All Clara Southern's oil paintings
ID Image  Oil Pantings, Sorted from A to Z     Other Information
32764  
Clara Southern, An old bee farm
  		An old bee farm mk80 c.1900 Oil on canvas 69.1x112.4cm
42156  
Clara Southern, Landscape with cottage
  		Landscape with cottage mk167 c.1900 Oil
79399  
Clara Southern, Landscape with Cottage
  		Landscape with Cottage Landscape with Cottage, painting, oil on canvas, 34.4 x 21.7 cm, by Clara Southern Date circa 1900 cjr
82344  
Clara Southern, Landscape with Cottage
  		Landscape with Cottage oil on canvas, 34.4 x 21.7 cm, by Clara Southern Date circa 1900 cyf
79398  
Clara Southern, The Back of the Barn
  		The Back of the Barn The Back of the Barn, painting, oil on canvas, 46.5 x 30.5 cm, by Clara Southern cjr
82343  
Clara Southern, The Back of the Barn
  		The Back of the Barn oil on canvas, 46.5 x 30.5 cm, by Clara Southern cyf
79302  
Clara Southern, The Road to Warrandyte
  		The Road to Warrandyte The Road to Warrandyte, painting, oil on canvas on board, 49.5 x 96.0 cm, by Clara Southern Date circa 1905-1910 cjr
82320  
Clara Southern, The Road to Warrandyte
  		The Road to Warrandyte painting, oil on canvas on board, 49.5 x 96.0 cm, by Clara Southern Date circa 1905-1910 cyf
75554  
Clara Southern, The Yarra at Warrandyte
  		The Yarra at Warrandyte The Yarra at Warrandyte (oil on canvas on board, 64.5 x 34.0 cm) by Clara Southern (1861-1940). cjr
77403  
Clara Southern, Yarra at Warrandyte
  		Yarra at Warrandyte oil on canvas on board, 64.5 x 34.0 cm) by Clara Southern cyf
Clara Southern
Australian artist, 1860-1940 Australian painter. One of the first generation of progressive, professionally educated Australian women artists, she began her training as a pupil of Mme Mouchette, painter, schoolmistress and founder of the Alliance Fran?aise in Melbourne; and later took lessons from Walter Withers. As a student at the National Gallery of Victoria (1883-7) she was nicknamed 'Panther' for her lithe beauty. From mid-1888 she shared a teaching studio with Jane Sutherland in the new purpose-built Grosvenor Chambers, where Tom Roberts was a neighbour. She had 'caught the "Impressionist" fever', reported Table Talk (2 Aug 1889), and showed 'a great variety of charming little sketches, which however are not intended for exhibition'. She showed with the Victorian Artists' Society (1889-1917): mainly subjects around Kyneton and Melbourne's outer suburbs, painted in the fresh, quasi-Impressionist style characteristic of the Heidelberg school.



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