Biography: 1920-2008
GRETCHEN, 1936. Oil on Plywood Auckland Art Gallery, Toi o Tanaki
Self Portrait, 1989. Oil, 60 x 54 cm
COMPOSITION, 1936, Linocut Auckland Art Gallery Toi o Tanaki
Born in Sydney, Valerie attended the Elam Art School in Auckland whilst her father worked there during her teenage years. At age 17, Auckland Art Gallery bought two of her works - "Gretchen" a portrait in oil, and "Composition", a lithograph.
Returning to Australia at 18 years, she attended East Sydney School of Arts, then taught at Canberra Girls' Grammar School where she met her future husband John Wright of Tuncurry, who was at that time attending Duntroon Military College. After the war she returned to Tuncurry with John and fell in love with the area. At that time John was managing the family timbermillm and shipyard, however when they closed down a few years later she and John moved to Sydney with their two daughters Susan and Paula. Valerie then taught art at schools with the Department of Education, East Sydney Technical College (night classes) and then Abbotsleigh Girls' High School until her retirement, when she returned to Tuncurry. She was then able to start painting in earnest.
"Vibrant colour, skilfull composition, strong sense of movement, sound draughtsmanship....a keen sense of observation, a delight in the beauty of nature and a fascination with mans' interaction with the natural world, and you have the elements that contribute to her distinctive style. It is a style strongly influenced by her New Zealand training and by her later years in Tuncurry."
SUE GOGARTY
"Despite WW II preventing Valerie from taking up a scholarship to Lhote in Paris, she somehow assimilated all that was going on in modernist Europe, where art was strongly influenced by late cubism........So much of Valerie's works were created in cultural isolation, and reside in private collections. Her paintings from that (postwar) period closely parallel the work of her contemporaries - Rah Fizelle, Grace Crowly, Frank Hinder, Grace Crossingham-Smith and Margaret Preston - and should rightly stand among them in the pantheon of Australian Art."
ROBIN NORLING, 2008
ASTO (HONS)
ARCA (LONDON)
AWI
CANBERRA SPRING, 1940 Watercolour and crayo
Stevedore, 1939. Oil, 58 x 31 cm
Originating in 1889, Elam offered a variety of courses and amongst other subjects Valerie studied Sculpture, Figure and Portrait from Life, Figure Composition, Landscape, Still Life, Stage Design and Puppetry. "During the past twenty years the standard of work at the School of Art has improved beyond recognition. And this has had a powerful effect, in turn, on the standard of the work shown in Society of Art exhibitions .... Fisher, more than anyone else, can claim credit for the way in which art in Auckland has been invigorated."
There were no certificates or diplomas to be gained in those days and students good enough to receive prizes for their work used these, as well as references, as commendations. Her prizes at Elam were: 1936, 1st, Illustration & Linocuts; 1937, 2nd Painting from Life, 2nd Landscape; 1938, 1st Still Life, 1st Life Painting; 1939, 1st Portrait Painting, 1st Life Painting. She was also nominated for an annual scholarship to L'Academie Lhote in Paris, which unfortunately did not eventuate because of the outbreak of war in Europe. In 1936 Auckland Art Gallery purchased a linocut titled "Composition". Her oil portrait "Gretchen" was also purchased by the gallery, in 1938.Valerie was a member of the Rutland Group in 1938 and 1939. Her works were exhibited in the 1939 exhibition. The review in Art in New Zealand in December 1939 observed: "A new exhibitor to this group was Valerie Lewis, whose work was very conspicuous for its virility, fine constructional draughtsmanship, and good colour".
By the time of the next Rutland exhibition in September 1940, Valerie was already back in Australia, the family leaving Auckland on board the Awatea at the outbreak of war. Fortunately she left behind 14 oils and a linocut which were among the 355 items on show at the Elam Centennial Exhibition, held at the Auckland Gallery in October 1940.
Soon after her arrival back in Sydney, Valerie completed six months advanced study at the National School of Art, at East Sydney. Here her work was noticed by Douglas Dundas, later head of the School. Dundas arranged for her to take up a teaching position at the Canberra Church of England Girls Grammar School where, after a summer holiday job drawing at the Institute of Anatomy, she remained until 1942.
There were no certificates or diplomas to be gained in those days and students good enough to receive prizes for their work used these, as well as references, as commendations. Her prizes at Elam were: 1936, 1st, Illustration & Linocuts; 1937, 2nd Painting from Life, 2nd Landscape; 1938, 1st Still Life, 1st Life Painting; 1939, 1st Portrait Painting, 1st Life Painting. She was also nominated for an annual scholarship to L'Academie Lhote in Paris, which unfortunately did not eventuate because of the outbreak of war in Europe. In 1936 Auckland Art Gallery purchased a linocut titled "Composition". Her oil portrait "Gretchen" was also purchased by the gallery, in 1938.Valerie was a member of the Rutland Group in 1938 and 1939. Her works were exhibited in the 1939 exhibition. The review in Art in New Zealand in December 1939 observed: "A new exhibitor to this group was Valerie Lewis, whose work was very conspicuous for its virility, fine constructional draughtsmanship, and good colour".
By the time of the next Rutland exhibition in September 1940, Valerie was already back in Australia, the family leaving Auckland on board the Awatea at the outbreak of war. Fortunately she left behind 14 oils and a linocut which were among the 355 items on show at the Elam Centennial Exhibition, held at the Auckland Gallery in October 1940.
Soon after her arrival back in Sydney, Valerie completed six months advanced study at the National School of Art, at East Sydney. Here her work was noticed by Douglas Dundas, later head of the School. Dundas arranged for her to take up a teaching position at the Canberra Church of England Girls Grammar School where, after a summer holiday job drawing at the Institute of Anatomy, she remained until 1942.
While she was in Canberra Valerie met her husband John Wright, grandson of the founder of Tuncurry, on the Mid North Coast of NSW, and a member of a family distinguished for timber-getting, timber milling and ship building. John was training at Duntroon Military College and they married at St. John's Church of England in Canberra in 1942. During the war years John served with the AIF in Papua New Guinea, while Valerie stayed with her parents, who were now in Kempsey, where their two daughters were born - Susan in 1944 and Paula in 1945.
In 1946 the young family moved to Tuncurry, and this was the start of a life-long love affair with the area for Valerie. She fell in love with the colours, the smells and the feel of it all - the crystal clear water with its endless changing colours and moods - from the turquoise (incoming) tide to the pearly grey of the early mornings and the greener shades of "westerly weather", the purple beds of seagrass, the oyster leases and islands punctuating the lake, the patterns and ripples in the sand and the intriguing collection of fishing and other paraphernalia along the waterfront. She studied with delight the movement of birds, crabs and fish, and the rhythm of the fishermen working, tanning and hauling their nets, and unloading the day's catch at the co-op.
Apart from a little sketching and a few watercolours Valerie did little of her own work in these years, but her notes and observations provided her with a wealth of material when she later returned to drawing and painting.John died in 1976, and at the end of 1977 Valerie retired and returned to Tuncurry. At last she had time to return to her drawing and painting. From watercolour she moved to oils and mixed media, her work depicting all the maritime activity of the Tuncurry area, as well as some accomplished still lifes and portraits, and reflecting the knowledge and skill of her early training, together with the observations made during her previous years in Tuncurry. She worked outdoors and in her studio at "Shell Knob", surrounded by rainforest and abundant birdlife, and also a great source of inspiration for many paintings.
Between 1980 and 2004 Valerie's work featured in several exhibitions - at the (then) Scorpio Gallery in Forster in 1983, at Possum Brush Gallery (sole exhibitor) in 1986, at Great Lakes Art Gallery (with three others) in 1988, and at Manning Regional Gallery (a retrospective) in 2000. In 2004 her drawings and some paintings formed part of the "Three Stories" exhibition, again at the regional gallery.
In 1946 the young family moved to Tuncurry, and this was the start of a life-long love affair with the area for Valerie. She fell in love with the colours, the smells and the feel of it all - the crystal clear water with its endless changing colours and moods - from the turquoise (incoming) tide to the pearly grey of the early mornings and the greener shades of "westerly weather", the purple beds of seagrass, the oyster leases and islands punctuating the lake, the patterns and ripples in the sand and the intriguing collection of fishing and other paraphernalia along the waterfront. She studied with delight the movement of birds, crabs and fish, and the rhythm of the fishermen working, tanning and hauling their nets, and unloading the day's catch at the co-op.
Apart from a little sketching and a few watercolours Valerie did little of her own work in these years, but her notes and observations provided her with a wealth of material when she later returned to drawing and painting.John died in 1976, and at the end of 1977 Valerie retired and returned to Tuncurry. At last she had time to return to her drawing and painting. From watercolour she moved to oils and mixed media, her work depicting all the maritime activity of the Tuncurry area, as well as some accomplished still lifes and portraits, and reflecting the knowledge and skill of her early training, together with the observations made during her previous years in Tuncurry. She worked outdoors and in her studio at "Shell Knob", surrounded by rainforest and abundant birdlife, and also a great source of inspiration for many paintings.
Between 1980 and 2004 Valerie's work featured in several exhibitions - at the (then) Scorpio Gallery in Forster in 1983, at Possum Brush Gallery (sole exhibitor) in 1986, at Great Lakes Art Gallery (with three others) in 1988, and at Manning Regional Gallery (a retrospective) in 2000. In 2004 her drawings and some paintings formed part of the "Three Stories" exhibition, again at the regional gallery.
Prawners' Wharf, Karumba, Golf Country, 1990. Ink, watercolour and Crayon, 57 x 49cm
Commenting on the "Three Stories" exhibition, Director of the Manning Regional Gallery, Sue Mitchell, comments: "Valerie's work shows the influence of changing styles in Australian art over the years, and how her sound knowledge of technique was successfully adapted to new media and styles. She now shares her remarkable work with the people of this area and contributes greatly to the cultural heritage of this region".
Valerie's entries at local and other exhibitions won many prizes over the years, including "best work overall" awards at the Mid North Coast Art Exhibition in 1985 and 1988, and at the Oyster Festival Open Exhibition in 1989 and 1997. Her paintings were accepted for exhibit with the Australian Watercolour Institute in 1984, 1986, 1987 and 1988 and her works appear in many private collections in Australia and other countries.
Valerie's contributions as an artist and teacher were recognised by her inclusion in the Canberra Peoplescape Exhibition, which honoured 5000 Australian citizens who made valuable contributions to their community. As part of the local Centenary of Federation celebrations a selection of her works depicting the area's early years was also exhibited.
Asked about the things which have inspired her, she replies: "Always colour. And the remarkable repetition of movement and colour in certain elements of nature, repeated in all other things. You only have to stand in one position and look, anywhere at all, and you will see the colours, patterns and movements of nature eternally repeated, unifying man and his world".
Sadly, Valerie passed away in 2008, but her talent and personality lives on in her artwork.
Valerie's entries at local and other exhibitions won many prizes over the years, including "best work overall" awards at the Mid North Coast Art Exhibition in 1985 and 1988, and at the Oyster Festival Open Exhibition in 1989 and 1997. Her paintings were accepted for exhibit with the Australian Watercolour Institute in 1984, 1986, 1987 and 1988 and her works appear in many private collections in Australia and other countries.
Valerie's contributions as an artist and teacher were recognised by her inclusion in the Canberra Peoplescape Exhibition, which honoured 5000 Australian citizens who made valuable contributions to their community. As part of the local Centenary of Federation celebrations a selection of her works depicting the area's early years was also exhibited.
Asked about the things which have inspired her, she replies: "Always colour. And the remarkable repetition of movement and colour in certain elements of nature, repeated in all other things. You only have to stand in one position and look, anywhere at all, and you will see the colours, patterns and movements of nature eternally repeated, unifying man and his world".
Sadly, Valerie passed away in 2008, but her talent and personality lives on in her artwork.
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