. Charles Conder; his life and work . t-named artist relates that at this time Conder had notmuch idea of colour, and that his sketches were almost mono-chromes. On the other hand, he showed a very good senseof selection. He composed his work from his surroundings,but never attempted to make a literal copy of what wasbefore him. Imagination was always the mainspring of hisart; even in these early days there was infinite promise. Awater-colour entitled Mirage, showing a nude figure hold-ing a mirror, standing on the side of a hill, which was ex-hibited at the Art Society of New South Wales, Syd
. Charles Conder; his life and work . t-named artist relates that at this time Conder had notmuch idea of colour, and that his sketches were almost mono-chromes. On the other hand, he showed a very good senseof selection. He composed his work from his surroundings,but never attempted to make a literal copy of what wasbefore him. Imagination was always the mainspring of hisart; even in these early days there was infinite promise. Awater-colour entitled Mirage, showing a nude figure hold-ing a mirror, standing on the side of a hill, which was ex-hibited at the Art Society of New South Wales, Sydney, in1888, is a good example of this period. Gradually his senseof colour awakened—at any rate, it became apparent in hispainting, when his colour schemes became lighter and moredelicate. He admired very much at this time the work of anItalian artist, G. Nerli (well known by his portrait of RobertLouis Stevenson), who spent many years in New SouthWales and was a fine colourist. In 1888 Conder migrated to Melbourne, where he met26. CHARLES CONDER AT THE AGE OK EIGHT Frotn a photograph in t/ic possfssion o/ Mrs. Iryce HIS LIFE AND WORK other Australian artists, including Arthur Streeton, the well-known landscape painter, and Tom Roberts. With these twohe worked a good deal at Heidelberg, a picturesque suburbof Melbourne, which at that time was a favourite sketching-ground for artists. He also drew a little from the life, atevening classes held at the National Gallery, Melbourne,and with Streeton he conducted painting classes, exhibit-ing at the same time his own work at local exhibitions inMelbourne and Sydney. To one show, held in Melbournein August 1889, called The 9x5 Impression Exhibition,he sent forty-six paintings ; they were all studies or sketches,of landscapes mostly, with a few imaginative subjects bearingsuch titles as Arcadia, Dolce far Niente, A Page fromHerrick, A Dream of Handels Largo, &c. Conder alsodesigned the cover of the catalogue of this exhibition.(Plat
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