Category: Camden Public School

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Camden realism and storytelling

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A local school of art tells a story

Camden realism is a style of art that has appeared in the Macarthur region in recent decades and tells the story of the local area. It was recently on display at the Campbelltown Arts Centre, where the gallery mounted an exhibition displaying the works of Nola Tegel, Patricia Johnson and others.

Artist Marion Boddy-Evans describes a school of art as

a group of artists who follow the same style, share the same teachers, or have the same aims. They are typically linked to a single location.

Local artists Nola Tegel and Patricia Johnson follow a representational style of work pioneered in the local area from the 1970s by artist Alan Baker. Tegel and Johnson were some of Baker’s students who, joined by others, and have created an impressive and vital body of local artwork.

The followers of Camden realism conduct a form of storytelling through their representational style of artwork that documents the ever-changing landscape of the Macarthur region and its cultural heritage.

Campbelltown Arts Centre

Camden realism is regularly exhibited at the Campbelltown Arts Centre and the annual Camden Art Prize.

In 2020 Tegel was commissioned by the Campbelltown Arts Centre to

develop a series of paintings that capture glimpses of Campbelltown’s history amongst an ever-changing landscape.

Then & Now Catalogue

The Campbelltown Arts Centre mounted these works in an exhibition called ‘Then and Now‘, which ran from March to May 2021.

The Campbelltown Arts Centre was established in 2005 and boasts that it is a regional creative hub.  The gallery encourages local artists to take risks using various techniques from new to traditional, including Baker’s representational style of realism.

The Tegel commission

The brief for the Tegel commission stated that she

‘develop a series of paintings that capture glimpses of Campbelltown’s history amongst an ever-changing landscape’.

Storytelling is the essence of Tegel’s artwork, and the exhibition catalogue states her body of artwork has documented

‘the built environment and landscape of the Campbelltown CBD ahead of imminent growth and continuous change’.

Storytelling is an essential element of the creative process, and artist Courtney Jordon argues that:

Storytelling often comes naturally to artists. Sometimes the story starts on a single canvas or sheet of paper and doesn’t end until a gallery full of paintings, a suite of drawings, a set of illustrations, a series of comic strips or an entire graphic novel.
Certain subject matters compel an artist to revisit them again and again, building on a concept or pushing it in different directions. The narrative can be a visible part of the artwork in the form of a written story. But oftentimes, it acts as an invisible framework that guides an artist through the creative process.

Tegel is a storyteller and she has created a narrative that fulfilled the commission brief with empathy and vision. This was based on her understanding of the area’s sense of place and community identity as a growing community on Sydney’s urban fringe. The exhibition catalogue states that

Tegel’s accomplished documentation of Campbelltown captures the artists’ attachment to familiar outlooks and awe of the growing community.

‘Then and Now’, Exhibition catalogue

The catalogue cover of the Nola Tegel Exhibition Then & Now at the Campbelltown Arts Centre in 2021 (I Willis)

The essence of Tegel’s artwork is storytelling as she gives a visual palette to the aspirations and expectations of the local community of local’s and new arrivals by capturing the meaning and essence of place on the canvas.  

Sydney’s urban fringe is a zone of transition where hope and loss,  and dreams and memories are shaped and re-shaped by a shifting sea of urbanisation.  Tegel has produced a body of work that tells the story of  subtle nuances across the landscape that are only understood by those who have experienced them.  She reminds us all that the border between the rural and the urban fringe is a constantly shifting feast.

Campbelltown is a landscape of change as it has been since the area was proclaimed by Governor Macquarie in 1820. Initially, as a settler society dispossessing the Dharawal of their country, and in the 20th century, urban dwellers dispossessing Europeans of their bucolic countryside.

Tegel has witnessed these challenges through her interpretation of the area’s cultural landscapes in an evocative fashion, and in the process, captured Campbelltown’s sense of place.

Visitors at the Exhibition Then & Now for Macarthur artist Nola Tegel at the Campbelltown Arts Centre in 2021 (I Willis)

The notes in the exhibition catalogue argue that Tegel has drawn here artistic influences from various sources. Amongst these have been working with artist Barbara Romalis and being a foundational member of artist Alan Baker’s art classes at Camden.

Camden realism and Alan Baker

Baker created what might be called the Camden Realist School of art. He was a follower of the Realist tradition and shunned sentimentalism, modernist abstract and avant-garde styles.

Baker’s influence on Tegel is evident in the ‘Then and Now’ exhibition collection, where it is represented by her ability to capture Campbelltown’s sense of place without sentimentalism or abstraction.

In the 1970s Baker encouraged a realist style amongst students at his Camden Public School art classes, which included Nola Tegel,  Patricia Johnston, Olive McAleer, Rizwana Ahmad, and Shirley Rorke.

Baker encouraged a Plein Air painting style,  a tradition that

 goes back to the French Impressionists in the mid-19th century by introducing paints in tubes. Before this, artists made their own paints by grinding and mixing dry pigments powder with linseed oils. 

In Australia the school of Heidelberg School of artists regularly painted landscapes en plein air, and sought to depict daily life from the 1890s.

Tegel displayed her deft skills as a practitioner of this style in her 2019 Maitland Regional Art Gallery exhibition called ‘In the Light of the Day’. Her artworks were described as coming

 from a long standing tradition of painting en plein air, artwork created ‘in the moment’, painted and worked on in situ.  

mrag.org.au/whats-on/nola-tegel-in-the-light-of-the-day/(opens in a new tab)

In 2018 Tegel documented the historic colonial Victorian homestead Maryland at Bringelly     when she was privately commissioned ‘to create 60 paintings.’ These paintings have told the story of one of the Cowpastures most important colonial mansions and farms built between 1820 and 1850. (Then & Now Catalogue)

Patricia Johnston

Another member of the Camden Realist school is Camden-based artist Patricia Johnston.

Johnston is the ‘2021 Focus Artist’ at the Campbelltown Arts Centre for the ‘Friends Annual and Focus Exhibition’.

Another prodigy of Alan Baker and a fan of the plein air tradition Johnston says that Baker

Revealed the challenge of capturing changing light conditions in open-air painting. The immediacy of this technique and the ability to analyse complex visual scenes established a groundwork that has greatly influenced my painting. The environment became by studio.

Friends Annual & Focus Exhibition Catalogue 2021

A collage of paintings by artist Patricia Johnson on display at the Campbelltown Arts Centre as the ‘2021 Focus Artist’ in the ‘Friends Annual and Focus Exhibition’. (I Willis)

Realism on display

Camden realism’s outstanding body of work is a collection of Alan Baker’s paintings, sketches, and other works at the Alan Baker Art Gallery Macaria in John Street Camden. The gallery presents the Alan Baker Collection, which is

a colourful portrayal of an artist’s life in 21st Century Australia.

Alan Baker Art Gallery Flyer

The flyer for the ‘Face to Face’ Exhibition at the Alan Baker Art Gallery Macaria Camden with artist Alan Baker’s self-portrait on the cover. The exhibition is running during 2021. (Alan Baker Art Gallery)

Camden realism is encouraged every year in the Camden Art Prize, which was established in 1975. The acquisitive art prize has a host of categories attracting a mix of artist styles, including traditional representational works.

Smaller exhibitions of Camden realism add to body of work. In 2019 local artists Patricia Johnson, Nola Tegel, Bob Gurney, and Roger Percy mounted an exhibition at Camden Library called ‘Living Waters of Macarthur’. The body of artworks told a variety of stories of the local area in a visual form and captured the essence of place for viewers of local landscapes.

Art as storytelling

The body of work that has grown around Camden realism illustrates the ability of art to tell a story about place. The art style encourages a sense of emotional attachment to a locality by telling stories about the landscapes that surround the community.

Camden realism offers a visual interpretation of storytelling of Macarthur landscapes and the communities within it. This body of work documents the changes that have taken place across the local area from pre-European times to the present, illustrating that all these landscapes are transitional.

Perhaps leaving the last word to artist Courtney Jordon, who says:

Even if they are not aware of it, visual artists often develop some sort of narrative in their work..

Camden realism is a school of art that documents the local area in a different form of storytelling.

Attachment to place · Camden · Camden Airfield · Camden Public School · Heritage · History · Interwar · Local History · Place making · Sense of place

Bare feet and the adventures of flight, memories of growing up in 1930s Camden

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There are lots of exciting memories of Camden airfield in the 1930s by local folk, especially by little boys.

One of those was Cec Smith.

Argyle Street in Central Camden in the early 1930s at the intersection with John Street with the fountain in the centre of the intersection, the CBC Bank on the corner and the local bus outside the Bank of New South Wales before the current bank building was built in 1938. This view is likely to from the verandah at the Whiteman’s building. (Camden Images)

Wonders of flight at Camden

He recalls with great excitement the airfield and everything about it. He notes, ‘as the son of a farmer I was into anything that had an engine’.

Cec was a small boy whose family had only been in the district a short time. He was eleven years old.

The 1930s great adventure stories were ones of aviators and their aeroplanes.

Aviators were the heroes of the British Empire, like those that were  written about like Rudyard Kipling’s Kim (1901) or EM Forster’s A Passage to India’ (1924). Or the real adventurers of the empire like TE Lawrence, of ‘Lawrence of Arabia’ fame.

Camden airfield generated the stuff of boy’s own adventure books. Aviators and aeroplanes were the dreams of  all small boys in Camden.

Cec writes:

In 1936 it happened. Something different. A funny distant loaded, but relaxed, slow revving engine noise. But it was moving. Over that way. Couldn’t  see anything. It was hidden by the house. When I got there, nothing. Even the sound was gone. Then within a few days that different distinctive noise again. Looking over to the northeast, could not see it. Then it appeared from my vantage point a mile or so away. It seemed to pop up out of the ground as it slowly emerged above the low ridge line running along this [Camden] side of the river.

Cec eventually found out who owned the aeroplane. It belonged to a local hero of the empire, or so it seemed to one small boy.

Macquarie Grove Flying School was established by Edward Macarthur Onslow on his property Macquarie Gove in 1937. Macarthur Onslow purchased his first aircraft in 1935 and kept it in an ‘old tin shed’ on the property. This view shows a number of aircraft outside the hangar built for the flying school by Macarthur Onslow in the late 1930s. (Camden Images)

Cec writes:

 It was discovered that the plane belonged to Edward Macarthur Onslow, a local landholder. The plane was a DH.87A Hornet Moth (VH-UUW) and based on the property ‘Macquarie Grove’, where he lived. Older brother Denzil and younger brother Andrew were also qualified pilots. The brothers had taken the first steps toward developing a flying training and charter operation there, that pre-war was the Macquarie Grove Flying  and Glider School Pty Ltd,  and post-war became the Macquarie Grove Flying School Pty Ltd.

The flying school generated lots of excitement especially the air pageants.

Cec recalls that there were two air pageants put on there by the flying school in the late 1930s. The Macarthur Onslow brothers, along with local pilot/instructor Les Ray, who were the hands on staff of the school, and other pilots including Brian Monk (instructor from the Royal Aero Club of New South Wales) ‘all contributed to the success of what to us was a spectacular public event. This was all exciting stuff for myself and my school friends. It was a new dimension’.

Cec spent of a lot of school time dreaming of flying and notes that ‘much of the flying activities were visible from the school’.

Tiger Moth at Camden Airfield in the 1941 with the control tower in the background and showing the Bellman hangers that were built during the Second World War as temporary accommodation for military aircraft (Camden Images)

He recalls that around 1937 he was intrigued to learn that there was parachute practice taking place on the airfield.

He recalls that a movie called ‘Gone to the Dogs’ had a flying scene made at the airfield where a greyhound was to be delivered by parachute to a racing track.

Cec assures me that  the ‘dogs’ that he saw dropped by parachute were ‘dummies’.

Everything about the airfield was pretty basic in those days.

Cec, who gained his pilots licence after the war, recalls that the airfield was just ‘an open grazing paddock cleared of most trees and shrubbery but a fringe of trees remained on three sides of the field, adjacent to the river’.

In Cec’s view the trees

‘did not represent a hazard except in the event of a seriously misjudged approach… having regard to the operational requirements of the aircraft of the day. The surface was the usual farm type grasses sometimes grazed by cattle’.

An aerial view of Camden Airfield during the 1943 showing the airmen’s huts along the edge of the Nepean River with the Belman hangers. The dispersal areas for aircraft are clearly shown at the top of the image. (Camden Images)

Schooling in the bush

Cec  attended the one-teacher school at Theresa Park Public School from 1933-1934 where he was in a composite class. The Department of Education at the time paid for the teacher and supplied books and equipment. It was quite common for parents to meet any extra costs.

Cec recalls that the school had 12 pupils and his first teacher was Mr White and later Mr Monday. Cec rode a horse to school bare-back ‘behind a neighbour’s son’, who owned the horse, despite his family owning a saddle. He maintains that the teachers had good control of the class and for their part the pupils were ‘attentive’, although there were occasions ‘when some of us were disruptive’. Theresa Park Public School eventually closed in 1958.

Getting an education in town

After Cec finished with Theresa Park he travelled into Camden Public School in late 1934. Cec says that on the whole he enjoyed school, although he was ‘only a mediocre pupil but could with some effort get into the top three’. Cec’s classes were quite small. He was good attender and received a book prize for not missing a day in two years.

Camden Public School in 1933. The children are doing a maypole dance and PT where precision was paramount. Camden Public School was a Superior Public School until 1931 when the title was abandoned. The school continued to offer the Intermediate Examination Certificate and became a Central School in 1944. This image supplied by Ruth Brown (Camden Images)

Cec notes that the other pupils at the school came from a mixture of backgrounds, including 5-6 boys who came from the boy’s home. These boys he remembers came to school in bare feet and the lunches were ‘slices of stale bread spread with dripping, wrapped in newspaper and brought together collectively in a sugar bag’.

In 1940 Cec was a student in the secondary department when he finished his Intermediate Certificate. The results were published in the Sydney Morning Herald in January 1941. Cec gained ‘B’ grade passes in Geography, Mathematics II, Business Principles, Technical Drawing, Woodwork, Music, Agricultural Botany. Other local youth who finished with Cec were J Hayter, Elaine McEwan, John Porter, Frederick Strahey.

Cec recalls that the headmaster at that time was Neville Holder. Holder was the principal of the school between 1937 and 1940 and Cec found him to be a good teacher and felt that he did many ‘good deeds as a person and teacher’ while at the school. Camden Public School became a central school in 1944 and reverted to a public school in 1956 when Camden High School opened in John Street.

Cec sometimes had to wait at the milk depot at the end of Argyle Street, near the railway station, for a lift home after school. His father and brother would deliver the milk from the farm at the depot twice a day.

Cec feels that:

despite all the negatives of those days…  we received a good basic education across a range of subjects all for free. All that we had to do was be there. In most cases transport only cost the price of a bicycle and the physical effort of riding it… and the cost of a few books, pens and pencils.

Getting a job

During these days Cec did temporary work at Camden Post Office for three weeks in 1938 when he was 14 years old, and in 1940 six weeks.

Camden Post Office built in 1898 in Late Victorian style with later additions in 1910 in Federation Free style designed by NSW Government Architect Walter Vernon. (2008, P Mylrea)

One of his jobs in 1940 was to cycle out to the Eastern Command Training School at Studley Park each week to change over the public telephone coin tins. As Cec recalls they were officially called ‘coin receptacles’.  He recalls that:

 While I was there I had to make a test call back to the post office. The public phone at the airfield had not been installed at that stage of the war.  The only mail contractor at the post office had the run which started at Camden, went out to Glenmore, The Oaks, Oakdale and Nattai River in the Burragorang Valley and then on to Yerrandarie Post Office.

 

Eventually Cec started work in Sydney in 1941 while his family continued dairying for the next 11 years.

The war eventually caught up with the family and Cec’s brother joined up in 1940 and ‘my turn came in 1943’. He recalls that ‘for our generation much happened in the relatively short period between 1940-1945’.