7). An artist’s palette is a thin, rounded board on which paint is mixed. Find out how Frederick McCubbin applied colour and what mediums and techniques he used. However, what is always evident in the paintings is the constant consideration and manipulation of the materials before the application of the pictorial layers. His approach is all the more remarkable when one realises that he had not seen at first hand any of the European masterpieces which we might otherwise have taken to be the stimulus for his interest in the physical nature of the painted surface.

Secondly, they document the development that takes place on the canvas itself: the images, though carefully constructed, are still worked out during the process of painting.The black is an ivory black, the blues are ultramarine and Prussian blue, the bright red is a red lead, the white is lead white, the rich yellow is lead yellow and the patch of very bright yellow is barium yellow. Il est l'un des fondateurs du Heidelberg School et une figure importante du développement de l'école australienne de peinture de paysage et de portraits qui a émergé à l'issue du XIXe siècle. 11), along with the artist’s easel, came into the Gallery’s collection from the National Gallery of Victoria Art School in the 1960s. We are grateful to Jarman the Picture Framer for making available the ledger of John Thallon for the purposes of this study. NGV School and Community Support ProgramsInternational Audience Engagement Network (IAE)6     We are grateful to Paula Dredge of the Art Gallery of New South Wales for making available an infra-red photograph of The large story pictures form a second group, the works in which are characterised by an economy of means. 9). As a result, they often take on the misleading appearance of having been severely compressed during their lining, or abraded during cleaning.

They range from canvas and board to wooden panels. The colouring materials and binders in McCubbin’s paints are characteristic of the manufactured materials available at the time through local suppliers such as the Artistic Stationery Co. and W. & G. Dean. In The paintings of Frederick McCubbin are seldom in frames that are contemporary with their date of execution or of their initial display. A crimson lake is also present.Throughout his career McCubbin explored the function of priming in the picture making process. These are works where the development of the story is secondary to the development of the surface. We would like to acknowledge the members of the Photographic Department of the National Gallery of Victoria for the very considerable part they have played in the documentation of McCubbin’s paintings and in providing material for this study.

For the third group we refer to the paintings executed after 1907. The apparent spontaneity of the paintings is misleading. The earliest work in the Gallery’s collection that we note without a varnish layer is We are grateful to Paula Dredge of the Art Gallery of New South Wales for making available an infra-red photograph of It is worth drawing attention to some specific features of the palette. Beautiful brushes, but it will be some time before I can draw with them’.Picture perfect: Pictorialism and its processesVictorian Foundation for Living Australian Artists

McCubbin, F., ‘Some Remarks on Australian Art’ in The art of Frederick McCubbin, … 1     Mrs Kathleen Mangan noted in conversation with the authors her father’s preference for W. & G. Dean products, which predominate in his work from the early 1900s onwards. There is a curiously small body of drawings – whether preliminary studies or complete works in themselves – from an artist who spent years as a drawing teacher.

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