Clarice Beckett was born in in Casterton in regional Victoria. Today she is recognised as one of Australia’s most important painters of the interwar period, yet her contribution was almost completely lost to art history. Many of Beckett’s paintings were either destroyed or damaged after her premature death in from pneumonia which she contracted while painting in the rain near her seaside home at Beaumaris, Melbourne.
In Beckett enrolled at the National Gallery School in Melbourne where she studied drawing for three years under the tuition of Australian artist Frederick McCubbin. Beckett declined a fourth year of study in oils under Bernard Hall and instead joined controversial tonalist painter and teacher Max Meldrum in his newly opened private art school. In she moved from Bendigo with her parents to Beaumaris which is located in Bayside Melbourne, where she lived and painted for the rest of her life. She enjoyed painting at all times of the day, however towards the end of her life, as she cared for her elderly mother, she predominantly painted in the early mornings and evenings. Beckett also developed a strong interest in music and literature.
Beckett depicted everyday vie
- Name
- Clarice Beckett Also known as Clarice Marjoribanks Beckett
- Gender
- Female
- Roles
- Birth date
- Birth place
- Casterton, Vic.
- Death date
- Death place
- Sandringham, Melbourne, Vic.
- Active Period
- Residence
- - Beaumaris, Melbourne, Vic.
- c Melbourne, Vic.
- c - c Casterton, Vic
- Training
- c Melbourne's National Gallery School, Melbourne, Vic.
- c - c Melbourne Church of England Girls Grammar School, Melbourne, Vic.
- c - c Queens College, Ballarat, Vic.
- Languages
- Initial Record Data Source
Difference between this version and previous
Only once in a lifetime does the opportunity arrive to secure an intact, private art collection of superb quality. Alastair Hunter’s long-held desire to identify a major acquisition for the Gallery in memory of his mother, Elizabeth, has recently been realised with his donation of the highly coveted Rosalind Hollinrake collection of twenty-one paintings by Clarice Beckett. This personal tribute is a transformational addition to the Gallery’s Australian art collection and consolidates the Gallery’s renowned role as a leader in the collection of important art by Australian women.
Clarice Beckett’s story – of tragedy, chance and triumph – makes this large group donation of pertinent cultural significance. The artist is one of Australia’s most important women painters of the interwar period, yet astonishingly her identity was almost completely lost to art history. Elements of Beckett’s personal story of neglect are shared by many twentieth-century women artists around the world. She was a remarkable modernist. Her personal life was sad and her brilliance was virtually unnoticed in her lifetime. When she died of pneumonia aged forty-eight, she was completely forgotten.
Fortuitously
Edith M. Ziegler
Arcadia imprint of Australian Scholarly Publishing, , pages.
In the wider cultural stories of Australia, the once-forgotten painter Clarice Beckett () has emerged as an Australian version of the ‘myth of the artist,’ an impoverished artist whose brilliance was unrecognised in her own lifetime by ignorant critics who constantly savaged her work. A new biography of the artist, The Worlds and Work of ClariceBeckett, by Edith M. Ziegler, reveals this version of Beckett to be an illusion. A historian specialising in Australian history, Ziegler has undertaken the difficult task of writing a full-length biography of the artist, who left no diaries and only two known letters. Ziegler’s writing is clear and direct and supported by detailed footnotes. The book features an informative selection of reproductions of the artist’s paintings and photographs of her family homes. The writer approaches her subject through extensive primary research, exploring Beckett’s family, her education, her communities, her social circle, and her milieu—her ‘worlds’. The towns, cities, and suburbs w
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