• The full majesty of nature: the Collection of Dr Samuel Arthur Ewing

    21 Sep 2002 to 1 Dec 2002
    Curators: Joanna Bosse and Bala Starr

    Artists: Penleigh Boyd, Rupert Bunny, Louis Buvelot, Nicholas Chevalier, David Davies, Emanuel Philips Fox, Albert Henry Fullwood, Bernard Hall, Harold Herbert, Hans Heyson, JJ Hilder, Frances Hodgkins, Constance Jenkins, Norman Lindsay, John Longstaff, Arthur Loureiro, Frederick McCubbin, Max Meldrum, Edward Officer, John Ford Paterson, Arthur Streeton, Alf Vincent, Charles Wheeler, Walter Withers, Blamire Young

    A touring exhibition to regional Victoria. 

    The Ewing Collection was donated to the University of Melbourne in 1938 by Dr Samuel Arthur Ewing, a medical graduate of the institution. The collection comprises fifty-eight works, including oil paintings, watercolours, prints and drawings that span the period from 1862 to 1940.

    Highlighting an emphasis on the depiction of the landscape, this exhibition examines the development of the genre of landscape painting from 1862 to the mid-twentieth century as reflected in the work of some of Australia’s foremost artists. The exhibition also explores the representation of domestic scenes, which were favoured during the early nineteenth century. These are represented in the collection by such artists as Rupert Bunny, Bernard Hall, Frances Hodgkinson and Constance Jenkins.

    The cultural and social facets of Edwardian Melbourne are explored through the examination of the type of collecting practise that was favoured during this period. Focusing on the development of the collection by Dr Ewing, the exhibition explores his role as a benefactor, his links with the Melbourne Savage Club, his interests in the sciences and the arts, and the strong history of benefaction that was a part of the Ewing family’s legacy.

    The full majesty of nature: the collection of Samuel Arthur Ewing allows investigation into the philanthropy of art in Australia in the early twentieth century and provides an opportunity to consider shifting values in the interpretation of Australian art. 


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