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An introduction to

An introduction to . John William Lewin. The Night Hawk , 1807. John William Lewin. painter & naturalist. Lewin (1770-1819). 1 st free professional artist in the colony Arrived in Sydney in 1800 (from England)

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An introduction to

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  1. An introduction to John William Lewin The Night Hawk, 1807 John William Lewin painter & naturalist

  2. Lewin (1770-1819) • 1stfree professional artist in the colony • Arrived in Sydney in 1800 (from England) • 1st to print an illustrated book in Australia (Birds of New South Wales 1813) Detail of A view of part of Port Jackson from Dawes's Point Sydney Cove c.1809 George William Evans

  3. Banksia beauty - Bombyx banksiae, 1803 [Common name: banksia moth]

  4. Echidna, 1807

  5. Brush turkey, 1809 Blue Face Honeysucker 1813 [Common name: blue face honeyeater]

  6. Hibiscus, 1802 Crinum peduculatum, 1808 [Swamp Lily]

  7. A view of the River Hawkesbury, N.S.Wales, c.1810

  8. Yango Mungo Y’eyango, 1815

  9. ‘Mr Lewin goes into the woods here, he collects Birds & Insects, he breeds them to come at their real History, he paints them, Engraves them, Prints them, Colours the prints wth Mrs Lewin, and [gives] their history…’ (Lewin’s friend, John Grant 1815)

  10. Over the mountains Lewin went on various expeditions to make art including the Hunter region (1801) and Tahiti (1801-2). He also travelled over the Blue Mountains with Governor Macquarie in 1815, to document new land for farming. I.deah, 1802 On reverse `Mother of the present wife of the late King of Otaheite' Emu Ford, 1815

  11. Lewin’s significance • Recorded what he saw in accurate detail • Included environmental context • Used strong diagonals and more artistic compositions compared to other traditional naturalist work. The ground parrot of New South Wales, c.1809

  12. A Comparison Platypus Anatinus, 1799 George Shaw Platypus, 1810 JW Lewin

  13. ‘Lewin’s powerful formula of careful observation and dynamic composition – which evolved during his life in New South Wales – was his singular achievement.’ (Colonial Art Historian Richard Neville, 2012)

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