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The National Portrait Gallery acknowledges the Traditional Custodians of Country throughout Australia and recognises the continuing connection to lands, waters and communities. We pay our respect to Aboriginal and Torres Strait Islander cultures and to Elders both past and present.

Aboriginal and Torres Strait Islander viewers are warned that this website contains images of deceased persons.

Arthur Streeton, c. 1890

H. Walter Barnett

platinum photograph on original studio backing card (sheet: 21.1 cm x 15.8 cm, image: 14.2 cm x 10.2 cm)

Arthur Streeton (1867–1943), painter, grew up in Geelong and Melbourne and attended night classes at the National Gallery School between 1882 and 1887. In 1886, he met Frederick McCubbin and Tom Roberts, who admired his paintings and invited him to join one of their painting camps on the outskirts of Melbourne. With Roberts, McCubbin and Charles Conder, Streeton was a core member of the group of landscape artists known as the ‘Heidelberg School’. In 1889 he painted Golden Summer, Eaglemont and exhibited 40 works – mostly painted on cedar cigar-box lids – in the ‘9 x 5 Impressions’ exhibition in Melbourne. He moved to Sydney the following year and lived for a time with Roberts and others in a harbourside bush camp near Mosman. Over the next several years, Streeton painted the ‘great, gold plains’, the harbour and pioneer scenes including the hot, bright Fire’s on (1891). Streeton went to England in 1897 and remained there until 1923. He continued to paint landscapes on his return to Australia and became the art critic for the Argus in the late 1920s.

Collection: National Portrait Gallery
Purchased 2001

Accession number: 2001.169

Currently not on display

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Artist and subject

H. Walter Barnett (age 28 in 1890)

Arthur Streeton (age 23 in 1890)

Subject professions

Visual arts and crafts

Related information

The Companion

Permanent collection catalogue

Café and shop

On one level The Companion talks about the most famous and frontline Australians, but on another it tells us about ourselves: who we read, who we watch, who we listen to, who we cheer for, who we aspire to be, and who we'll never forget. The Companion is available to buy online and in the Portrait Gallery Store.

The sisters, 1904
The sisters, 1904
The sisters, 1904
The sisters, 1904

Beguiling impressions

Magazine article by Dr Sarah Engledow, 2012

Sarah Engledow is seduced by the portraits and the connections between the artists and their subjects in the exhibition Impressions: Painting light and life.

Practising the Minuet (Miss Hilda Spong), 1893 Tom Roberts
Practising the Minuet (Miss Hilda Spong), 1893 Tom Roberts
Practising the Minuet (Miss Hilda Spong), 1893 Tom Roberts
Practising the Minuet (Miss Hilda Spong), 1893 Tom Roberts

An actress and her fans

Magazine article by Dr Sarah Engledow, 2008

Dr. Sarah Engledow discovers the amazing life of Ms. Hilda Spong, little remembered star of the stage, who was captured in a portrait by Tom Roberts.

Tea time, c.1898–1902 by Rupert Bunny (1864–1947)
Tea time, c.1898–1902 by Rupert Bunny (1864–1947)
Tea time, c.1898–1902 by Rupert Bunny (1864–1947)
Tea time, c.1898–1902 by Rupert Bunny (1864–1947)

Impressions

Painting light and life

Previous exhibition, 2011

Impressions: Painting light and life presents portraits by, and of, artists at the heart of Australian impressionism including Tom Roberts, Arthur Streeton and Frederick McCubbin.

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The National Portrait Gallery acknowledges the Traditional Custodians of Country throughout Australia and recognises the continuing connection to lands, waters and communities. We pay our respect to Aboriginal and Torres Strait Islander cultures and to Elders both past and present.

Aboriginal and Torres Strait Islander viewers are warned that this website contains images of deceased persons.