Barbara Hanrahan: Artwork

This work has been built from minimal colour and some details may have been hand applied, yet the work yields a spectrum of hues. The detail in the faces is notable. The artist has perhaps represented the actors separate to the audience members by applying parallel lines like masks, across the eye section. The main figure controls the scene, manipulating the figures below as though they were marionettes attached to her fingers. Heads float above the complicated composition, perhaps as subconscious elements of the mind of actress. Floral and other detail is extremely well executed, reminiscent of flora in other printed works by Hanrahan. 'Her work presents a strange and unique blend of the wood-engraver illustrator, and the defiant explicit sexuality informed by feminism and a commentary on pop culture. Etchings … combine an external image of frivolity with an inner note of fear, pain and insecurity.' (Grishin: 1994, 94-95) Grishin, Sasha (1994) 'Australian Print Making' Craftsman House, NSW

The works reveal the artist's accomplished technical skills of cutting, printing and creating patterns from positive and negative space. These patterns of dots and flowers have been layered over each other in the background which effects the figures, making them appear suspended as if floating. This one of the series is slightly different as the feet of the figures are not visible, making them seem more weighted to the ground. Patterns are also a feature of the figures' clothing design. Repeated floral motifs are a strong element, which is reminiscent in other works by the same artist. In this piece, Hanrahan uniquely blends quaint 1940's clothing design with classical motifs from ancient Roman costume design to create a secular imagery. The olive branches form part of a repeated pattern in the clothing of the figures and in the background. It is likely some areas of the works have been hand coloured but most of the pigment appears to have been applied via the printing press procedure. The artist has used typical rusty Autumn colours of orange, burnt sienna and sepia tones to mimic fallen leaves and seasonal foliage

This screen print is reminiscent of 'My Family - My Australia' as the artist has set out the work in a similar style. The main focus of the piece is the framed section where a central nude female figure reclines uncomfortably on a brass bed decorated with a patchwork quilt. The figure is set within a room of exaggerated perspective and is surrounded by various cartoon-like animals some bearing flowers and leaves. Fringed at the top are the four figments of the day-dreamer's imagination are male and named from the left, 'Romeo', 'Santa Claus', 'Prince' and 'Deerboot'. Hanrahan has incorporated both Egyptian and Picasso influences in facial features and abstracted forms of the figures.[Grishin, Sasha (1994) 'Australian Print Making' Craftsman House, NSW]

The Dog and Cat are almost cartoon-like and appear larger than life, due to the way the ink has clung to the paper in the negative spaces. Hanrahan may have hand coloured the work at a later date, making the subjects seem suspended, almost vibrating in the frame. The leaves in the bottom section have also been coloured with green, which subtly draws the two sections together. The text itself is whimsical and similar to a children's nursey rhyme in tone

Archival No. PRG 961/8/1
Description/Quantity 54.6 cm x 57.9 cm (image); 74.2 cm x 94.5 cm x 2.1 cm (framed)
Format Original artwork (mixed medium); printed artwork (engraving)
Contents PRIMARY INSCRIPTION: (bot r) "The Dog, the Cat 15/25" (pencil), (bot l) "Barbara Hanrahan 1962/1988", (bot l - bot r) "THE DOG WILL COME WHEN HE IS CALLED,; THE CAT WILL WALK AWAY.; THE MONKEY'S CHEEK IS VERY BALD,; THE GOAT IS FOND OF PLAY." (hand carved, printed-black ink); SECONDARY INSCRIPTION: "PRG 961/6/15" (blue pen). This work has been incorrectly inscribed - it should read 'PRG 961/8/1'
Other Versions Digital and use copies required
Related Recs This artwork is part of an archival records group. To see a summary of this group do a NUMBER search on 961

Name HANRAHAN, Barbara, 1939-1991
Subject Printmakers -- Australia
Prints -- 20th century -- Australia
Prints -- Australia -- Technique
Hanrahan, Barbara, 1939-1991 -- Bibliography -- Catalogs
State Library of South Australia -- Catalogs
Hanrahan, Barbara, 1939-1991 -- Criticism and interpretation
Hanrahan, Barbara, 1939-1991 -- Diaries
Novelists, Australian -- Diaries
Printmakers -- Australia -- Diaries
Hanrahan, Barbara, 1939-1991 -- Exhibitions
Prints, Australian -- Exhibitions
Women authors, Australian -- 20th century -- Exhibitions
Printmakers -- South Australia -- Exhibitions
Collage, Australian -- Exhibitions
Watercolor painting, Australian -- Exhibitions
Summary This large, two-sectioned work is an example of Hanrahan's skill in creating bold, vibrant shapes with her engraving technique. In comparison to her later, exquisitely defined pieces like the 'Seasons' series (1977), or 'The Actress' (1979), this work is a strong, chunky interpretation of her subject and is evidence of the application of a different technique, for example wood block. The Dog and Cat are almost cartoon-like and appear larger than life, due to the way the ink has clung to the paper in the negative spaces. Hanrahan may have hand coloured the work at a later date, making the subjects seem suspended, almost vibrating in the frame. The leaves in the bottom section have also been coloured with green, which subtly draws the two sections together. The text itself is whimsical and similar to a children's nursery rhyme in tone
History Barbara Janice Hanrahan was born in Adelaide, South Australia, 6 September 1939. She lost her father to Tuberculosis when she was one and was brought up a lone child by her mother, a commercial artist. She lived with both her Grandmother and Aunt in her Grandmotherʼs house in Thebarton. In 1955 she moved to Oaklands Park with her mother and new Stepfather. She studied at the South Australian School of art from 1957-62. She began printmaking in 1960 and until 1963 worked part-time with Udo Sellbach and Karen Schepers. From 1963-4 she continued her studies at the Central School of Art in London, gaining a Diploma in Etching with distinctions. She continued there for another year with post diploma skills in etching, lithography, wood engraving and silkscreen. From 1961-2 Hanrahan taught as Western Teacherʼs College and at the South Australian School of Art during 1964-5, then at Falmouth College of Art from 1967-70. The year 1973 saw the publication of her book, ʻThe scent of Eucalyptusʼ a memoir of childhood, followed in 1974 by ʻSea Greenʼ, a novel. Hanrahan says of her own etchings, 'the two parts: the image on the plate and the printing of it on to paper are quite different processes. They donʼt go together; theyʼre as different as clean and dirty hands' (Kempf: 1976). Hanrahanʼs work 'presents strange unique blend of the decorative ornateness of the wood-engraver illustrator, and the defiant explicit sexuality informed by feminism and a commentary on pop culture' (Grishin: 1994). Hanrahan was a prolific artist, producing more than 400 prints over the years, as well as a number of paintings, and her work was exhibited in Australia, London and France. She held over 30 one-woman exhibitions. She was writer in residence at the University of Adelaide for a period in 1987, and later the same year, at Rollins College, Florida (USA). [Grishin, Sasha (1994) ʻContemporary Australian Printmakingʼ Craftsman House, NSW. Kempf, Franz (1976) 'Contemporary Australian Printmakers' Landsdo

Hanrahan has incorporated words into the image which indicate the Mother (to be) is flying over Kensington Gardens, in Adelaide. There is also a visible train track or fence bordering the suburb. The mother's hair forms what appears to be a map of Australia, which is especially evident on the left side of the neck, where there is a focus on the South Australian coastline. Indicative of the artist's style, Hanrahan has permeated the work with floral motifs and illustrative insects. These motifs appear throughout the whole work but specifically on the body and limbs of the Flying Mother, perhaps suggesting she has been collecting these items on her travels. The inverted baby in the mother's womb also holds four flowers. [Grishin, Sasha (1994) “Australian Print Making” Craftsman House, NSW, p.94]

Archival No. PRG 961/8/2
Description/Quantity 51.7 cm x 74.1 cm x (image); 74.1 cm x 94.5 cm x 2.3 cm (framed)
Format Original artwork (mixed medium); printed artwork (engraving, screen print)
Contents PRIMARY INSCRIPTION: (bot r) "3/27" (pencil), (bot l) "Barbara Hanrahan 1976" (pencil), (mid r) "tick-tock" (silkscreen on watch), "Kensington Gardens" (silkscreen), (centre) "Mother's Womb" (silkscreen), (bot r) "Baby", "Flying Mother"; SECONDARY INSCRIPTION:"PRG 961/6/13" (blue pen). This work has been incorrectly inscribed - it should read 'PRG 961/8/14'
Other Versions Digital and use copies required
Related Recs This artwork is part of an archival records group. To see a summary of this group do a NUMBER search on 961

Name HANRAHAN, Barbara, 1939-1991
Subject Printmakers -- Australia
Prints -- 20th century -- Australia
Prints -- Australia -- Technique
Hanrahan, Barbara, 1939-1991 -- Bibliography -- Catalogs
State Library of South Australia -- Catalogs
Hanrahan, Barbara, 1939-1991 -- Criticism and interpretation
Hanrahan, Barbara, 1939-1991 -- Diaries
Novelists, Australian -- Diaries
Printmakers -- Australia -- Diaries
Hanrahan, Barbara, 1939-1991 -- Exhibitions
Prints, Australian -- Exhibitions
Women authors, Australian -- 20th century -- Exhibitions
Printmakers -- South Australia -- Exhibitions
Collage, Australian -- Exhibitions
Watercolor painting, Australian -- Exhibitions
Summary '(Hanrahan) enjoys creating levels of meaning and veils of ambiguity. The seductive beauty of her surfaces conceal an acidity in context; a strange and disturbed world with a haunting presence' (Grishin: 1994). This thematic work consists of an aerial shot of the 'Flying Mother', her body faces up to the sky as the viewer's eye is led to the landscape below. Hanrahan has incorporated words into the image which indicate the Mother (to be) is flying over Kensington Gardens, in Adelaide. There is also a visible train track or fence bordering the suburb. The mother's hair forms what appears to be a map of Australia, which is especially evident on the left side of the neck, where there is a focus on the South Australian coastline. Indicative of the artist's style, Hanrahan has permeated the work with floral motifs and illustrative insects. These motifs appear throughout the whole work but specifically on the body and limbs of the Flying Mother, perhaps suggesting she has been collecting these items on her travels. The inverted baby in the mother's womb also holds four flowers. [Grishin, Sasha (1994) “Australian Print Making” Craftsman House, NSW, p.94]
History Barbara Janice Hanrahan was born in Adelaide, South Australia, 6 September 1939. She lost her father to Tuberculosis when she was one and was brought up a lone child by her mother, a commercial artist. She lived with both her Grandmother and Aunt in her Grandmotherʼs house in Thebarton. In 1955 she moved to Oaklands Park with her mother and new Stepfather. She studied at the South Australian School of art from 1957-62. She began printmaking in 1960 and until 1963 worked part-time with Udo Sellbach and Karen Schepers. From 1963-4 she continued her studies at the Central School of Art in London, gaining a Diploma in Etching with distinctions. She continued there for another year with post diploma skills in etching, lithography, wood engraving and silkscreen. From 1961-2 Hanrahan taught as Western Teacherʼs College and at the South Australian School of Art during 1964-5, then at Falmouth College of Art from 1967-70. The year 1973 saw the publication of her book, ʻThe scent of Eucalyptusʼ a memoir of childhood, followed in 1974 by ʻSea Greenʼ, a novel. Hanrahan says of her own etchings, 'the two parts: the image on the plate and the printing of it on to paper are quite different processes. They donʼt go together; theyʼre as different as clean and dirty hands' (Kempf: 1976).

Hanrahan has depicted a nude Eve approximately three times larger than the nude Adam, who is even smaller than most of the animals in the work. All the objects and figures appear swarming around, suspended by the branches of a tree, which takes up most of the picture plane. Typical of Hanrahan's Style, floral motifs permeate throughout the work.