In Flamingoes two nude maidens watch a group of flamingoes performing their daily preening in a shaded pool. A shaft of light from the left shines on the scarlet plumage of the birds, which is reflected on the water’s surface. With its pretence of naturalness, of a quiet moment in nature, Flamingoes was a far more immediate success with the public than either of Long’s Art Nouveau subjects, The Spirit of the plains (cat 9) or Pan (cat 11). It was for many years his most popular painting and, when first exhibited, it was acclaimed ‘the picture of the year’. It was not, however, one of Long’s favourite paintings and he always thought of it as a political act rather than a work of art.

When the Society of Artists and the Art Society of NSW amalgamated in 1902, Long reported that it was felt that ‘our low-toned compositions would be overshadowed by the broader effects favoured by the members of the Art Society. So I told the boys, when the next exhibition drew near, that I would paint an amalgamated picture. I would strike a top note, with a scheme of burning red. Looking round for something strong in colour, but which gave opportunities for design, I got my subject in the [Moore Park] Zoo’ (Moore, vol 1, p 170).

The model for both figures was Rose Soady, who later became Norman Lindsay’s second wife and principal model. She recollected posing for the picture:

My first introduction into the art world was to pose for the standing figure in 'Flamingoes' ... I was at Syd Long’s door well in advance of his arrival. He showed me a sketch of the pose required, and soon put me at ease about stripping: I didn’t know I would have to pose nude. I posed every day for six weeks at 5s. a day, big money in those days for a working-girl. He painted many studies for that figure, and on weekends went to some river to make studies and to the zoo to paint actual flamingoes.

I knew nothing of art or artists at that time, but have made a few observations since, and realise how much work Sydney Long put into those first studies, which he would take from the easel and turn to the wall before opening the door to a knock or before telling me to have a rest. This increased my curiosity so much that I dived on to them for a hurried look when he went forth carrying the teapot to the caretaker’s quarters.

When he engaged me he stipulated that I pose only for him till his picture was finished. After that I went to Julian Ashton’s classes’. (Bulletin, 16 February 1955)

Time has apparently darkened and dulled the original vibrant green of the painting. When it was first exhibited the ‘vivid scarlet plumage of the birds’ was said to provide a great colour contrast with ‘the greeny tinted water surface’ (All about Australians, 1 October1902). The red remains, but the green is no longer a strong colour contrast.

This painting was first shown in 1902 at the ‘Art Society of NSW exhibition’(21, reproduced).

In Flamingoes two nude maidens watch a group of flamingoes performing their daily preening in a shaded pool. A shaft of light from the left shines on the scarlet plumage of the birds, which is reflected on the water’s surface. With its pretence of naturalness, of a quiet moment in nature, Flamingoes was a far more immediate success with the public than either of Long’s Art Nouveau subjects, The Spirit of the plains (cat 9) or Pan (cat 11). It was for many years his most popular painting and, when first exhibited, it was acclaimed ‘the picture of the year’. It was not, however, one of Long’s favourite paintings and he always thought of it as a political act rather than a work of art.

When the Society of Artists and the Art Society of NSW amalgamated in 1902, Long reported that it was felt that ‘our low-toned compositions would be overshadowed by the broader effects favoured by the members of the Art Society. So I told the boys, when the next exhibition drew near, that I would paint an amalgamated picture. I would strike a top note, with a scheme of burning red. Looking round for something strong in colour, but which gave opportunities for design, I got my subject in the [Moore Park] Zoo’ (Moore, vol 1, p 170).

The model for both figures was Rose Soady, who later became Norman Lindsay’s second wife and principal model. She recollected posing for the picture:

My first introduction into the art world was to pose for the standing figure in 'Flamingoes' ... I was at Syd Long’s door well in advance of his arrival. He showed me a sketch of the pose required, and soon put me at ease about stripping: I didn’t know I would have to pose nude. I posed every day for six weeks at 5s. a day, big money in those days for a working-girl. He painted many studies for that figure, and on weekends went to some river to make studies and to the zoo to paint actual flamingoes.

I knew nothing of art or artists at that time, but have made a few observations since, and realise how much work Sydney Long put into those first studies, which he would take from the easel and turn to the wall before opening the door to a knock or before telling me to have a rest. This increased my curiosity so much that I dived on to them for a hurried look when he went forth carrying the teapot to the caretaker’s quarters.

When he engaged me he stipulated that I pose only for him till his picture was finished. After that I went to Julian Ashton’s classes’. (Bulletin, 16 February 1955)

Time has apparently darkened and dulled the original vibrant green of the painting. When it was first exhibited the ‘vivid scarlet plumage of the birds’ was said to provide a great colour contrast with ‘the greeny tinted water surface’ (All about Australians, 1 October1902). The red remains, but the green is no longer a strong colour contrast.

This painting was first shown in 1902 at the ‘Art Society of NSW exhibition’(21, reproduced).