Artist's Notes; The Battle of Lone Pine
When presented with the Lone Pine project my awareness of the
specific campaign was limited. Ironically, my first impressions
of the battle were drawn from the fantastic dioramas on display
at the Australian War Memorial, Canberra. I vividly recall visiting
the Memorial as a child and being completely in awe of the superb
miniature models. There was a certain wonderment derived from
viewing a small snapshot of history and being drawn into the sense
of emotion experienced by those who fought during conflict. Most
notably I was fascinated with the scene depicting Australian troops
fighting an unseen Turkish force in underground trenches at Lone
Pine, Gallipoli. As a child, it was impossible to understand the
full consequences of war, however, the miniature battle conveyed
all the fear, adrenalin, terror and bravery one could only imagine
Australian and Turkish soldiers experienced during hand to hand
combat.
It soon became apparent during project planning that the diorama
was a highly regarded representation of Lone Pine in terms of
known accuracy and campaign detail. I was keen to draw parallels
with the model as much as possible and did indeed reference some
of the figures within the painting. This was important due to
the lack of existing photographic material surrounding the opening
battle. Painting historically accurate representations requires
a large amount of detail and for this particular work I was fortunate
to have assistance and guidance from Brig. Chris Roberts AM, CSC
(Rtd). During correspondence there emerged some key factors that
needed to be incorporated into the painting including - the distinctive
white patches and armbands worn by Australians, unique Turkish
trench system, time of attack and terrain. Each of these became
determining factors for the overall composition and look of the
painting and ultimately helped decide the depicted angle and viewpoint.
The Gallipoli campaign and the facts surrounding the ANZAC landing
in April 1915 highlight the incredibly difficult topography including
sheer cliff faces and impenetrable ridges. Period photos that
do exist suggest Lone Pine was, in contrast, a flat plateau with
few distinguishing features. This is not always ideal when attempting
to create a dramatic scene and one of the challenges was to draw
more interest from the flat environment. Fortunately the low dusk-sun
helped to cast dramatic shadows across the scene and it was also
possible to include foliage and undulating sections of landscape.
Similarly, one of the key identifying features from the initial
skirmish was the supremely fortified Turkish frontline trench.
As represented in the Memorial model, these were buried defences
with a strong, log roof structure and covered completely under
a thick layer of earth. With the trenches well camouflaged I was
directed to find a way to represent this distinctive feature without
making it appear overly obvious. By all accounts the Australians
were caught completely by surprise and could only gain access
to the trenches via any areas damaged by artillery fire. These
latter actions provided the necessary visual key for showing some
portion of the covered dugouts. Another source for inspiration
was "The taking of Lone Pine" by artist Fred Leist who
depicted several troops straining to shift some of the structure.
I incorporated a similar action into the painting as homage to
Leist's portrayal. For additional drama it was also possible to
include a menacing line of Turkish rifles protruding from the
narrow defensive slits.
It is not possible to explain my painting process without mentioning
a few key influences. In recent times my own painting has been
far more contemporary in style with a very clean and crisp realist
approach. For the Lone Pine painting it was necessary to re-adopt
a style and technique closer to that of my detailed aviation subject
matter, while also balancing this with the more open approach
of landscape painting. I also sought a lot of guidance from the
works of former, and much admired war artists, such as George
Lambert and Harold Septimus Power as well as contemporary military
artists like Barry Spicer. However, above all others, there is
Ivor Hele. His works captured an inherent fluidity, emotion and
movement that avoided glorification of war and in my opinion are
some of the most honest depictions of human conflict.
I can only hope that my painting of the Lone Pine attack is a
requiem to those who served or fell during the battle while providing
a sense of combat devoid of over sentimentality.
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