstructions, often imbued with a sense of drama or enchantment.
Historical and allegorical subjects also featured prominently in his work. He created a series of imaginative scenes depicting early Melbourne history, such as the city's first baptism or the printing of its first newspaper. These works, while not strictly historical documents, captured a romanticized vision of the colonial past. Theatricality was another strong element in his art, perhaps influenced by his own ventures into playwriting. His figures often seem posed as if on a stage, and his compositions can have a dramatic, tableau-like quality. Urban scenes, too, occasionally appeared, rendered with his characteristic atmospheric touch.
Notable Works and Defining Achievements
Several works stand out in Blamire Young's oeuvre. "When the Horse Team Came to Walhalla" (1910) is a fine example of his ability to combine landscape with a narrative, historical element, evoking the pioneering spirit of a Victorian gold-mining town. "Moonlight Reveals" (1924) showcases his mastery of nocturnal scenes and his capacity to create an atmosphere of mystery and poetic reverie.
Undoubtedly, his most widely recognized achievement was the design for Australia's first Commonwealth postage stamp, issued in 1913. The "Kangaroo and Map" design, featuring a kangaroo standing over a map of Australia, was simple yet iconic. It became the subject of some political controversy at the time due to the omission of the King's head, but it remained in circulation for over two decades and is a landmark in Australian philatelic history. This commission underscored his reputation as a leading designer.
Another unique creation was "Adventure in Arts" (1924), a beautifully crafted, hand-written, and illuminated manuscript. This volume, bound in gold-tooled morocco and containing 27 watercolour illustrations, expounded Young's personal theories on the relationship between an artist's sensuality and their use of colour. It remains a fascinating insight into his artistic philosophy and his skills as a craftsman.
His talents were also sought for more unusual commissions. He was one of several prominent artists, including Edmund Dulac and Arthur Rackham, invited to create miniature paintings for Queen Mary's Dolls' House, a remarkable early 20th-century creation showcasing the finest craftsmanship of the era. Young's contribution further cemented his standing within artistic circles.
A Man of Many Talents: Writer, Critic, and Playwright
Blamire Young's creativity extended beyond the visual arts. He was a capable writer and critic, contributing articles on art to various publications, including The Argus and The Bulletin. For a period, he served as the art critic for The Herald in Melbourne, where he notably championed modern art movements, sometimes placing him at odds with more conservative figures in the Australian art establishment, such as the celebrated landscape painter Arthur Streeton, who was a leading member of the Heidelberg School.
Young also dabbled in playwriting. In 1911, he produced a play titled "Art for Art's Sake," and in 1912, his one-act play "Children's Bread" was staged. While his theatrical works did not achieve the same lasting fame as his paintings, they demonstrate the breadth of his intellectual and creative pursuits. His writings on art, including the posthumously published The Art of Blamire Young (1921, though this date seems an error if posthumous, likely referring to a collection or earlier publication under a similar title, or perhaps The Proverbs of Goya published in 1923), reveal a thoughtful and articulate mind, capable of dissecting artistic principles with clarity. His personality was described by those who knew him well as humorous and witty, a contrast to his sometimes serious public demeanor.
Relationships and Navigating the Art World
Throughout his career, Blamire Young interacted with a wide array of artists and cultural figures. His early association with James Pryde and William Nicholson in England was formative. Upon his return to Australia, he became part of a lively artistic community. He collaborated on poster designs with members of the talented Lindsay family – which included artists like Norman Lindsay, known for his vibrant and often controversial depictions of bacchanalian scenes; Lionel Lindsay, a distinguished etcher and critic; Percy Lindsay, a landscape painter; and Daryl Lindsay, who later became Director of the National Gallery of Victoria. He also worked with fellow poster artist Harry Weston.
His support for modernism sometimes brought him into friendly debate with more traditional artists. While he maintained amicable relations with many, his artistic path was somewhat independent. He was not strictly aligned with the dominant Heidelberg School tradition, nor did he fully embrace the more radical forms of modernism that were beginning to emerge with artists like Margaret Preston or Grace Cossington Smith. Instead, he carved out his own niche, respected for his unique vision and technical skill. His circle included influential figures beyond painters, such as the famed opera singer Dame Nellie Melba, and patrons like John and Mary Farmer, and Horatio Jones. He was also associated with Sydney Ure Smith, a key publisher and promoter of Australian art. His contemporaries in the broader Australian art scene included landscape painters like Elioth Gruner and figure painters such as George Lambert.
Exhibitions, Recognition, and Critical Reception
Blamire Young exhibited his work widely, both in Australia and internationally. Even before the First World War, his watercolours were gaining recognition. In England, he showed at prestigious venues such as the Royal Academy, the Royal Institute of Painters in Watercolours, and the National Portrait Society. In Australia, his solo exhibitions were significant events, and his work was included in important group shows. The 1910 exhibition featuring his Mount Buffalo series, for instance, was a critical success.
His work continued to be recognized posthumously. For example, his watercolours were featured in the "Luminous: Australian Watercolours 1900-2000" exhibition, which highlighted significant developments in the medium throughout the 20th century. While he may not have achieved the same level of popular fame as some of his contemporaries during his lifetime, art historians and connoisseurs have consistently acknowledged his unique contribution, particularly his mastery of watercolour and his role in elevating the status of poster design. Critics praised his imaginative power, his decorative sense, and his exquisite handling of colour, even if his romanticism sometimes seemed out of step with the more robust nationalism of other Australian artists.
Later Years and Enduring Legacy
In 1912, Young and his family returned to England for a period, but the outbreak of World War I saw him enlist in the Royal Garrison Artillery, serving as an instructor in range-finding. After the war, he remained in England for several years, continuing to paint and exhibit. He eventually returned to Australia in 1923, settling in Montrose, in the Dandenong Ranges outside Melbourne. It was here that he spent his final years, continuing to paint and write.
William Blamire Young passed away in Montrose on January 14, 1935. His death marked the loss of a distinctive voice in Australian art. While he operated somewhat outside the main currents of both academic conservatism and burgeoning modernism, his work possessed a unique integrity and beauty. He is remembered as one of Australia's foremost watercolourists of the early 20th century, an artist who brought a sophisticated European sensibility to Australian subjects, transforming them through his romantic and decorative vision. His influence on graphic design in Australia, particularly through his poster work and the iconic "Kangaroo and Map" stamp, is also a significant part of his legacy.
Conclusion: An Artist of Refined Sensibility
William Blamire Young was a multifaceted artist whose contributions spanned several disciplines. His journey from a mathematics graduate at Cambridge to a celebrated watercolourist and designer in Australia is a testament to his adaptable intellect and profound artistic sensibility. He successfully navigated the art worlds of both Britain and Australia, leaving a legacy of works characterized by their lyrical beauty, technical finesse, and imaginative depth. Whether through the ethereal glow of his watercolours, the bold impact of his posters, or the enduring design of a nation's first stamp, Blamire Young's artistic vision continues to resonate, securing his place as a distinguished and intriguing figure in the annals of art history. His ability to infuse Australian themes with a romantic, almost fantastical quality, combined with his sophisticated understanding of colour and design, ensures his enduring appeal and importance.
