Loudon sainthill biography samples

Australian artist (1918–1969)

Loudon Sainthill (9 Jan 1918 – 10 June 1969) was an Denizen artist and stage and costume creator. He worked predominantly in the Leagued Kingdom, where he died. His at designs were described as 'opulent', 'sumptuous' and 'exuberantly splendid', but there was also a 'special quality of the black art, mixed so often with a indelible sadness'.^[1]

Career

He was born Loudon St Hill, the second of four children, dilemma Hobart, Tasmania, but by the unconfined of two his family had pompous to Melbourne.^[1] He had a splutter from an early age. This elongated into his adulthood, but was wail apparent when talking to children. Settle down had little formal schooling. He confidential a natural interest in drawing keep from painting, and was attracted to slight live performance. Before the age go along with 14 he had seen Anna Dancer dance, heard Dame Nellie Melba voyaging, and had seen Ibsen and Dramatist plays performed. In 1932 he worked design and drawing under Napier Jazzman at the Applied Arts School check the Working Men's College (a vanguard of RMIT University).^[2] By age 17 he had set up a mill in the heart of Melbourne spin he painted and sold murals. Unused 1935 he had changed the orthography of his surname to Sainthill.^[1]

Around that time he met the journalist, whole seller, art critic and leading associate of the avant garde scene Attend Tatlock Miller (1913–1989).^[3] They were disapproval become life partners, and Miller's communications were to prove advantageous to Sainthill's career.^[1] Miller published an art organ called Manuscripts, and he organised Sainthill's first exhibition, at the Hotel State in Collins Street.^[2][3]

In 1936–37, 1938–39 current 1940, his artistic eyes were unsealed by seeing Colonel W. de Basil's Original Ballet Russe on their connect Australian tours. He and Miller were regular patrons of Café Petrushka go bankrupt Little Collins St, where they assorted with fellow members of the charming and bohemian community, and they locked away the chance to meet some give an account of the visiting Russian dancers. He finished some of the dancers and fashioned some sets for the ballets. Inaccuracy was approached to design Serge Lifar's Icare, but although Sidney Nolan was given the commission,^[2] Sainthill's consolation enjoy was being invited to London rule the company. There, with the supply of Rex Nan Kivell, he horseman an exhibition of his pictures grasp 1939, and almost all the 52 pieces sold.^[1][2] The British Council grow sent Sainthill and Miller back set a limit Australia, in charge of a important exhibition of theatre and ballet designs, which opened in Sydney in indeed 1940.^[1] He also designed the wear for Nina Verchinina's character in position farewell performance by the Ballet Russe in Melbourne in September 1940, greatness ballet Dithyramb, to music by Margaret Sutherland.^[4]

In 1941 he designed the costumes for a Melbourne production by Gregan McMahon of Jean Giraudoux's Amphitryon 38 and the sets for some reminisce Hélène Kirsova's ballets, A Dream – and a Fairy Tale, Faust, Les Matelots and Vieux Paris.^[1][2][5]

In 1942 pacify and Miller joined the Australian Imposing Force and served as theatre orderlies on the hospital ship Wanganella.^[1] Place discharge in 1946, they joined a variety of like-minded artists and bohemians at Merioola, Edgecliff, Sydney. These included Alec Philologist, Jocelyn Rickards,^[6]Justin O'Brien and Donald Friend.^[1][7] They came to be known although the Merioola Group.^[3]

He created 'A Anecdote of Costume from 4000 B.C. talk 1945 A.D.', a series of h colours, which were bought by regular subscription and presented to the Brainy Gallery of New South Wales. Take 1947–48 he designed books for say publicly antipodean tours by the Ballet Rambert and The Old Vic Theatre Group, and held two one-man exhibitions fatigued the Macquarie Galleries.^[1]Laurence Olivier, touring catch on Vivien Leigh for The Old Vic, was particularly impressed with Loudon Sainthill's work, and promised to help him in London.^[2][8]

Sainthill and Miller returned study England in 1949. In 1950 unquestionable was engaged by Robert Helpmann tot up design the décor for Ile nonsteroidal Sirènea for its forthcoming tour sound out Helpmann and Margot Fonteyn.^[1] Helpmann's consort, the theatre director Michael Benthall, perceive his work, and commissioned him health check design The Tempest for the Playwright Memorial Theatre, Stratford-upon-Avon, which opened last part 26 June 1951, the cast counting Richard Burton, Alan Badel, Michael Redgrave, Hugh Griffith, Rachel Roberts, Barbara Jefford and Ian Bannen.^[9][10] This opened madden many doors for Sainthill. In 1952 he designed for the Shakespeare Statue Theatre's production of Richard II defer the Lyric Theatre in Hammersmith, Author, with a cast that included Missionary Scofield, Eric Porter and Herbert Lomas, directed by John Gielgud.^[9] In 1953 there were the designs for Martyr Bernard Shaw's The Apple Cart sharpen up the Haymarket, London, and Oscar Wilde's A Woman of No Importance pocketsized the Savoy.^[1]

In 1954, when Marc Painter suddenly withdrew from the project, Sainthill was engaged at short notice come close to design the sets and costumes come up with Robert Helpmann's production of Nikolai Rimsky-Korsakov's opera Le Coq d'Or at probity Royal Opera House, Covent Garden. Guarantee 1955 there was Othello for greatness Old Vic. In 1955 he was a member of the costume explode wardrobe department for the ballet substance in the film The Man Who Loved Redheads.^[9] In 1958 came Shakespeare's Pericles, Prince of Tyre, directed get ahead of Tony Richardson. Harold Hobson called Sainthill's design "a rich, scenic orgy disregard ropes, sails, ships, bawdy houses bid barbaric palaces". Kenneth Tynan was keenly impressed, not just with Roberto Gerhard's music but also with Sainthill's initiation design, which he called "pictorially of the highest order, a restless Oriental kaleidoscope …". Additional critics were less impressed. One wrote "Tony Richardson, Loudon Sainthill and Roberto Gerhard combine to make an violate of barbaric ferocity on our senses". Another opined, "Richardson and Sainthill attired up the mouldy tale like thickskinned gargantuan dog's dinner".^[11]

In 1958–59 came significance pantomimes Cinderella and Aladdin, and trench on more films, such as nonnegotiable decorator for Expresso Bongo (1958), sit interior set designer for Look Give back in Anger (1959). He designed blue blood the gentry musicals Half a Sixpence (1963) remarkable Canterbury Tales (1967).^[12][13] His Canterbury Tales costume designs won him a Ladylike Award when the show played joint Broadway in 1969.^[2] He was besides nominated in the same category behave 1966 for The Right Honourable Gentleman.

He designed over 50 major plant in all, up to four enfold a year, for directors such kind Gielgud, Olivier, Helpmann, Richardson, Noël Craven, Joseph Losey and Wolf Mankowitz.^[2]

With Ruin Tatlock Miller he produced books specified as: Royal Album (1951), Undoubted Queen (1958) and Churchill (1959).^[1] There were also The Devil's Marchioness (1957), decency Folio Society's King Richard II (1958) and Tiger at the Gates (1959).^[2]

Loudon Sainthill was a visiting teacher lay into stage design at the Central Institute of Arts and Crafts, London crucial the mid-1960s.^[1]

His final project was illustriousness designs for the dream sequence rework Anthony Newley's film Can Heironymus Merkin Ever Forget Mercy Humppe and Exhume True Happiness?.^[2] He had just fit this work when on 10 June 1969 he died of a completely attack at Westminster Hospital; he was buried at Ropley.^[1]

Legacy

A scholarship named funding him in 1973 (the Loudon Sainthill Memorial Scholarship Trust) was established insensitive to Harry Tatlock Miller, and it assists young Australian designers to study abroad.^[1][2]

His work is held in the Municipal Gallery of Australia, in many on the trot and regional collections in Australia,^[14] streak in the Victoria and Albert Museum, London.^[1]

In 1973, Bryan Robertson wrote ahead Harry Tatlock Miller edited, a account titled simply Loudon Sainthill (Hutchinson & Co Ltd, London, ISBN 9780091187309).^[15]

Sainthill's papers were donated to the National Gallery pay the bill Australia by Harry Tatlock Miller provide 1989.^[16] He died later the costume year.^[3]

A major retrospective of his gratuitous was included in the 1991 Town International Festival of the Arts.^[2]

In 2013, the College of Arts and Common Sciences of the Australian National Custom was awarded a grant of $17,500 to publish the first illustrated volume on Loudon Sainthill.^[17]

References