An intimate portrait of an artist by the author of the bestselling Far From a Still Life, Meg Stewart.
This delightful biography of Australian painter Margaret Coen is written by her daughter, Meg Stewart, the highly acclaimed biographer of Margaret Olley. Margaret Coen was born into an era when it wasn't easy for a woman to forge an artistic career. Yet she survived as a c
An intimate portrait of an artist by the author of the bestselling Far From a Still Life, Meg Stewart.
This delightful biography of Australian painter Margaret Coen is written by her daughter, Meg Stewart, the highly acclaimed biographer of Margaret Olley. Margaret Coen was born into an era when it wasn't easy for a woman to forge an artistic career. Yet she survived as a commercial artist during the Depression, joining Sydney's bohemian set in their sketch clubs and raucous studio parties. She became close friends with Norman Lindsay and married poet Douglas Stewart, which immediately gave her entrée into Sydney's literary circles of the time.
Meg tells her mother's story, first published twenty years ago, in Margaret's voice, with a stream of anecdotes and personal details that build a captivating picture of her life, and of Australian social and artistic history in this era. Meg has also written a fascinating new chapter on her mother's relationship with Norman Lindsay.
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Beautifully written - story of her Mother's Artistic life (and loves) in Sydney during the 1940's - 50's. The Bohemian times. She was a great friend of Norman Lindsay.
This book is a delight! As Meg Stewart explains in the preface: "I wanted to give an account of my mother's life as she saw it, and to present the stories of her youth, which I grew up listening to and loving.”
Autobiography of My Mother is based primarily on interviews that Stewart recorded with her mother during 1982. She also drew on writings and other materials of her mother's. For me Stewart's achievement is that she has been able to maintain her mother's distinctive and quirky narrative voi
This book is a delight! As Meg Stewart explains in the preface: "I wanted to give an account of my mother's life as she saw it, and to present the stories of her youth, which I grew up listening to and loving.”
Autobiography of My Mother is based primarily on interviews that Stewart recorded with her mother during 1982. She also drew on writings and other materials of her mother's. For me Stewart's achievement is that she has been able to maintain her mother's distinctive and quirky narrative voice. I love Margaret Coen's understated, yet witty take on things. For instance:
“After school, a girl whose parents owned an hotel sat a group of us in a buggy out the back of the hotel and proceeded to tell us ‘what grown-ups do’. I was astonished. Could this be going on behind the bedroom doors at The House? It didn’t seem possible. The answer, I decided, was clear. Catholics didn’t do it, only Protestants.”
The memoir begins with Margaret’s great grandmother from Ireland settling in Boorowa. Margaret remembers Grandma O’Dwyer giving her a little glass tub full of gold dust on a long ago visit. Margaret’s mother Bessie leaves at a very young age to try her luck in Sydney. The book then shifts to the Coens and how they came to Australia. The couple meet when Bessie goes to work as a milliner in Yass.
Margaret’s stories about her childhood in Yass evoke a time that has disappeared completely. She remembers playing chasings with the Yass tram, watching a funeral procession from a wrought iron lace balcony, picking bunches of flag lilies from a paddock near home. Nearby is an open-air picture show where, sitting on a fence, she watches Keystone comedies. There is a visit from Wirth’s Circus, trips to an orchard to buy Black Margaret cherries and visits to her stern grandmother at The House. Later when her mother takes her brother to Sydney, she is left with her grandmother for a number of years and this is where Margaret discovers she wants to be an artist. The descriptions of the house and garden are rich with details observed with an artist’s eyes.
At the age of nine Margaret goes to a boarding school, Kincoppal run by French nuns and after a while, begins having art lessons with Datillo-Rubbo which she really enjoys. She spends seven years at the school.
My favourite section of the autobiography is when Margaret is fortunate enough to have her own studio in Bridge Street where she spend her days sketching and painting water colours and then going back at night to Randwick where she lives with her mother and sister. Sydney in the book is unrecognisable! Classes at the Royal Art Society, coffee at Mockbells in Castlereigh Street, catching the Coogee tram, doing advertising commissions in the late 1920s and not being paid! There are trips to Springwood to visit Norman Lindsay, then a job with Celebrity Pictures at Pitt Street.
As Margaret describes: “From Martin Place to the Quay was like a rabbit warren, so many artists either rented rooms to paint and even lived there!" Around the same time a wealthy relation of Margaret’s has a suite of rooms at the Hotel Australia.
What a joy this book is, bringing back to life a lost Sydney. And to have such a gentle, observant and kindhearted guide as Margaret Coen is a treat. I can only applaud her commitment to her art and what she achieved during her lifetime, balancing marriage to the poet Douglas Stewart, art and motherhood.
The last chapter is written from Meg Stewart’s point of view as a daughter discovering more about her beloved mother after her death. With a generous spirit Stewart outlines her feelings about the revelation and her mother’s last years. Highly recommended and not just for art lovers!
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