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Adrian Feint
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Adrian Feint
Adrian George Feint (28 June 1894 – 25 April 1971) was an Australian artist. He worked in various media, and is noted for his bookplate designs.
Feint was born in Narrandera, New South Wales. He studied at Sydney Art School from 1911 under Julian Ashton and Elioth Gruner. Enlisting at age twenty one with the Australian Imperial Forces, Feint embarked for France on 17 September 1916 from Sydney aboard HMAT Borda A30. He served with the rank of Private with the 15th Australian Field Ambulance and on 8 September 1918 he was given an official Recommendation for his service. Before being demobbed in 1919, he was granted three months leave to study at the Académie Julien in Paris. He studied plate etching from 1922 to 1926; woodblock-engraving from 1926 to 1928, with assistance from Thea Proctor in 1927; and oil painting beginning in 1938, with Margaret Preston. That year he joined and exhibited with Robert Menzies' anti-modernist foundation, the Australian Academy of Art, of which Proctor and Preston were also members.
He was co-director (with bookbinder Wal Taylor) and manager of Grosvenor Gallery, 219 George Street Sydney, from 1924 to 1928. Exhibitors included the now-famous Thea Proctor, Elioth Gruner, Margaret Preston, Roland Wakelin, Roy De Maistre and George Washington Lambert.
He was employed as assistant editor (to Sydney Ure Smith) of Art in Australia from 1928 to 1940, contributing many cover illustrations to this and filling many commissions for his advertising agency Smith and Julius. Between 1927 and 1939, Feint made 18 covers for Ure Smith's magazine The Home, including the famous illustration on the October 1928 issue in collaboration with Hera Roberts.
He abandoned graphic arts around 1939 (he reworked one bookplate in 1944) to work as a bookbinder with Benjamin Waite and to illustrate limited edition books.
In 1939 an exhibition of Feint's oil paintings and sketches at the Grosvenor Galleries introduced a new phase in his artistic career, from woodcuts and drawings to oils. A newspaper review of the time referred to the imaginative depiction of hibiscus and lantana, the overwhelming opulence of colour, "saved from coarseness by the exquisite delicacy of the textures".
In the same year Feint was selected to paint a large mural for the Australian Pavilion at the New Zealand Centennial Exhibition in Wellington. Feint produced his design of Australian birds, accompanied by other prominent artists Frank Hinder, Douglas Annand, and William Dobell.
Feint's still life and landscapes, painted in the English decorative style, received critical acclaim through the 1940s and 1950s. This creativity was brought into focus with Adrian Feint: flower paintings, edited and published by Sydney Ure Smith in 1948. Galleries across Australia hold examples of Feint's work, including many still life flower paintings produced during these decades. The Art Gallery of New South Wales holds forty five of his works, including almost surreal paintings of flowers with hand-made objects. Flowers in Sunlight is such a work. A contemporary of Feint, the artist Douglas Dundas described his works as 'flower arrangements, meticulously designed, superbly painted, and set in a related environment of time and space'.
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Adrian Feint
Adrian George Feint (28 June 1894 – 25 April 1971) was an Australian artist. He worked in various media, and is noted for his bookplate designs.
Feint was born in Narrandera, New South Wales. He studied at Sydney Art School from 1911 under Julian Ashton and Elioth Gruner. Enlisting at age twenty one with the Australian Imperial Forces, Feint embarked for France on 17 September 1916 from Sydney aboard HMAT Borda A30. He served with the rank of Private with the 15th Australian Field Ambulance and on 8 September 1918 he was given an official Recommendation for his service. Before being demobbed in 1919, he was granted three months leave to study at the Académie Julien in Paris. He studied plate etching from 1922 to 1926; woodblock-engraving from 1926 to 1928, with assistance from Thea Proctor in 1927; and oil painting beginning in 1938, with Margaret Preston. That year he joined and exhibited with Robert Menzies' anti-modernist foundation, the Australian Academy of Art, of which Proctor and Preston were also members.
He was co-director (with bookbinder Wal Taylor) and manager of Grosvenor Gallery, 219 George Street Sydney, from 1924 to 1928. Exhibitors included the now-famous Thea Proctor, Elioth Gruner, Margaret Preston, Roland Wakelin, Roy De Maistre and George Washington Lambert.
He was employed as assistant editor (to Sydney Ure Smith) of Art in Australia from 1928 to 1940, contributing many cover illustrations to this and filling many commissions for his advertising agency Smith and Julius. Between 1927 and 1939, Feint made 18 covers for Ure Smith's magazine The Home, including the famous illustration on the October 1928 issue in collaboration with Hera Roberts.
He abandoned graphic arts around 1939 (he reworked one bookplate in 1944) to work as a bookbinder with Benjamin Waite and to illustrate limited edition books.
In 1939 an exhibition of Feint's oil paintings and sketches at the Grosvenor Galleries introduced a new phase in his artistic career, from woodcuts and drawings to oils. A newspaper review of the time referred to the imaginative depiction of hibiscus and lantana, the overwhelming opulence of colour, "saved from coarseness by the exquisite delicacy of the textures".
In the same year Feint was selected to paint a large mural for the Australian Pavilion at the New Zealand Centennial Exhibition in Wellington. Feint produced his design of Australian birds, accompanied by other prominent artists Frank Hinder, Douglas Annand, and William Dobell.
Feint's still life and landscapes, painted in the English decorative style, received critical acclaim through the 1940s and 1950s. This creativity was brought into focus with Adrian Feint: flower paintings, edited and published by Sydney Ure Smith in 1948. Galleries across Australia hold examples of Feint's work, including many still life flower paintings produced during these decades. The Art Gallery of New South Wales holds forty five of his works, including almost surreal paintings of flowers with hand-made objects. Flowers in Sunlight is such a work. A contemporary of Feint, the artist Douglas Dundas described his works as 'flower arrangements, meticulously designed, superbly painted, and set in a related environment of time and space'.