Australian Women: Breaking the Mold

Norman Lindsay was an Australian artist and writer famous for many things: writing the beloved children’s book The Magic Pudding, sketching many fun drawings as an editorial cartoonist, and writing many novels that helped shape Australian culture in the early 20th century. But some of his most prominent work has come in the form of his paintings and sculptures, focusing primarily on women. His portrayal of women was radical at the time due to his representation of them in the nude and the details that often went into them as well. Lindsay’s works were highly controversial, but were a critical representation of women in Australian culture.

Lindsay was influenced in his art from a very early age. Both he and his nine siblings were raised in a household that exposed them to many different types and styles of art. Norman was mainly influenced by his maternal grandfather, who would often take them to the Ballarat Fine Arts Public Gallery. One particular piece that stuck with Lindsay was Solomon J. Solomon’s painting “Ajax and Cassandra”. This painting, shown at the bottom, has clear similarities to the works that Lindsay would create as an adult. Lindsay also got his inspiration from his second wife, Rose Soady. She would often model for his sculptures and paintings, and became his most recognizable model.

Lindsay’s art was divisive at the time, as many criticized his use of nudity. But Lindsay would not allow his work or style to be shunned.  Soady once brought sixteen of Lindsay’s paintings to America, where United States officials burned the paintings, claiming them to be pornographic. Upon hearing the news of this event, Lindsay responded, “Don’t worry, I’ll do more.”

It’s important for Australian history that Lindsay’s work has stood the test of time, and he is now regarded as one of the major artists of Australian culture. The motif of the strong, powerful woman in an important one in Australian culture and history. Choosing to paint the women in the nude proposes that these women don’t need to be defined by any person or governance. In England, where Australians often look for points of culture, their husbands, fathers, or social class still largely defined women at the time. Lindsay insists that Australian women shake off these cultural burdens and choose to live their lives in the way they best see fit, a notion that Australians have been attempting to accomplish since first being established. Also, by portraying these women in groups where many articles of clothing have been removed, Lindsay may be suggesting that these women are unified in their defiance of cultural norms.

Another interesting thing to consider in Lindsay’s art is his use of men in women-centric works. Men, though far fewer throughout his work, help bring to light Lindsay’s ideas. In most, men are more clothed or covered then the women, possibly illuminating the theme that despite men’s insistence to remain in a culture where they view themselves as grander, women need to break from the mold and reclaim the respect they deserve. Also, the location of men in the painting and sculpture is indicative of Lindsay’s points. The men are usually located towards the bottom of the paintings, giving focus to the women closer to the top. The men are also always facing up towards these women in admiration.

These themes of strong, barrier-breaking women are prevalent in Henry Lawson’s short story “The Drover’s Wife”. In this tale, an Australian woman, left alone with her children in the harsh desert while her husband is away, perseveres through obstacles to keep her children and herself safe. The story is a great example of the type of women displayed in Lindsay’s paintings. Both women are powerful, confident, and defiant in their willingness to succumb to traditional roles. Both of these works illustrate this concept of Australian women, who do what they do regardless of cultural pressures.

      In the photograph at the top of the post is a sculpture created by Lindsay, located at his house, now serving as a museum for his artistic endeavors. I think this sculpture captures many of the same ideas as his paintings. The reason I decided to use this picture was because I like how a sculpture can represent these women in a way that a painting can’t quite capture. These Australian women, although portrayed as symbols, were real. They lived in this harsh country and dealt with real problems. They weren’t two-dimensional. By showing these women as a sculpture, it brings them to life more than his paintings, and reminds us that Australian women really did break through barriers to form the identity they have today.

Solomon J. Solomon's "Ajax and Cassandra"

One of Norman Lindsay's paintings