Early Life

Lawson’s early life was shaped by challenges that profoundly influenced his writing. His parents, Niels (Peter) Hertzberg Larsen and Louisa Albury, were both migrants. His father was a Norwegian sailor, and his mother was an Englishwoman. The family adopted the surname Lawson, anglicising it from the original Larsen. The family moved from Grenfell, NSW to nearby Gulgong in search of gold. However, when Henry was only nine, his father left, and his mother moved the family to Sydney. Louisa became a prominent figure in the feminist movement and later founded a women’s newspaper called “The Dawn.” This early exposure to social issues and the hardships faced by women and the working class significantly impacted Lawson’s worldview and writing.

One of the defining aspects of Lawson’s life was his hearing loss, which was caused by an ear infection when he was nine. Sadly, it led to near-total deafness by the age of 14. This condition isolated him from many social interactions, leading him to find solace in reading and writing. Despite these challenges, or perhaps because of them, Lawson developed a keen sensitivity to the nuances of human emotion and experience, which is evident in his work.

First Works

Lawson’s writing career took off in the 1890s, often considered the “golden age” of Australian literature. His first published poem, “A Song of the Republic,” was printed in 1887 in the Bulletin, an influential magazine that promoted Australian writers. The Bulletin served as Lawson’s primary platform, where he showcased many of his most famous works. During this time, his stories and poems echoed the Bulletin’s nationalist spirit, celebrating the Australian landscape and its people while also criticising the social injustices they experienced.

One of Lawson’s most enduring themes is the harshness and isolation of life in the Australian bush. His short story “The Drover’s Wife” is a quintessential example. It depicts a woman’s struggle to protect her children from a snake while her husband is away. The story highlights the resilience and courage of women in the outback, themes that resonated deeply with Lawson’s audience. Similarly, his poem “Up the Country” offers a bleak portrayal of the Australian interior, challenging many city dwellers’ romanticised views of the bush.

Harsh Realities of the Bush

Lawson’s realistic approach distinguished him from his contemporaries, who often romanticised the bush and its inhabitants. His works offer a more nuanced and sometimes grim portrayal of rural life. For example, in “The Union Buries Its Dead,” Lawson delves into the indifference and inevitability of death in the outback. He juxtaposes the communal solidarity of a bush funeral with the fleeting nature of human connections. This stark realism, along with his compassion for the hardships of everyday people, gives Lawson’s work a timeless quality that continues to resonate with readers. Despite his writing success, Lawson’s personal life was marked by significant hardship. He grappled with alcoholism, which strained his relationships and finances.

In 1896, he married Bertha Bredt, with whom he had two children. However, the marriage was tumultuous, mainly due to Lawson’s drinking and erratic behaviour. In December 1902, Lawson attempted suicide, and Bertha, who was dealing with mental health issues, sought separation a few months later. Lawson often lived in poverty. He experienced homelessness and was even incarcerated for not paying child support or due to his mental health. However, he continued to write. His later works reflected his personal struggles with a melancholic and often introspective tone. However, his most successful years of writing were behind him.

Final Years

Lawson’s final years were characterised by disillusionment and decline. Despite his earlier popularity, he found it increasingly difficult to make a living from his writing. In 1920, Lawson was awarded a government pension for his contribution to Australian literature, but his health continued its decline. He died on September 2, 1922, at the age of 55.

Lawson’s legacy, however, endures. He is remembered as one of Australia’s greatest storytellers. A writer who captured the spirit and struggles of the nation’s people with unparalleled empathy and insight. His works remain a staple of Australian literature, studied in schools and appreciated by readers of all ages. The places and experiences he wrote about may have changed, but the universal themes of hardship, resilience, and community continue to resonate.

Numerous awards and institutions bear Lawson’s name in recognition of his literary contributions. The Henry Lawson Prize for Prose and Poetry is awarded annually and his childhood home in Grenfell has been preserved as a museum. His image has also appeared on the Australian Ten dollar note, and his works have been translated into multiple languages, ensuring his stories reach a global audience. Despite his struggles, Lawson’s literary legacy remains a cornerstone of Australia’s cultural heritage. His work is a testament to his extraordinary ability to capture the human condition in all its complexity.

The post Henry Lawson: Voice of the Australian Bush appeared first on Bevlea Ross Photography.

A World at War, a Virus on the March:

Although it’s named the Spanish Flu, researchers now believe it most likely originated in the United States in 1918. During this time, the world was in the midst of the First World War, and its nations were depleted of resources and exhausted. Amidst the chaos, an unassuming influenza virus emerged, likely from animals. The virus found fertile ground in overcrowded military camps and trenches. Soldiers, weakened by war and poor living conditions, became unwitting carriers, unknowingly transporting the virus across continents.

One of the first recorded cases was on March 11, 1918, at Fort Riley in Kansas. Overcrowding and unsanitary conditions created a fertile breeding ground for the virus. The pandemic broke out near the end of World War I when wartime censors in the belligerent countries suppressed bad news to maintain morale. However, in neutral Spain, newspapers freely reported the outbreak. This created a false impression of Spain as the epicentre leading to the “Spanish flu” misnomer.

From Pandemic to Panic:

Unlike previous influenza outbreaks, the Spanish Flu had an exceptionally aggressive mutation that was highly contagious and lethal. It didn’t just affect the elderly and infirm but also healthy young adults who succumbed to pneumonia and respiratory failure within a few days. The world was gripped with fear and panic. Many cities implemented lockdowns, banned public gatherings and made masks mandatory to prevent the spread of the invisible threat.

During the autumn of 1918, Seattle’s health commissioner implemented various measures, such as banning dances and shutting down theatres, churches, and schools. During the peak of the epidemic, it was mandatory by law for anyone venturing out in public to wear a mask consisting of six layers of gauze to ensure that the flu germs did not spread.

Australian Impact

The impact of the Spanish Flu in Australia, though not as severe as in other parts of the world, was still significant. Starting in October 1918, the Australian Quarantine Service began inspecting all ships that arrived in Australia. The first infected ship to enter Australian waters was the Mataram, from Singapore, which arrived in Darwin on 18 October 1918. Over the next six months, the quarantine service intercepted 323 vessels, 174 of which carried the infection. Of the 81,510 people who were checked for influenza, 1,102 were infected. Individuals suspected of having the flu were required to remain in quarantine.

Despite these precautions, the flu managed to spread into the community. The first instance of the flu was reported in Melbourne in early January 1919, and the disease quickly made its way to New South Wales (NSW) and South Australia (SA). However, it didn’t reach Western Australia (WA)until June of that same year.

Dr Frank Macfarlane Burnet, a young Australian pathologist, witnessed the devastating effects of the flu firsthand. Fueled by this experience, he dedicated his life to virology, eventually contributing to the development of polio and influenza vaccines and illustrating the long-term impact of individual experiences on shaping scientific pursuits.

Quarantine

Ships that arrived from infected countries had to quarantine for 7 days, with patients subject to ‘daily thermometer parades inhalation with steam plus two per cent zinc sulphate solution along recognised lines. Queensland closed its border on February 1st, stranding 700 Queenslanders at Tenterfield Sation in NSW. This led to a temporary quarantine camp being set up in the showgrounds. Some passengers accepted rail passes back to Sydney, while the rest spent 7 days in a tent before they were allowed to enter Queensland. Months later, Spanish flu was detected in Qld, and the government reopened the border to NSW.

In NSW, the government closed schools, theatres, and bars. Sporting events and church services were prohibited, and individuals were mandated to wear face masks while using public transport, walking on the streets, and inside public buildings.

Despite the implementation of quarantine measures, the virus persisted and spread due to population movements and gatherings. There is still ongoing debate over the precise transmission route. As the outbreak progressed, major cities, including Sydney and Melbourne, became epicentres, and rural areas followed suit. In Victoria, all cases were required to be reported to health authorities and then transferred to the hospital. However, with limited beds available, the Exhibition Building in Melbourne was repurposed as a makeshift hospital. By August 1919, it had provided care for over 4,000 patients.

Impact on Health and Mortality:

Estimates suggest that around 5 million people, approximately 40% of Australia’s population, contracted the flu during a particular outbreak. The death toll from the flu was between 12,000 and 15,000 people, which is a significant loss for a population of 5 million. 

• During this outbreak, young adults, primarily men in their 20s and 30s, were more affected than other age groups. This phenomenon, known as “cytokine storm,” triggered an exaggerated immune response, leading to severe respiratory complications and, in many cases, death. This is uncommon compared to other regions where older populations typically suffer more. The likely reason for this is their higher mobility and interaction during the war effort. 
• The healthcare systems were overwhelmed during this outbreak due to the surge in patients, with limited resources and personnel struggling to cope. 
• Indigenous communities were particularly vulnerable during this outbreak, as they suffered disproportionately high mortality rates due to pre-existing health disparities and limited access to care.

Spanish Flu vs Covid-19

The Spanish flu infected approximately 500 million people, about one-third of the world’s population at the time. The estimated death toll from the Spanish flu varies, with figures ranging from 17 million to 100 million. In comparison, COVID-19 has infected nearly 55 million people to date, with 1.3 million deaths.

Some famous people who survived the Spanish flu include:

1. Walt Disney – American entrepreneur, animator, and film producer
2. Edvard Munch – Norwegian painter
3. Katherine Anne Porter – American journalist and author
4. David Lloyd George – British Prime Minister
5. Woodrow Wilson – 28th President of the United States
6. Franklin D. Roosevelt – 32nd President of the United States
7. General John J. Pershing – American general
8. Haile Selassie I – Emperor of Ethiopia
9. Mahatma Gandhi – Leader of the Indian independence movement
10. Greta Garbo – Swedish actress

Social and Economic Impacts:

The pandemic caused widespread panic and disruption. Public gatherings were banned, schools closed, and businesses faced significant challenges. The war efforts were also impacted, as labour shortages and reduced productivity hindered recovery. The economic toll was significant, with the flu exacerbating existing wartime difficulties. Businesses struggled, unemployment rose, and the government faced a strain on its resources to manage the crisis and support affected communities.

The social tensions increased, with anxieties and scapegoating targeting specific groups, particularly immigrants and marginalized communities. Focusing on public health measures like mandatory quarantines also raised concerns about individual rights and government authority.

Long-Term Legacy

By late 1919 the pandemic was over. The global impact of the Spanish Flu was staggering. Estimates suggest that one-third of the world’s population was infected, with death tolls ranging from 50 to 100 million people. Entire communities were decimated, and the societal and economic repercussions were profound. The Spanish Flu outbreak had a significant and long-lasting impact on Australia’s public health approach. It highlighted the significance of being prepared, working together, and having effective healthcare systems in managing pandemics.

Not Just a Medical Crisis:

The estimated mortality rate of the Spanish flu was approximately 0.28%–0.4%, making it one of the deadliest pandemics in history. However, the impact of the pandemic went beyond the medical field. It led to social unrest, worsened inequalities, and influenced political landscapes. There was a surge in anti-immigrant sentiment, which was fueled by misinformation and the search for scapegoats. Economic difficulties worsened, placing further strain on war-torn nations. The Spanish Flu left a lasting impact on the 20th century, with its consequences rippling out long after the last case was reported.

The post More Than Just a Flu: The Devastating Impact of the Spanish Flu appeared first on Bevlea Ross Photography.

The Design

Architect George McRae who had also designed the Sydney Town Hall and Caves House at the Jenolan Caves presented four facade designs for the QVB, Gothic, Queen Anne, Renaissance, and Romanesque. Upon reviewing the designs, the market committee chose the Romanesque design, which was made of sandstone and had a roofscape of 21 copper domes. . The plans also incorporated a residential hotel spanning multiple floors at Druitt Street. In addition, a concert hall capable of accommodating 500 people was planned at the Market Street end. The building would also feature shops, warehouses, and markets in the basement, which four hydraulic lifts would service. In today’s money, the QVB would cost around $2 billion to build.

Located between George, Market, York, and Druitt Streets, the QVB building occupies an entire city block. At the heart of the building stands the impressive central dome, made up of an inner glass dome and an outer copper-sheathed dome. Stunning stained glass windows and remarkable architecture are evident throughout the tower, with an authentic 19th-century staircase beside the dome.

Mr W P. Macintosh was awarded the contract to design a symbolic group of marble figures for the central arch on George Street. He was also contracted to create another group for York Street above the prominent arches. The total cost for both statue groups was £3,3000.

Construction

Building took place between 1893 to 1898. In addition, the grand Romanesque architecture was planned to provide employment opportunities for many skilled craftsmen struggling to find work. These included stonemasons, plasterers, and stained window artists. While officially, it was named the “Queen Victoria Market Building”, it has since been commonly referred to as the QVB.

Mayor Mathew Harris officially opened the QVB on July 21, 1898. The ground floor of the building provided space for 58 shops, featuring a range of tenants such as tailors, mercers, boot importers, hairdressers, tobacconists, florists, chemists, fruiterers, and a tea room. The first floor comprised 17 spacious rooms utilised for warerooms, showrooms, and offices. The second floor, meanwhile, had 12 large rooms with a gallery. The Coffee Palace was located at the southern end, boasting a dining room, sitting area, drawing room, public spaces, 57 bedrooms, a gallery, and a promenade. The basement had cooling chambers, strong rooms, wine bodegas, cellars, and public toilets.

By 1901, the concert hall had been transformed into the city library, and the coffee palace had become offices. When the council became a tenant, they virtually obliterated the entire interior. It was deemed all too opulent, so they concreted over the tiling, spilt-levelled and subdivided. Tenants had changed considerably from those who first occupied the building, with only Singer Sewing Machine Co. and one tailor remaining. The new tenants included Piano tuners, dancing teachers, palmists, and clairvoyants.

Decline and Restoration

In the 1930s, notable alterations were made to the building’s architecture, such as installing new floors in galleries and revamping shopfronts to accommodate the Sydney City Council, a major tenant at the time. However, plans to demolish the building and create a city square and underground carpark were proposed between 1959 and 1971.

Fortunately, this caused an intense public campaign whereby conservationists and the public intervened, resulting in the preservation of the building. The National Trust classified the building in 1974 and this led to a significant restoration project, awarded to a Malaysian company, Ipoh Garden, in 1980, along with a 99-year lease.

“It is an architectural monstrosity, a wasteful, stupid building.”

Architect Harry Seidler, in favour of demolition, 26 August 1961

The QVB’s glass was damaged by the Hilton Hotel bombing in 1978. Subsequently, in 1979, the glass replacement process began alongside restoring the minor copper domes. Finally, in 1986, the fully restored QVB reopened its doors to the delight of locals and tourists.

In 2008, it underwent a $48 million renovation, which included the installation of new escalators, repainting, restoration of balustrades, carpets, signage, and bathrooms. The following year, the QVB ballroom was revamped and converted into a charming tearoom. Significantly, every element of the building has been carefully restored, from the arches and pillars to the balustrades and intricately tiled floors, preserving the original grandeur of the structure.

Heritage Status

The QVB Building is known for its stunning architecture, remarkable central dome, intricate stained glass windows, and ornate decorations. The building’s design and embellishments pay homage to the extraordinary craftsmanship of its time. Recognising its historical and cultural significance as a significant Sydney landmark, the QVB was included in the New South Wales State Heritage Register in 1989.

The post A Stroll Through History: Exploring Sydney’s Iconic QVB Building appeared first on Bevlea Ross Photography.

We had only 48 hours to explore the city during our recent trip to Sydney. Despite the time constraint, we still saw some must-see attractions. These included the iconic Opera House and Harbour Bridge, the world-class Taronga Zoo. It was a whirlwind tour, but we enjoyed every moment of it.

Getting around – Avoid the Car!

Try to avoid driving around inner Sydney. A new report commissioned by Australia’s motoring clubs has revealed Sydney is the nation’s most congested city. Melbourne wasn’t far behind, while Canberra came in third place. Additionally, the older parts of the city, particularly in the central business district, have narrower roads due to how they were designed and built many years ago. When Sydney was first developed, the focus was on creating a grid pattern of streets that could accommodate horse-drawn carriages and carts.

Additionally, as Sydney has grown and developed, it faced challenges expanding its road network due to limited available space. The city’s geography, sandwiched between the harbour and surrounding hills, made it difficult to build new roads without impacting the environment or disrupting established communities. As a result, many of the streets in Sydney have remained narrow, particularly in the city’s older areas. Car parking can be expensive with limited options, and traffic is heavy. The best option is public transport, taxis or rideshare.

Sydney has an excellent public transport system of buses, trains and ferries. However, even that is struggling to meet passenger demand. However, it remains the best way to get around. The Opal card is a rechargeable smart card used on all public transport.

QVB

The QVB (Queen Victoria Building) is a historic building in the heart of Sydney’s central business district. It was built in the late 19th century as a marketplace and shopping arcade. Since then, it has become one of the city’s most iconic landmarks. Designed by architect George McRae, it features a stunning Romanesque Revival style with intricate sandstone and granite facades, ornate arches, and a central dome with a striking stained-glass skylight. The interior of the building is equally impressive, with soaring ceilings, marble floors, and beautifully crafted balustrades.

However, like many other beautiful old buildings, as progress was made, its future became uncertain. In the 1950s, it was in danger of being demolished due to neglect and the city’s changing needs. Thankfully, a group of concerned citizens, including architects, heritage enthusiasts, and community leaders, banded together to save the QVB from demolition. After years of advocacy and lobbying, the QVB was finally granted heritage protection in the 1980s. It underwent a significant restoration and refurbishment project that took several years to complete and returned the building to its former glory.

Today, the QVB is home to over 180 retailers, including high-end fashion boutiques, gourmet food shops, and specialty stores. Visitors can also enjoy a range of dining options, from casual cafes to upscale restaurants.

Angel Place

Angel Place is a small laneway located between George Street and Pitt Street in the heart of Sydney’s central business district. The laneway is famous for its unique and thought-provoking art installation called “Forgotten Songs.”

Forgotten Songs is an outdoor artwork that features 180 birdcages hanging high above the laneway. Each birdcage plays the sound of a different bird that once inhabited the area before the arrival of European settlers. The installation is a tribute to the fifty lost bird species and their songs that once filled the skies over Sydney but were lost to development. As night falls, the daytime bird songs change to the nocturnal birds. Michael Thomas Hill created the artwork, which was installed in 2009 as part of the City of Sydney’s Laneways Public Art Program. It has since become a popular destination for locals and tourists, providing a peaceful and reflective space amid the busy city.

Angel Place is also home to several restaurants, cafes, and small shops. It’s a great place to stop and relax while exploring the city. The laneway’s cobblestone pavement, brick walls, and historic buildings add charm and character. This creates a unique and memorable experience for visitors.

Taronga Zoo

Taronga Zoo is a world-renowned zoological park located in Sydney, Australia. The zoo was founded in 1916 and is situated in a stunning harbourside location, providing visitors with breathtaking views of Sydney Harbour and the city skyline.

The zoo is home to over 4,000 animals from 350 different species, including Australian native wildlife and exotic animals worldwide. Highlights include the Great Southern Oceans exhibit, where visitors can see Australian Sea Lions, Penguins and fur seals, and the Wild Asia exhibit, featuring tigers, otters, and gibbons.

Taronga Zoo is not just a place to observe animals but also a hub for conservation and education. The zoo works closely with many organisations to protect and preserve endangered species and their habitats. Visitors can learn about these efforts through interactive exhibits and talks from expert staff.

Taronga Zoo offers a range of experiences for visitors, including behind-the-scenes tours, animal encounters, and wildlife shows. The zoo also has various cafes and restaurants, providing ample opportunities to relax and enjoy stunning views.

Hissou Tepanyaki

Hissou is a Japanese restaurant located in the heart of Sydney’s central business district. The restaurant is known for its delicious teppanyaki-style cuisine, prepared by skilled chefs right in front of guests at their own cooking stations.

At Hissou Tepanyaki, guests can choose from fresh seafood, meats, and vegetables, which are then expertly grilled and seasoned to perfection. The teppanyaki-style cooking allows guests to witness the artistry of the chefs as they prepare their meals, creating a fun and interactive dining experience.

In addition to its teppanyaki offerings, Hissou Tepanyaki also features a sushi bar, where guests can enjoy a variety of fresh and creative sushi rolls, sashimi, and nigiri. The restaurant’s sleek and modern interior and vibrant and energetic atmosphere make it the perfect spot for a night out with friends, a special occasion, or a romantic dinner for two.

The Palace Tea Rooms

A charming and elegant tea room located in the Queen Victoria Building (QVB) in the heart of Sydney. The tearoom features ornate decor and beautiful stained-glass windows. They offer a variety of teas and a selection of pastries, cakes, and sandwiches.

In addition, the Palace Tea Rooms also serves a variety of breakfast and lunch options. These include a range of classic British and Australian dishes. The tea room’s elegant and sophisticated atmosphere makes it the perfect spot for a special occasion, a catch-up with friends, or a romantic afternoon tea for two.

The post 48 Hours in Sydney: A Quick Guide to the Must-See Attractions appeared first on Bevlea Ross Photography.

He was born Maxwell Spencer Dupain on 22 April 1911 in Ashfield, Sydney and was the only child of Sydney-born parents, George Zephirin Dupain and Thomasine Jane (Ena). His father pioneered the physical fitness movement in Australia and founded the Dupain Institute of Physical Education Sydney in 1900. 

Early Years

Dupain attended Ashfield Preparatory and Sydney Grammar schools. However, he did not thrive academically and left school without completing the Leaving Certificate (known as Year 11 now). His uncle Clarence Farnsworth, an amateur photographer, gave him his first camera at 13. In 1928 he joined the Photographic Society of New South Wales and presented his early works in the predominant soft-focus Pictorialist style in the society’s exhibitions. Pictorialism is an approach to photography that emphasises the beauty of subject matter, tonality, and composition rather than the documentation of reality.

His entries in the society’s 1932 Interstate Exhibition of Pictorial Photography garnered praise from the eminent photographer and critic Harold Cazneaux.

Photography Career

In 1930, Dupain began a three-year apprenticeship with photographer Cecil Bostock. He also took evening art classes at Julian Ashton’s Sydney Art School and East Sydney Technical College. As a result, by 1933, his images emphasised geometric form, outlined and accentuated by sharp hard light rather than the soft romanticised effects favoured by pictorialists. Then, in 1934, with financial support from his family, he opened a small studio with a shared darkroom at 24 Bond Street in Sydney. The timing was exceptionally fortunate as Australia was emerging from the Depression, and the demand for advertising, society, and celebrity photography was growing.

It wasn’t long before Dupain outgrew the small studio and moved to larger premises in the same building. In 1937 he employed Geoffrey Powell, followed by Damien Parer in 1938. Then, in 1934, photographer Olive Edith Cotton joined his studio as a general assistant. They married in 1939 in a Methodist service at her home, but the marriage did not last, and they separated in August 1941 before divorcing in February 1944.

Modernist Photography

The support of publisher Sydney Ure Smith was instrumental in launching Dupain’s career. Smith featured Dupains work in Art in Australia in 1935 and invited him to review J. T. Scoby’s book on surrealist photographer Man Ray for The Home magazine. By the late 1930s, Dupain was established as a leading modernist photographer. One whose work responded to and reflected the realities of contemporary life. Dupain experimented with different techniques, from photomontage to solarisation, developing a style characterised by the dramatic use of light. 

Throughout his career, Dupain’s preferred medium was black and white photography. He photographed widely diverse subjects, from still lifes and landscapes to cityscapes. Dupain was also one of the first Australian photographers to focus on studies of the nude, both male and female and passionately advocated modernist photography. 

Fame and Influence

From the late 1930s, he played an essential role as a commentator in photography magazines and later as a photography critic for the Sydney Morning Herald. He was also a founding member of the Contemporary Camera Groupe (CCG) in 1938. The CCG  was formed to counter the prevailing conservatism of Australian photography. His self-declared heroes shaped his Romantic outlook in literature, music, and the arts: Beethoven, Shakespeare, D. H. Lawrence, and Llewellyn Powys. The book Creative Effort by  Norman Lindsay was particularly influential.  

Dupain also greatly admired the work of photographers Man Ray, George Hoyningen-Huene (whom he met in Sydney in 1937), and Margaret Bourke-White.

War Service

In 1941 his studio partnered with the respected photo-engraving firm Hartland & Hyde Pty Ltd and relocated to Clarence Street, Sydney. From 1942 to 1945, Dupain was seconded in a civilian capacity as a camoufleur (a person skilled in camouflage techniques) with the Royal Australian Air Force. He visited Darwin, New Guinea, and Goodenough Island, off the northeast coast of Papua New Guinea. His work entailed taking photographs revealing the effectiveness of different kinds of camouflage.

His wife, Olive Cotton, ran the studio in his absence. In late 1945, Dupain joined the Commonwealth Department of Information and travelled across Australia, taking photographs for the government’s publicity campaign aimed at attracting migrants to post-war Australia.

He took the image “meat queue” during his tenure with the department. Post-wartime, due to shortages, queues were everywhere. For buses, vegetables, fruit and meat. Dupain came across a queue of women at a butcher shop on Pitt Street waiting to exchange coupons for meat.

Post War Years

On 25 November 1946, now divorced from Olive Cotton, Dupain married Diana Palmer Illingworth, a clerk, at the District Registrar’s Office, Chatswood. From 1953 until his death, the couple lived at The Scarp, Castlecrag. Their home was designed by the modernist Australian architect Arthur Baldwinson.  Surrounding the house was a native garden cultivated by Dupain.

His interest in photography changed in the postwar years, and Dupain took a documentary approach.   Although he scorned the “artificiality” of studio work, he continued working in advertising. However, he focused on architectural and industrial photography, establishing close working relationships with eminent architects. Dupain was a reluctant traveller. However, he made one trip to Europe in his lifetime. In 1978, he photographed the Australian Embassy in Paris, designed by leading Australian Architect Harry Seidler.

NGA Exhibition

During the 1970s, Dupain, a retrospective exhibition of his work, was held at the Australian Centre for Photography, Sydney. The collection introduced his now best-known photograph, Sunbaker, to the public. This image became an icon, defining the typical beach culture, the Australian way of life, and the great outdoors. The exhibition brought Dupain greater recognition. He was represented in all significant public collections in Australia, including Dreams Sensuous and Surreal’s exhibition at the National Gallery of Australia. His work was considered not only art but to have historical value as it also captured wartime Australia in the 1930s.

Later Years

Dupain moved to a new studio in Artamon in 1971, working there for the next twenty years. His second wife described him as a ‘complex character’, as he was not a social person. Instead, Dupain was intense, single-minded, and disciplined. Dupain believed that the viewer must be emotionally and intellectually involved in the images and devoted his life to achieving excellence.

 Dupain became an honorary fellow of the Royal Australian Institute of Architects in 1980 and was appointed OBE for outstanding services to photography in 1981 and AC in 1992. Maxwell Spencer Dupain died, age 81, of heart disease on 27 July 1992 at his home Castlecrag. He was survived by his wife Diana,  daughter Danina and son Rex and was cremated in a private service.

Following his death, his archive was divided into two: the art and personal negatives remained with his family, and the commercial negatives were consolidated into the Max Dupain Exhibition Negative Archive. These now reside at the State Library of New South Wales.

The post The Power of Light and Form: The Photography of Max Dupain appeared first on Bevlea Ross Photography.