Page 28 - Art Almanac (February 2020)

skeletons, pays homage to the beauty and fertility of nature and the cycle of life and death. While
Rupert Bunny’s (1864-1947) Sea Idyllic (c. 1891), a chimerical painting of mermaids and merman
frolicking on seaweed-salted shores, draws us into the seas mythical realm.

Tim Storrier’s At sea (for Pamela) (2018), Judith van Heeren’s 6HD JDUGHQ ZLWK SLQN VHD DQHQRPH
(2016) and Sea garden with volcano (2017) paintings, and Anne Zahalka’s 6HD %LUG &RORQ\
$GPLUDOW\ 5RFNV ZLWK WXUEXOHQW VHDV /RUG +RZH ,VODQG (2019) are also impactful.G

‘Sublime Sea: Rapture and Reality’ perfectly illustrates the physical, natural and emotional power
of the sea as well as serving to remind us of the human role in climate change.

Mornington Peninsula Regional Gallery
Until 23 February, 2020
Victoria

James Gillray, 7KH 1DQF\ 3DFNHW, 1784, printing ink on paper, 42.5 x 52.2cm
Australian National Maritime Museum Collection
Purchased with the USA Bicentennial Gift Funds
Courtesy Australian National Maritime Museum, Sydney and Mornington Peninsula Regional Gallery, Victoria
Todd McMillan, By the sea VLQJOH FKDQQHO GLJLWDO YLGHR WUDQVIHUUHG IURP PP íOP FRORXU VLOHQW PLQ V
Museum of Contemporary Art, Sydney
Purchased with funds provided by the Coe and Mordant families, 2006
Courtesy the artist, Museum of Contemporary Art, Sydney and Mornington Peninsula Regional Gallery, Victoria
Dale Chihuly, Violet macchia set with teal lip wraps, 1992, blown glass, 13 shell forms, 40.5 x 94 x 86.3cm, largest shell
Museum of Applied Arts and Sciences, Sydney. Purchased 1993
Courtesy the artist and Mornington Peninsula Regional Gallery, Victoria
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