Welcome to Wilkinsonart.info This site is maintained by Daryl Wilkinson to promote and publicise the unique art works of Maureen Wilkinson - Artist and Miniaturist & Jeffery Wilkinson - Sculptor and Ceramicist (Jeffery Wilkinson's page still under construction, however in the meantime... here is a link to one of his early works held by the National Gallery of Victoria): "CARNIVAL" ______________________________________________________________________________ A History of Australia in Miniature Portraits by Maureen Wilkinson This unique and acclaimed collection is now available as a touring installation. (Scroll down for booking information) 
The installation is comprised of 15 panels. (1m wide by 800cm high ) 
The installation comprises one text panel , and 14 panels containing 205 miniature portraits grouped in the following categories: THE TEN MARTIAL GOVERNORS DISCOVERY and EARLY SETTLEMENT EXPLORATION EXPLORATION and SETTLEMENT COLONIAL VICTORIA COLONIAL EXPANSION AVIATION CLERGY & PUBLISHING VISUAL ARTS NOTABLE ACHIEVEMENTS NOTABLE WOMEN PARLIAMENT PERFORMING ARTS LITERARY ARTS 
Each miniature portrait has a short biography posted immediately below it, making the viewing an educational and aesthetic experience. _________________________ Maureen Wilkinson 
Maureen Wilkinson began her formal art training at the Ballarat School of Mines in 1936 completing a diploma in 1940. From there she studied at RMIT from 1940 to 1942 where she undertook life drawing classes with John Rowell. During the early 1940s Maureen worked as a commercial artist in Melbourne before war interrupted her career. She joined the Australian Women's Army Service in 1942 and served as a cartographer. Marrying fellow artist, Jeffrey Wilkinson, in 1944, she continued painting watercolor landscapes and oil portraits as well as carrying out commercial art assignments.
In 1952 Maureen began her own business producing a children's range of personalised, hand-painted ceramic ware. She continued to paint and exhibit landscapes and portraits throughout this period. In 1970 she decided to concentrate on portraiture. Over the ensuring years she completed more than four hundred commissions for portraits. It was at this time that she became increasingly interested in miniature painting.
Painting miniature portraits on porcelain cameos led to the inspiration for an Australian Bicentennial exhibition in 1988. This current installation began as an exhibition entitled Famous Early Australians originally shown the historic ANZ Banking Chambers and then at Ripponlea in 1988. It was followed by another exhibition of miniature portraits entitled Founders of South Australia shown in Adelaide in 1989. Since then this collection has grown to over 200 miniature portraits.
In the early 1980's Maureen was commissioned by St John's Anglican Church, Toorak, to complete the final three works in a series of opus sectile murals. Her experience of painting on porcelain served her well because porcelain painting techniques transferred easily to the medium of glass enamels on opaque vitrolite which the murals required. In addition she produced side panels and memorial tablets for St John's between 1980 and 1992.
A foundation member of the Australian Society of Miniature Art Victoria Inc. established in 1992, Maureen regularly exhibits with the ASMA together with the Victorian Artists Society, of which she has been a member since 1975, and the Melbourne Society of Women Painters and Sculptors.
________________________________________________________________________________________ This Installation "A History of Australia in Miniature Portraits"
The history of Australia is complex and involved. It began with the occupation of the land by indigenous communities which was irrevocably altered by the arrival of the British in 1788. The events that followed were chequered. Agreement and dissension produced the best and the worst of human behaviour pushing and pulling this country from different directions therein shaping Australia into the nation we recognise today.
Always underlying the events of history are people, individual men and women. Australia is built upon a unique blend of passionate and talented men and women who have shone in every field. This exhibition pays homage to these people. There are over 200 miniature portraits, cameos of some of the people behind the events. All have been hand painted on porcelain by the artist Maureen Wilkinson.
To paint historical figures has its own particular challenges. Denied any opportunity to get to know the subject, the artist must resort to research. Maureen has spent many hours getting to know her subjects through reading books and articles, a process she says is vital to capturing the spirit and personality of the subject. Wherever possible she has used photographs as a source material for the portraits in preference to a previous artist's interpretation. The selection of the subjects has been the personal choice of the artist, based on her research, the availability of reasonable photographic records and some requests from interested people.
A History of Australia in Miniature Portraits is a truly unique collection of miniature portraiture depicting Australia's explorers, pioneers and early settlers, politicians, statesmen, aviators, sportsmen, artists, writers and performers, clergy and other notable men and women. Each has its own brief biography written by the artist, and together provide a small insight into the personalities of some of the people who have helped make Australia a great nation.
__________________________________________________________________________ About Miniature Painting Miniatures are a direct descendant of manuscript illumination. Originally lavish embellishments to the hand written text, they were elevated from this auxiliary role in the sixteenth century and prized for their beauty as unique objects in themselves. It was during this period that the painted portrait first gained popularity and intricate likenesses were carried out for the nobility and elite society.
To begin with miniatures were displayed in cabinets but they were soon used as personal adornments and were worn in closed lockets, often encrusted with jewels, that protected the delicate painting from light. Enamel portraits painted on copper did not have to be protected and this promoted the use of miniatures as bracelets and brooches. In the eighteenth century the character of miniature painting was changed by the introduction of ivory as a support and when used in conjunction with watercolor paint enabled a wonderful luminosity previously unattainable. Layers of diluted colour were used and tones built up by using dots, lines and hatching with very fine brushes.
In the Victorian period miniatures were small enough to fit in to the palm of a hand and women often wore cameos of their husbands and relatives as brooches fastened to the collar of a blouse. It was also at this time that miniatures were used as decorations for walls and tables. However the popularity of the miniature did not last long through the nineteenth century. The advent of photography enabled the creation of cheaper portraits that were thought to be more accurate and photographs of loved ones quickly replaced miniatures as the preferred medium.
The first painters of miniature portraits in Australia were mostly convicts. Many of them were trained artists and engravers who had been transported to the colonies of New South Wales and Van Diemen's Land for forgery. Many of the free settlers who were early miniaturists were talented amateurs including resident naval and military officers and the wives of early pioneers. Georgiana McCrae, the renowned early Victorian colonist, (depicted on the Visual Arts panel of this exhibition) was a gifted miniaturist who painted in watercolor on ivory. She is claimed by many to have been the best portrait artist in Victoria during the nineteenth century.
The minute exacting brushstrokes showcase a sophisticated level of precision and detail demanding a finesse of technique that is not so essential in other media. The tiny portraits invite a more intimate relationship between the viewer and the art work beseeching the spectator to come close to behold the image before him or her. Hence the enduring appeal of the miniature has never waned and today we find these works even more enchanting for their diminutive size and the intricacy of detail.
Although proficient in both watercolor and oil mediums, Maureen Wilkinson has chosen to use porcelain discs for her collection. While the main advantage is its durability - not vulnerable to climatic conditions, water or sunlight - the process is laborious and difficult. Capturing the effects of semi-transparent fabrics, fine lace and delicate subtle skin tones are far harder to achieve with porcelain paints than with watercolor, gouache or oil paint. The depth of colour is achieved by building up individual layers and "fireing" each layer of colour in a small kiln. At different temperatures the colours fuse with the porcelain. After each fireing the work is lightly polished with the finest grade emery paper. Repeated fireings are required - usually around six - and care must be taken to monitor the exact temperature to avoid the colour burning out or altering during the process. Making corrections is a painstaking procedure.
The works in this exhibition will resist any deterioration and will be able to be seen exactly as they are today, centuries from now.
___________________________________________ Support for "A History of Australia in Miniature Portraits" 
This installation has been exhibited at : The Royal Historical Society of Victoria Bayside Corporate Centre, Sandringham, Victoria Heritage Hill Museum, Dandenong, Victoria Frankston Arts Centre. Victoria Box Hill Community Arts Centre, Box Hill, Victoria The Eureka Center, Ballarat, Victoria Portland C.E.M.A. Arts Centre, Portland Victoria BOOKINGS ARE NOW AVAILABLE FOR ANY SUITABLE VENUES 
_____________________________________________ BOOKING INFORMATION "A History of Australia in Miniature Portraits" as a touring exhibition, is ideal for galleries, libraries, town halls, community arts centres, theatre or venue foyers, function rooms etc.. The exhibits are toured in 15 individual large "pizza" boxes weighing 12 kilos each measuring 1000 x 800 x 60 mm approximately and in total, occupying less than one cubic meter of cargo space. No special transport arrangements are necessary beyond reasonable due care. Costs: The organization booking the exhibition is responsible for the cost of transport to and from the venue, suitable security arrangements, insurance, publicity and a nominal artists fee which can be negotiated. Please note: This is not a commercial exhibition and the individual works are not for sale. Further Information and bookings: Daryl Wilkinson Ph: (Melbourne) 03 9349 3279 ____________________________________________________________________________________________ Link to Daryl Wilkinson's Performance Coaching,Counselling and Hypnotherapy website: www.stressfree.com.au ____________________________________________________________________________________________ | 