Uncle Barak was born in to Bebejan, a Ngurungaeta, and Tooterie at Brushy Creek in the Yarra Valley, now known as Wonga Park. Uncle Barak spent most of his life at Coranderrk and was devoted to its cause. He was known as a man who was highly intelligent, charismatic and mild mannered.
Uncle Barak was a skilled artist, creating many paintings reflecting his Wurundjeri culture while at Coranderrk. Uncle Barak was a strong leader and advocate for his people – often successfully negotiating and building relationships between Wurundjeri people and Europeans.
Uncle Barak succeeded his cousin Uncle Simon Wonga as Ngurungaeta of the clan in and his diplomacy earned him genuine respect and support from white colonists.
Image: William Barak, circa The State Library of Victoria.
After becoming Ngurungaeta, Uncle Barak’s leadership was put to the test when Coranderrk came under threat of closure. The Protection Board was under pressure to subdivide the land and shift residents away from their homes to a remote spot on the Murray River. This was strongly opposed by the residents of Coranderrk. Uncle Barak also led a large group of people on a walk to Pa
A painting by Wurundjeri artist William Barak was auctioned last week for A$, This set a new record for the 19th century artist, diplomat and leader. (His work had previously reached A$, at auction in ).
The auction by Bonhams of the artwork called Ceremony took place in Sydney on 7 June, and the buyer remains anonymous. The previously unknown piece had remained in the family of English craftsman Frank Piggott Webb for over years.
As one of only a few 19th century Aboriginal artists, each piece of Barak’s artwork holds incredible significance for Aboriginal people in Victoria today.
Before it was sold, a group of Barak’s descendants from the Wurundjeri Council had crowdsourced donations in the hope of purchasing Ceremony. They did not manage to raise the required amount and are said to be “shattered” by the auction result. Said Wurundjeri Elder Annette Xiberras:
That painting there showed you how we painted ourselves, it showed you the clothes we wore, it showed possum skin drums. How many people knew our women played possum skin drums? It was so important the stories there. It’s just another little bit of my culture, another little bit of my people that someone has taken
THE ART BOG
William Arthur Breakspeare () was an English painter known for his contributions to the world of Victorian art, particularly in the genre of genre painting, which depicts aspects of everyday life with a focus on the domestic and the sentimental. Born into a period of rich artistic activity in Britain, Breakspeare managed to carve out a niche for himself with his delicate and refined approach to painting, which often explored themes of beauty, leisure, and the idyllic aspects of rural life.
Though not as widely recognized today as some of his contemporaries, Breakspeare&#;s work is emblematic of the Victorian era&#;s aesthetic sensibilities and cultural preoccupations. He was particularly adept at capturing the nuances of light and shade, which added a layer of depth and emotion to his scenes of Victorian leisure and domesticity. His subjects, often women and children, are portrayed with a sensitivity and an attention to detail that speak to his skill as a draftsman and his understanding of human emotion and form.
Breakspeare received his artistic training at the Birmingham School of Art, an institution known for its emphasis on the principles of design and
Breakspeare RBA RBSA ROI, William Arthur ()
William Arthur Breakspeare was a distinguished British painter of figures, genre scenes and portraits. Hailing from Birmingham, his cunning observational humour became a trademark characteristic of his finely rendered works.
From an early age, young Breakspeare was surrounded by creative endeavour. His father, John Breakspeare, was employed as a ‘japanner’, which involved applying a Japanese-style finish to furniture or metalwork. Undoubtedly, he helped his son to develop a keen eye for detail and hone his draughtsmanship.
During his formal education, he received numerous awards, including at least two national prizes for life studies. These were impressive achievements and indicated his emerging talent for drawing. A work from , ‘Waiting For Her Lover’ demonstrates his advanced handling of posture and colour. It depicts a young continental lady resting her left elbow on a mossy bank at the edge of a wood while gazing wistfully into the yonder. She’s been there for an eternity and her expression speaks of quiet resignation. It’s rendered finely akin to a tale of exalted romance yet carries a sharp wit. The edges are softened, yet th
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