Sydney
LONG
Australia
1871
–
London
1955
England, Europe 1910-21; Australia 1921- 22; England 1922-25; Australia 1925-52; England from 1952
27.9 (h) x 40.2 (w) cm
undesignated impression , published state , edition of 40 , no manufacturer's mark
Signed lower right below image in black pencil, 'Sidney Long ['ng' underlined]'. Not dated. Not titled.
Reference: Mendelssohn (1979), 17; Paul (1928), 28 National Gallery of Australia, Canberra NGA 1977.9.20 The Stephen Collection, purchased 1976. Reproduced with the kind permission of the Ophthalmic Research Institute of Australia
- J.W.F. Stephen, who formed a definitive collection of the etched work of Sydney Long. J.A.C. Stephen, the artist’s son, by descent. Purchased by the Australian National Gallery, from J.A.C. Stephen, Sydney, 1977.
‘The sinuous, dancing figures sway with the slim twisted tree tops and the masses are treated with the utmost simplicity and reticence’ (Paul 1928, p 4). ‘The whole scheme is poetically planned, and its imaginative power, with the harmonious blending of tones in lights and shadows, and the animation of the dancers, are all noteworthy’ (Sydney Mail, 31 May 1927). ‘The sense of movement and mystery pervades every branch of the trees, as well as the flowing robes of the figures in their shade. The composition of the whole is full of imaginative power’ (Register, Adelaide, 23 June 1927).
In Fantasy, Long’s application of the aquatint, with its broad, flat washes, gives the print a fluid, atmospheric quality, similar to that of his watercolours. It captures the magic of early evening. Called ‘Moonlight fantasy’ by J.W.F. Stephen, this is the third and last of the decorative prints Long based on his earlier Art Nouveau paintings. With its delicate romantic charm and low horizon, and the simplified flat forms of the arched trees and the rising moon, this print evolved out of Long’s earlier experiments in printmaking, Pastoral sandgrain (Moonrise pastoral) (cat 68), Pastoral softground (cat 69) and Moonrise pastoral (cat 70); but here he has added a chorus of nymphs at play.
A copy of Fantasy was first exhibited in 1921 in The water-colours and etchings of Sydney Long, ARE, Decoration Galleries, Melbourne, 15–26 August (3, as ‘Moonlight Fantasy’).
The print was dated 1917 by Dorothy Ellsmore Paul, but this date is now known to be incorrect as Long did not start printmaking until 1918. The correspondence between Long and Adolph Albers suggests this was the third of Long’s Art Nouveau prints, made after The Spirit of the plains and Pan.
A copy of this print in brown black ink, titled ‘Moonrise fantasy’, is held by the Art Gallery of New South Wales. A copy is held by the Tasmanian Museum and Art Gallery, and a copy, titled ‘Moonlight fantasy’, is held by the Art Gallery of Ballarat.
‘The sinuous, dancing figures sway with the slim twisted tree tops and the masses are treated with the utmost simplicity and reticence’ (Paul 1928, p 4). ‘The whole scheme is poetically planned, and its imaginative power, with the harmonious blending of tones in lights and shadows, and the animation of the dancers, are all noteworthy’ (Sydney Mail, 31 May 1927). ‘The sense of movement and mystery pervades every branch of the trees, as well as the flowing robes of the figures in their shade. The composition of the whole is full of imaginative power’ (Register, Adelaide, 23 June 1927).
In Fantasy, Long’s application of the aquatint, with its broad, flat washes, gives the print a fluid, atmospheric quality, similar to that of his watercolours. It captures the magic of early evening. Called ‘Moonlight fantasy’ by J.W.F. Stephen, this is the third and last of the decorative prints Long based on his earlier Art Nouveau paintings. With its delicate romantic charm and low horizon, and the simplified flat forms of the arched trees and the rising moon, this print evolved out of Long’s earlier experiments in printmaking, Pastoral sandgrain (Moonrise pastoral) (cat 68), Pastoral softground (cat 69) and Moonrise pastoral (cat 70); but here he has added a chorus of nymphs at play.
A copy of Fantasy was first exhibited in 1921 in The water-colours and etchings of Sydney Long, ARE, Decoration Galleries, Melbourne, 15–26 August (3, as ‘Moonlight Fantasy’).
The print was dated 1917 by Dorothy Ellsmore Paul, but this date is now known to be incorrect as Long did not start printmaking until 1918. The correspondence between Long and Adolph Albers suggests this was the third of Long’s Art Nouveau prints, made after The Spirit of the plains and Pan.
A copy of this print in brown black ink, titled ‘Moonrise fantasy’, is held by the Art Gallery of New South Wales. A copy is held by the Tasmanian Museum and Art Gallery, and a copy, titled ‘Moonlight fantasy’, is held by the Art Gallery of Ballarat.
‘The sinuous, dancing figures sway with the slim twisted tree tops and the masses are treated with the utmost simplicity and reticence’ (Paul 1928, p 4). ‘The whole scheme is poetically planned, and its imaginative power, with the harmonious blending of tones in lights and shadows, and the animation of the dancers, are all noteworthy’ (Sydney Mail, 31 May 1927). ‘The sense of movement and mystery pervades every branch of the trees, as well as the flowing robes of the figures in their shade. The composition of the whole is full of imaginative power’ (Register, Adelaide, 23 June 1927).
In Fantasy, Long’s application of the aquatint, with its broad, flat washes, gives the print a fluid, atmospheric quality, similar to that of his watercolours. It captures the magic of early evening. Called ‘Moonlight fantasy’ by J.W.F. Stephen, this is the third and last of the decorative prints Long based on his earlier Art Nouveau paintings. With its delicate romantic charm and low horizon, and the simplified flat forms of the arched trees and the rising moon, this print evolved out of Long’s earlier experiments in printmaking, Pastoral sandgrain (Moonrise pastoral) (cat 68), Pastoral softground (cat 69) and Moonrise pastoral (cat 70); but here he has added a chorus of nymphs at play.
A copy of Fantasy was first exhibited in 1921 in The water-colours and etchings of Sydney Long, ARE, Decoration Galleries, Melbourne, 15–26 August (3, as ‘Moonlight Fantasy’).
The print was dated 1917 by Dorothy Ellsmore Paul, but this date is now known to be incorrect as Long did not start printmaking until 1918. The correspondence between Long and Adolph Albers suggests this was the third of Long’s Art Nouveau prints, made after The Spirit of the plains and Pan.
A copy of this print in brown black ink, titled ‘Moonrise fantasy’, is held by the Art Gallery of New South Wales. A copy is held by the Tasmanian Museum and Art Gallery, and a copy, titled ‘Moonlight fantasy’, is held by the Art Gallery of Ballarat.
