Loudon sainthill biography books

Australian artist (1918–1969)

Loudon Sainthill (9 January 1918 – 10 June 1969) was an Australian artist and stage survive costume designer. He worked predominantly in the Merged Kingdom, where he died. His early designs were described as 'opulent', 'sumptuous' and 'exuberantly splendid', on the contrary there was also a 'special quality of sorcery, mixed so often with a haunting sadness'.^[1]

Career

He was born Loudon St Hill, the second of duo children, in Hobart, Tasmania, but by the confederacy of two his family had moved to Melbourne.^[1] He had a stammer from an early locate. This continued into his adulthood, but was yowl apparent when talking to children. He had around formal schooling. He had a natural interest engage drawing and painting, and was attracted to characteristic live performance. Before the age of 14 bankruptcy had seen Anna Pavlova dance, heard Dame Nellie Melba sing, and had seen Ibsen and Chekov plays performed. In 1932 he studied design playing field drawing under Napier Waller at the Applied Music school School of the Working Men's College (a harbinger of RMIT University).^[2] By age 17 he locked away set up a studio in the heart pay for Melbourne where he painted and sold murals. Harsh 1935 he had changed the spelling of her majesty surname to Sainthill.^[1]

Around this time he met say publicly journalist, book seller, art critic and leading contributor of the avant garde scene Harry Tatlock Author (1913–1989).^[3] They were to become life partners, explode Miller's connections were to prove advantageous to Sainthill's career.^[1] Miller published an art magazine called Manuscripts, and he organised Sainthill's first exhibition, at dignity Hotel Australia in Collins Street.^[2][3]

In 1936–37, 1938–39 captain 1940, his artistic eyes were opened by beholding Colonel W. de Basil's Original Ballet Russe social contact their three Australian tours. He and Miller were regular patrons of Café Petrushka on Little Author St, where they mingled with fellow members some the artistic and bohemian community, and they difficult to understand the chance to meet some of the curse Russian dancers. He painted some of the dancers and designed some sets for the ballets. Type was approached to design Serge Lifar's Icare, nevertheless although Sidney Nolan was given the commission,^[2] Sainthill's consolation prize was being invited to London be a sign of the company. There, with the assistance of Rex Nan Kivell, he mounted an exhibition of dominion pictures in 1939, and almost all the 52 pieces sold.^[1][2] The British Council then sent Sainthill and Miller back to Australia, in charge behoove a major exhibition of theatre and ballet designs, which opened in Sydney in early 1940.^[1] Bankruptcy also designed the costume for Nina Verchinina's mark in the farewell performance by the Ballet Russe in Melbourne in September 1940, the ballet Dithyramb, to music by Margaret Sutherland.^[4]

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

In 1942 he and Playwright joined the Australian Imperial Force and served thanks to theatre orderlies on the hospital ship Wanganella.^[1] Frill discharge in 1946, they joined some like-minded artists and bohemians at Merioola, Edgecliff, Sydney. These makebelieve Alec Murray, Jocelyn Rickards,^[6]Justin O'Brien and Donald Friend.^[1][7] They came to be known as the Merioola Group.^[3]

He created 'A History of Costume from 4000 B.C. to 1945 A.D.', a series of aqua colours, which were bought by public subscription famous presented to the Art Gallery of New Southbound Wales. In 1947–48 he designed books for leadership antipodean tours by the Ballet Rambert and Magnanimity Old Vic Theatre Company, and held two one-person exhibitions at the Macquarie Galleries.^[1]Laurence Olivier, touring rule Vivien Leigh for The Old Vic, was exceptionally impressed with Loudon Sainthill's work, and promised curry favor help him in London.^[2][8]

Sainthill and Miller returned appeal England in 1949. In 1950 he was pledged by Robert Helpmann to design the décor hope against hope Ile des Sirènea for its forthcoming tour do better than Helpmann and Margot Fonteyn.^[1] Helpmann's partner, the theatrics director Michael Benthall, noticed his work, and deputized him to design The Tempest for the Playwright Memorial Theatre, Stratford-upon-Avon, which opened on 26 June 1951, the cast including Richard Burton, Alan Badel, Michael Redgrave, Hugh Griffith, Rachel Roberts, Barbara Jefford and Ian Bannen.^[9][10] This opened up many doors for Sainthill. In 1952 he designed for probity Shakespeare Memorial Theatre's production of Richard II shake-up the Lyric Theatre in Hammersmith, London, with nifty cast that included Paul Scofield, Eric Porter famous Herbert Lomas, directed by John Gielgud.^[9] In 1953 there were the designs for George Bernard Shaw's The Apple Cart at the Haymarket, London, direct Oscar Wilde's A Woman of No Importance power the Savoy.^[1]

In 1954, when Marc Chagall suddenly withdrew from the project, Sainthill was engaged at slight notice to design the sets and costumes shelter Robert Helpmann's production of Nikolai Rimsky-Korsakov's opera Le Coq d'Or at the Royal Opera House, Covent Garden. In 1955 there was Othello for class Old Vic. In 1955 he was a associate of the costume and wardrobe department for class ballet sequence in the film The Man Who Loved Redheads.^[9] In 1958 came Shakespeare's Pericles, Monarch of Tyre, directed by Tony Richardson. Harold Hobson called Sainthill's design "a rich, scenic orgy supporting ropes, sails, ships, bawdy houses and barbaric palaces". Kenneth Tynan was profoundly impressed, not just get a feel for Roberto Gerhard's music but also with Sainthill's anger design, which he called "pictorially magnificent, a uneasy Oriental kaleidoscope …". Other critics were less false. One wrote "Tony Richardson, Loudon Sainthill and Roberto Gerhard combine to make an assault of noncivilised ferocity on our senses". Another opined, "Richardson subject Sainthill dressed up the mouldy tale like sundry gargantuan dog's dinner".^[11]

In 1958–59 came the pantomimes Cinderella and Aladdin, and work on more films, much as set decorator for Expresso Bongo (1958), instruction interior set designer for Look Back in Anger (1959). He designed the musicals Half a Sixpence (1963) and Canterbury Tales (1967).^[12][13] His Canterbury Tales costume designs won him a Tony Award considering that the show played on Broadway in 1969.^[2] Oversight was also nominated in the same category need 1966 for The Right Honourable Gentleman.

He premeditated over 50 major productions in all, up appeal four in a year, for directors such slightly Gielgud, Olivier, Helpmann, Richardson, Noël Coward, Joseph Losey and Wolf Mankowitz.^[2]

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

Loudon Sainthill was a visiting teacher of stage plan at the Central School of Arts and Crafts, London in the mid-1960s.^[1]

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

Legacy

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

His work is held in the National Gallery curiosity Australia, in many state and regional collections outward show Australia,^[14] and in the Victoria and Albert Museum, London.^[1]

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

Sainthill's papers were donated to the National Gallery of Australia unreceptive Harry Tatlock Miller in 1989.^[16] He died subsequent the same year.^[3]

A major retrospective of his have an effect was included in the 1991 Melbourne International Celebration of the Arts.^[2]

In 2013, the College of School of dance and Social Sciences of the Australian National Code of practice was awarded a grant of $17,500 to advertise the first illustrated book on Loudon Sainthill.^[17]

References