Category Archives: Kathleen O’Connor of Paris

In concert

I love the way artists of different artforms and genres draw inspiration from each other in the creation of new works, adaptations, reinventions, collaborations. Think of the many paintings inspired by Tennyson’s poem (itself drawn from Arthurian legend) ‘The Lady of Shallot’; a print of probably the most famous, by John William Waterhouse, adorns the wall of my studio. My car playlist includes a musical interpretation by Loreena McKennitt. And there is a potent intertextuality, at the levels of direct reference, metaphor and theme, between the poem and one of my favourite novels, Tirra Lirra by the River by Jessica Anderson.

Art, sculpture, dance, music, poetry and film have fed into my own writing in various ways, and I have been thrilled on the occasions when something I have written has influenced the creation of new art by others. The Sinkings, for example, inspired an art installation by South West artist Annette Davis. Film company Factor 30 has optioned the novel for development as a six-part TV series, so it might find its way to the screen someday.

The story ‘Paris bled into the Indian Ocean’ (published in Inherited), inspired by the brilliant impressionist artist Kathleen (Kate) O’Connor, gave its name to a spectacular exhibition of paintings by Fremantle artist Jo Darvall, which in turn, in a circuitous way, led to my work of creative non-fiction, Kathleen O’Connor of Paris.

And now, I’m beyond excited that Perth Symphony Orchestra is staging a concert featuring music reflecting Kate’s life and times, interspersed with extracts from Kathleen O’Connor of Paris and images of Kate’s work.

I can’t help thinking that Kate, so enchanted with artistic culture of all kinds, would love this kind of collaboration.

Art & Music: The Life & Art of Kathleen O’Connor will be presented at the Art Gallery of Western Australia on 30 June and 1 July, 7.30pm. Tickets available here.

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Women’s History Month 2022

It’s Women’s History Month and I’m delighted to see Kate being featured by Fremantle Press, a publishing house that has made a tremendous commitment, over many years, to recognising and celebrating the contributions of women to Australian culture and society.

Kathleen (Kate) O’Connor was a woman ahead of her time. She fought for her right to determine her own future as an artist, leaving conservative Perth and its narrow expectations for women to live and work in Paris in the late Belle Époque era and the bohemian 1920s. She was described in the 1960s as one of the last surviving Australian links to French impressionism, as an Australian European, and as the doyenne of art in Western Australia. Kathleen O’Connor of Paris is my account of her life and times, and of the difficulties of researching and interpreting a woman who refused to be drawn on her personal life.

The image above features, alongside Kate, the stories of:

  • Dame Mary Durack, one of the most successful Australian writers of the twentieth century. Inseparable Elements is the story of her life as seen through the eyes, and portrayed in the witty style, of her daughter Patsy Millett—an unmissable recent release, and a must for anyone interested in the literary culture of the last century
  • artist Nora Heysen, the first female artist to win the Archibald Prize and the first to be appointed an official war artist. There are beautiful reproductions of many of her works in Anne-Louise Willoughby’s fascinating biography Nora Heysen: A Portrait
  • three generations of strong Indigenous women. Sally Morgan’s My Place has become a classic since its publication in 1982, a story of family history, Australian history and the discovery of identity.

These, and the stories of many other women, are featured on Fremantle Press’s Women’s History Month page.

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Remembering…

This week marked the anniversary of the death of Western Australia’s celebrated Engineer-in-Chief, C.Y. O’Connor, on 10 March 1902. O’Connor, exhausted and suffering intolerable stress—much of it caused by vitriolic personal attacks on him in the press—rode his horse into the sea in the early morning and shot himself.

On Wednesday morning, I joined O’Connor’s descendants at the beach that bears his name, as I do every year. It is always an uplifting gathering, in spite of the sadness at the core of the memorial. Flowers are cast onto the water and members of the family carry them out to adorn the bronze horse-and-rider statue (the work of sculptor Tony Jones) anchored to the sea bed 100 metres offshore.

I always bring sunflowers, to honour C.Y.’s artist daughter Kathleen (Kate) O’Connor and the close relationship she had with her father. Brilliant sunflowers worked in oil are among Kate’s most famous paintings, and she painted them obsessively late in life.

This year’s commemoration was made more special, and more poignant, by the presence of four beautiful horses among the swimmers.

As I watched Kate’s sunflowers float away, I also remembered standing in the same place a year ago, on the day the World Health Organisation declared Covid-19 a global pandemic. I think it was only just dawning on me that I wouldn’t be going to Europe in April, as planned, but I had no sense that the world was about to change so dramatically. That people would lose their livelihoods, their homes, their sense of security, their loved ones. That families would be separated, people would be stranded, and the world would become infinitely more uncertain. That well over two million people would die in the next twelve months.

I feel immensely grateful to be here, grateful and hopeful. I hope that ‘this’ is not forever. That the incredible effort put into developing vaccines will bring relief the world over. That what we’ve learned over the past year—new ways of working and communicating, new ways of experiencing the world from afar and looking more closely at our own backyards—will have lasting benefits. And hopeful that we have come far enough in our attitudes towards mental health, over the past one hundred and nineteen years, that people suffering intolerable stress will feel more able to reach out for help.

Lifeline Australia is available 24/7 on 13 11 14

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The Pod Well Travelled: Paris

The West Australian’s travel journalist Will Yeoman recently invited me to talk about my favourite places from travels past.

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In this episode of ‘The Pod Well Travelled’ , I touch on the difference between travelling for research and travelling as a tourist, in the context of my research for Kathleen O’Connor of ParisI also talk about two of my favourite places in Paris: Île Saint-Louis and Marché aux Puces de Saint-Ouen.

My piece starts around the 16-minute mark, but before that you can get some great tips about places to visit in New Zealand as The West’s travel editor, Stephen Scourfield, talks to Nicole Ricksman from Flight Centre.

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Mother’s Day 2020

Mother’s Day is going to be tough this year. Last week I heard Waleed Aly, on The Project, say that the first thing he was going to do when we’re all out of isolation is hug his mother. I know how he feels.

I usually give my mother books for Mother’s Day, anyway, but this year it seems as poignant as it is appealing: the escape that reading offers has become more precious, more important, than ever.

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If you’re also planning to give the gift of escape this Mother’s Day, Fremantle Press is running a special promotion, with 20% off a range of titles (see above) plus free gift-wrapping. There are some wonderful books here, and I’m delighted that Kathleen O’Connor of Paris is among them. To take advantage of the offer, visit this page, use the discount code MD2020, and order before 30 April to ensure your gift arrives on time.

Be well, be safe, and take care, everyone.

 

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Sunflowers on the ripples…

Today was my annual visit to the beach. The one day of the year when, in the early morning, I walk along the shore of the Indian Ocean instead of the footpaths of my own suburb.

I’m carrying a bucket of flowers—roses from my own garden and a clutch of brilliant sunflowers—and up ahead I can see the group of people I’m joining. They are some of the descendants of C.Y. O’Connor, the brilliant engineer who contributed so much to the infant colony/state of Western Australia. And today is the anniversary of O’Connor’s death 118 years ago, when he rode his horse Midnight into the sea—from here, the beach that now bears his name—and took his own life.

I tip my roses into a larger box of offerings.

Not being a swimmer myself, I take photographs, pick up shells, watch the others swim out to the bronze horse-and-rider statue (the work of sculptor Tony Jones) with bunches of bougainvillea in their hands. I’ve given a few sunflowers to one of the swimmers to add to the others now garlanding the bronze.

O’Connor was the father of artist Kathleen O’Connor, and the sunflowers, which she loved and painted again and again throughout her career, honour the strong connection between them.

Wading out a little, I strew bucketfuls of petals, and set two large sunflowers on the wavelets to float away.

Before long there is a ragged trail of blossoms between statue and shore, and another heading north-west into the open sea. It occurs to me that every year, those sunflowers take the lead.

By the time I leave, there is little sign of that floral procession floating to the north-west, but if you squint you can just make out two specks of cadmium on aquamarine. I wonder where the waves will carry them, Kate.

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A window into grief on Anzac Day…

Kathleen O’Connor lived through two world wars, and war profoundly affected her life and her career as an artist. There were also close family losses in both wars—two nephews in the Second World War and a brother in the First.

Kate’s younger brother Corporal Roderick O’Connor was killed in action, aged 36, on 15 April 1917. In peacetime a civil engineer, like his father C.Y. O’Connor, he enlisted in March 1915 and served in the 17th Battalion, C Company, in Egypt and Gallipoli and at the Western Front. Three campaign medals—the 1914–15 Star, the British War Medal and the Victory Medal—honoured his service.

A private who had served with Corporal O’Connor wrote to the family:

He was liked by all and the best pal I had through this dreadful conflict which has broken so many homes throughout the world, still I feel certain the sacrifice will not have been in vain and peace will shortly be with us combined with complete victory over this beastly tyrant.

The letter left me wondering about the conflicting emotions that might have been felt by families bereaved during what H.G. Wells predicted, erroneously, would be ‘the war to end war’. Grief, of course, but did patriotism provide comfort? Did pride hold despair at bay? Was there bitterness towards the military machine that turned young men into wooden crosses and names on rolls of honour?

Kate was in Paris, far from the rest of her family, when she received the news of the death of her one-time tennis partner, Rod. With no surviving letters from that time, I had to look further for clues to her response to his death, and to the war:

A poem dedicated to Roderick, dated the year of his death, survives among Kate’s papers—less an emotional response to the loss of a beloved brother than a romantic tribute to ‘Australia’s Men’. Kate was no poet, but she worked on the lines, and it’s difficult now to determine which is the final version of her several drafts…

I examine each line of the spidery scrawl, and the words speak to me in spite of their awkwardness, their self-conscious striving for rhyme and meter, their emotional lack. Here they are, the traces of Kate’s experience of the war in its fourth year, as casualties climbed and families mourned and she absorbed the blow of loss. Telling is the poem’s glorification of the Australian soldier’s ‘beauty’ and ‘grace’ and ‘light’, the spirit perceived in the ‘hat’s recline’, at the expense of patriotic notions of bravery and militaristic might and the senseless sacrifice that lies behind the Anzac legend. It is people she wants to honour—individuals, men—not the dehumanising forces that marshal them for war. And the men she exalts are victims, not victors. It is the closest she comes to allowing us a window into her grief at the waste of her brother’s life.

Kathleen O’Connor of Paris

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There is no known grave for Corporal Roderick O’Connor, but his name is recorded on the roll of honour at the Villers-Bretonneux Memorial in Picardie, France, as well as on a brass plaque in St George’s Cathedral, Perth, Western Australia.

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Seagulls, stories and sunflowers…

Every year on 10 March, descendants of C.Y. O’Connor, along with friends and sundry stragglers like me, gather at the beach named after him to honour the memory of Western Australia’s Engineer-in-Chief, whose visionary schemes helped to transform the colony.

On this day in 1902, The Chief—overworked and exhausted, harassed and reviled by the press, trapped in a volatile political environment—rode his horse along this beach one last time.

But today’s early-morning gathering is no sombre affair. There are conversations and stories. Laughter. Lolloping dogs. Children and irreverent seagulls. Buckets of flower petals to be strewn on the waves and carried out by swimmers to the bronze memorial statue, by sculptor Tony Jones, a hundred metres offshore.

I have brought sunflowers, for Kate—large as dinner-plates and the brilliant cadmium yellow she loved—and as I fly one like a frisbee into the Indian Ocean I hope it will travel far…

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Researching an artist: a few favourite resources

Research played a major role in the creation of Kathleen O’Connor of Paris, and I learned a lot in the process. I had to. Narrative non-fiction is a new genre for me, and I knew I would need to be working from a strong foundation.

I also had a subject whose long life was lived in many places, and whose career would have to be examined from different perspectives.

Here are some of the resources I found particularly valuable.

Specialist art libraries
During the course of my research, I had the opportunity to visit the library of the Art Gallery of Western Australia; the National Art Library in the Victoria and Albert Museum, the Tate Gallery Library and the Courtauld Institute Library in London; and the Musée des Arts Décoratifs in Paris. The collections of these wonderful institutions include materials such as exhibition catalogues, collections of press cuttings, obscure recordings and publications, regional registers, dictionaries of artists—and probably many other things, but these are the ones I accessed.

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Online archives
What would researchers in Australia do without Trove, the National Library of Australia’s searchable digital collection of Australian newspapers from 1803 to 1955? Thanks to Trove, along with the propensity of local nineteenth-century/early twentieth-century newspapers to report in great detail on just about every event that happened in the colony, I was able to get a sense of Kate’s adolescent years in Perth and Fremantle. Gallica, the online library of the Bibliothèque Nationale de France, was another source I used for locating press articles and reviews, although it is not a comprehensive collection of the national library’s resources.

Pay-for-view databases
I found it a sound investment to pay for a month’s subscription to ancestry.com in order to track genealogical resources relating to Kate and others. Similarly, a month’s subscription to an art auction database gave me access to several decades of auction sales, and to works of Kate’s I had not seen anywhere else.

‘Can you help?’
I placed a paragraph in this weekly column in the West Australian newspaper, asking for information from anyone who had known Kate or held her artwork. Although responses were few, each one of them was a gem—some wonderful anecdotes from a (then) young man who used to deliver art supplies to Kate; an artwork whose whereabouts I had not known of; a photograph of Kate that made me smile; contact from a family member; some details about the buying and selling of a much-loved painting.

Artworks
I’ve saved the best for last. I made a point of viewing as many of Kate’s artworks as I could locate during the course of researching her life, and the experience of seeing them up close was nothing short of thrilling. And I discovered something I had not known before: that the back of a painting—or at least of Kate’s paintings—has its own story to tell, in the form of inscriptions; old labels recording dates, prices, addresses, titles; exhibition history; sketches; even other works. The privilege of viewing these works in galleries, offices, store-rooms, vaults and private homes will stay with me as one of the most rewarding experiences of my writing life.

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Skygazing, Paris…

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(More of these on Instagram #kathleenoconnorofparis—but this one is my favourite!)

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