Sydney Long – The Spirit of the Plains (1914)
Sydney Long (1871-1955) is one of the most unique Australian artists. This is mainly due to his particular poetic and lyrical vision of the Australian bush, which is combined with classical European imagery and characters. Born in Ifield, Goulburn, New South Wales, he trained at the New South Wales Art Society in 1890. His first major work By Tranquil Waters (1894) caused a scandal, but was bought by the New South Wales Art Gallery.
The controversy brought Sydney Long to the attention of Julian Ashton. Eventually Sydney Long joined Julian Ashton as co-head of Ashton’s Sydney Art School, a position he enjoyed until 1910. The popularity and sale of his works allowed him to travel and studying London, where he stayed until 1925, with a brief return to Australia in 1921. Long continued working and exhibiting. He won the Wynne Prize in 1938 and 1940, and was a trustee of the Art Gallery of New South Wales from 1938-1949. He returned to England in 1951, and died in London in 1955. Whilst Sydney Long produced an immense body of work it is, however, his work from the late 1890s and early 20th Century that marks him as unique. His vision and artistry in this period stands in marked contrast to his ‘Heidelberg’ contemporaries Arthur Streeton and Frederick McCubbin. There is an erotic sensuality in his work from the 1890s and early twentieth century, which has a similarity Norman Lindsay. This form was labelled as a new school of Australian art called ‘Australian Paganism’. Virtually all the galleries in Australia display works by Sydney Long. There are two in the Art Gallery of South Australia – The Valley (1898) and The West Wind (1909). These combined with to two other works by Sydney Long in this article – By Tranquil Waters (1898) and The Spirit of the Plains (1914) exemplify the uniqueness and sensual beauty of the art of Sydney Long – making the ordinary extraordinary. Sydney Long – The West Wind (1909)