JURGIS MIKSEVICIUS In the light of the sun and the shadow of the moon - Bathurst Regional Art Gallery
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JURGIS MIKSEVICIUS In the light of the sun and the shadow of the moon
JURGIS MIKSEVICIUS
In the light of the sun and
the shadow of the moon
Bathurst Regional Art Gallery
11 December 2020 - 7 February 2021
CONTENTS
Foreword 5
Sarah Gurich, Director
Bathurst Regional Art Gallery
Bathurst Migrant Camp 9
In the light of the sun... 23
In the shadow of the moon 39
Exhibitions 54
Selected Bibliography 56
Acknowledgements 60
4 5
FOREWORD
Sarah Gurich
Bathurst Regional Art Gallery and painted the walls of the BRAG thanks Carolyn Leigh for
(BRAG) is pleased to present makeshift kindergarten with so passionately championing
Jurgis Miksevicius: In the light of colourful murals. the work of her father, and the
the sun and the shadow of the Miksevicius was given a studio individuals and institutions who
moon. space and encouraged to paint. have loaned work including the
This exhibition reflects on the art His daughter Carolyn Leigh writes: National Gallery of Australia,
and life of Australian artist Jurgis Canberra, and Manly Art Gallery
It was here, in the Bathurst
Miksevicius (1923 – 2014) with a & Museum, Sydney.
Migrant Camp, that he began to
focus on his connection to the experiment in painting with oils Thanks also to Emma Collerton,
Bathurst region. and trying to come to terms with BRAG Curator, for working with
In 1948, Lithuanian-born the light, the gum trees and the Carolyn to present this important
Miksevicius arrived in Australia. Bathurst landscapes. Essentially, exhibition; Joel Tonks, BRAG
Like many fleeing war-torn it was here in Bathurst that he Curatorial Assistant, for video
Europe for a new life, the began his 70-year career as an editing; and Jo Dicksen, Gallery
25-year-old art student was sent artist in Australia. Administrator for catalogue
to the Bathurst Migrant Camp, a design.
Miksevicius went on to enjoy
reception and training centre for a long career as an artist and BRAG acknowledges the ongoing
European refugees located on teacher. Many of the works on financial support provided by
the outskirts of Bathurst. display were painted during Bathurst Regional Council, Create
Most spent only a few weeks in visits to the region and reveal the NSW, and the Bathurst Regional
the Camp, but Miksevicius’ talents artist’s ongoing connection to Art Gallery Society Inc. (BRAGS).
were soon recognised. Over a Bathurst and its surrounds. Other Sarah Gurich
nine-month period, Miksevicius works chart the artist’s travels Director, Bathurst Regional Art
decorated its recreation hall with and spiritual journey through his Gallery
images of Australian sportsmen distinctly Modernist style. December 2020
6 7
A mural of swimming champion John Marshall (1930-1957)
painted by Jurgis Miksevicius in 1947/48. Image courtesy of the National Gallery of Australia, Canberra
BATHURST MIGRANT CAMP
Lithuanian-born Jurgis who had been an United come to terms with the light,
Miksevicius (1923 – 2014) arrived Nations Relief and Rehabilitation the gum trees and the Bathurst
in Australia aged 25 on the Administrator (UNRRA) relief landscapes. Essentially, it was
SS Charlton Sovereign with officer in Germany, was aware here in Bathurst that he began
725 other Baltic immigrants of Miksevicius’s artistic skills his 70-year career as an artist in
on 29 October 1948. Before and employed him to decorate Australia.
leaving Germany, Miksevicius, the walls of the former army
This exhibition Jurgis Miksevicius:
who trained at a Bauhaus- barracks’ recreation hall with
In the Light of the Sun and
style art school in Darmstadt, caricatures of great Australian
Shadow of the Moon charts
had prepared a series of tiny sportsmen, including swimmer
his development as a painter:
cardboard cards to use for John Marshall, tennis champion
his studies at art school in
sketches and stored them in John Bromwich and golfer
Germany, his early paintings and
a small tin. These pen-and-ink Horace ‘Ossie’ Pickworth. This
murals at the Bathurst Migrant
drawings (located in the National was part of Chifley Government’s
Camp, and concludes with later
Gallery of Australia collection) assimilation policy, which
landscapes and philosophical
include studies of fellow decreed that all migrants should
‘moon’ paintings as examples
passengers, sea birds and views become New Australians.
of the many genres he explored
from the ship. He drew upon Learning English was one
throughout his creative life.
these studies when creating work priority, and learning the ways of
later in life. Australians was another.
Unlike most refugees who Miksevicius was also provided
were transitioned out of the with a studio space and
Bathurst Migrant Camp after a encouraged to paint. It was here,
few weeks, Miksevicius stayed in the Bathurst Migrant Camp,
for about nine months. The that he began to experiment
camp director, William Rees, painting with oils and trying to
8 9
Sketches of Voyage to Australia 1948/49 Journey to Australia
Images courtesy of the National Gallery of Australia, Canberra.
Jurgis Miksevicius departed these cards became his sketch “Gibraltar is a milestone... I see
Bremerhaven, Germany, book and a record of his journey. my life being in 2 parts – the
3 August, 1948, on the SS Miksevicius went back to these one in Europe and the other
Charlton Sovereign. He and sketches over the years and in Australia, which was like
725 other displaced persons used them as references for later a different life altogether, a
were embarking on a journey paintings… Jurgis’s works struck different world…different people,
to Australia. It was a very long me as very being clear eyed, very language, climate, culture… As I
and difficult voyage with several perceptive, and the drawings was painting, I saw very clearly
delays due to engine trouble really comprised very sensitive my journey on the Charlton
- one month in Gibraltar and studies of fellow passengers, Sovereign, which was neither
another 10 days in Sumatra and anatomical studies of sea birds Europe nor Australia. As I
Java. The vessel finally arrived in and animals and these very painted, the journey assumed
Sydney on 29 October 1948 after calmly and lucidly composed of profound clarity. When the
a journey of 86 days. views from the ship.” ship’s engines completely broke
down in a storm in the Atlantic
The route of the voyage was: Elspeth Pitt, Assistant Curator,
Ocean, it was being thrown
Darmstadt, Bremen (Germany); Australian Art, National Gallery
about like a cork, we were all
Portugal, Spain, Huelva, Gibraltar, of Australia, Canberra, speaking
very sick. It was truly different
Port Suez, Suez Canal, Aden, about discovering this tin of
from anything I had experienced
Colombo, Sumatra, Java, Cairns, sketches in a store room in the
before, like the transition
Sydney. Gallery, 3/9/2017.
between death and rebirth. It was
“Before he left Europe, unable to The three-month journey from somehow like someone putting
take much with him, Miksevicius Europe to Australia in 1948 on a stamp on us as a farewell to
cut small cards out of cardboard the SS Charlton Sovereign (“a Europe.”
and stored them in a small tin rust-bucket”) was life-changing.
Jurgis Miksevicius to his daughter
box. Drawing on both sides,
Carolyn Leigh, 2013
10 11
Jurgis Miksevicius in his studio, Bathurst Migrant Camp 1948/49 Still Life with mask and grapes 1947
Photographer unknown. Image courtesy of the National Gallery of Australia, Canberra watercolour on paper. Courtesy of the artist’s estate
Miksevicius studied architecture “This painting is of a Death Mask any oils and had no way to buy
at Darmstadt Technical University of Paul Von Hindenburg. I put them. This was my graduation
and fine arts at Lehrwerkstätten the mask in a window recess in painting and my teacher
der bildenden Kunst, a corridor at art school, folded Professor Paul Thesing told
Künstlerkolonie Darmstadt, some newspapers under his me it was the beginning of my
Germany (Workshops of the Fine head, added some grapes and professional life.”
Arts, Darmstadt Artists’ Colony) painted it there. It is painted in
Jurgis Miksevicius to his daughter
from 1945 to 1948. watercolour because I didn’t have
Carolyn Leigh, 2010
12 13
Bathurst Migrant Camp Photo Album 1947/48
Images courtesy of the National Gallery of Australia, Canberra.
This album, known as the
‘Bathurst Migrant Camp Album’
has photos of drawings, paintings
and caricatures done by Jurgis
Miksevicius at Art School in
Darmstadt, Germany (1945 –
1948). It also includes photos of
murals and paintings he made
while living at the Bathurst
Migrant Camp from 1948-49.
Although the murals would have
been painted in colour, these
black and white photos seem to
be the only existing record.
In this video Jurgis Miksevicius
speaks to his daughter, Carolyn
Leigh, as they turned the
pages of the album together
(2010). Excerpts from other
conversations relating to his
time in Bathurst and his ongoing
practice of painting murals and a
range of surfaces, have also been
included.
The Bathurst Migrant Camp was
closed in 1952 and was later
demolished.
The Album is now in the
collection of the National Gallery
of Australia, Canberra.
14 15
A mural of tennis champion John Bromwich (1918–1999) A mural of professional golfer Horace ‘Ossie’ Pickworth (1918–1969)
painted by Jurgis Miksevicius in 1948/49. Image courtesy of the National Gallery of Australia, Canberra. painted by Jurgis Miksevicius in 1948/49. Image courtesy of the National Gallery of Australia, Canberra.
“I was given photos of great
Australian sportsmen of the day
to paint on the recreation hall
walls. They were intended to be
educational so the new migrants
could become familiar with
these heroes. The names meant
nothing to me.”
Jurgis Miksevicius to his daughter
Carolyn Leigh, 2010
16 17
A mural of fish A mural of sea horses
painted by Jurgis Miksevicius in 1948/49. Image courtesy of the National Gallery of Australia, painted by Jurgis Miksevicius in 1948/49. Image courtesy of the National Gallery of Australia, Canberra
Canberra
“I also decorated the walls of the walls were freshly painted and
kindergarten with murals of fish decorated. Everyone was terribly
and underwater scenes. I was not pleased.”
just doing a job but something
Jurgis Miksevicius to his daughter
worthwhile. They were bleak
Carolyn Leigh, 2010
army barracks and now these
18 19Still life with vase of flowers 1949 Still life with jug, bottle, cup and knife 1955 photograph reproduced from Bathurst Migrant Camp album, location of original oil on canvas board. Collection Manly Art Gallery and Museum. Donated by Helena Miksevicius through painting unknown. Image courtesy of the National Gallery Australia, Canberra the Australian Government’s Cultural Gift Program 2019 20 21
Huts, Bathurst Migrant Camp 1948/49 Hills, Bathurst Migrant Camp 1948/49 photograph reproduced from Bathurst Migrant Camp album, location of original photograph reproduced from Bathurst Migrant Camp album, location of original painting unknown. Image courtesy of the National Gallery of Australia, Canberra painting unknown. Image courtesy of the National Gallery of Australia, Canberra 22 23
Self portrait 1948 Young migrant, Bathurst (Arnolds Mezdreis) 1948
oil on canvas. Courtesy of the artist’s estate oil on canvas. Courtesy of the artist’s estate
This portrait was painted in his Arnolds Mezdreis (born Riga,
studio at the Bathurst Migrant Latvia 1924 - died Melbourne,
Camp within months of arriving Australia, 2004) had a successful
in Australia. career as an architect and artist
in Australia. Miksevicius and
Mezdreis met briefly as fellow
residents in the Bathurst Migrant
Camp, neither of them knowing
what their future would be in
Australia. Mezdreis who had
trained in sculpture and painting
in Latvia, continued his education
at University of NSW studying
architecture.
24 25Landscape, Bathurst Migrant Camp 1948/49
photograph reproduced from Bathurst Migrant Camp album, location of original painting
unknown. Image courtesy of the National Gallery of Australia, Canberra
IN THE LIGHT OF THE SUN...
In 1949, Miksevicius was Miksevicius later recalled: “I was and historical Buddhist and
transferred from the Bathurst young… when I came to a strange Hindu sites as well as galleries
Migrant Camp to Canberra to land, a different environment, and museums. His interest was
complete his compulsory two- different landscapes. There both personal and to further
year government labour contract. was a challenge to do justice his knowledge of Indian art
He later moved to Sydney, gained to it through my painting… All and architecture which he was
a teaching diploma from the concepts of colour which applied teaching as part of the HSC
Sydney Teachers’ College in in Europe were invalid here. My Indian Art curriculum. He made
1961 and held the position of Art early career in Australia was two further visits to India with his
Master at Sydney’s Asquith Girls’ coming to terms with colour and wife in 1982 and 1987. During his
High School for 11 years. During exploring the formal elements of travels he filled 15 sketchbooks
this period, he maintained his painting. After that everything that provided impetus for the
arts practice. gravitated towards colour for works on display in this room.
colour’s sake.”
Through his wife, Elva, and her
family (Dr Noel and Margaret Shortly after arriving in
Lucas), Miksevicius regularly Australia, Miksevicius had
visited and maintained an become a practicing Buddhist;
ongoing relationship with he had studied Buddhist and
Bathurst and its environs. Like Hindu philosophy and history
many of his contemporaries, in Germany. While on long-
he visited Sofala and Hill End, service leave (Nov 1977-Mar
exploring the region and painting 1978), Miksevicius backpacked
its landscape and architecture. through India, visiting sacred
26 27Hills near Sofala 1964 Hills near Bathurst 1991 oil on hardboard. Courtesy of the artist’s estate oil on canvas. Courtesy of the artist’s estate 28 29
25 Rankin Street Bathurst 1966 24-32 Morrisset Street, Bathurst 1966 pencil on paper. Private collection pencil on paper. Private collection Miksevicius studied architecture in Darmstadt, Germany. These drawings were made while visiting family in Bathurst. He gave them to his niece, an architect, when she was living in Morrisset Street years later. Carolyn Leigh 2020 30 31
Backyard Bathurst [156 Brilliant Street] 1962 Petersham from the train 1970 oil on hardboard. Courtesy of the artist’s estate oil on hardboard. Private collection “It’s the fence, a fence-scape… just a wooden paling fence. It is devoid of any kind of aesthetic merit, the roses turn it into crown jewels. And there were some pansies along the fence. It’s a transformation. That’s what my art is all about. That is the essence – to take nothing and transform it into something entirely different. The roses become something entirely different because they are against the godforsaken paling fence. It brings that time back to me that laughter and happiness which came mostly from the children and infected the adults.” Jurgis Miksevicius to his daughter Carolyn Leigh, 2013 32 33
Copacabana Headland painted from MacMasters Beach 1999 North Coast [Angourie Beach] 1993
oil on hardboard. Courtesy of the artist’s estate oil on hardboard. Private collection
“I have an obsession with the justice to my feeling. When I say birds which flew past – it’s a
sky. In this painting the headland feeling, it’s with ones eyes, not freedom from gravity/inertia – it’s
was so solid, and the sea was so ones brain or heart. For example, another world and I want to do “This painting is quite precious never describe it in words, I
solid and the sand was so solid, it’s the Copacabana cliff – it’s justice to that other world.” to me. Elva and Helena are there would have to paint it.”
but I had to use mesh to make the beach, but the painting is (artist’s wife and daughter).
Jurgis Miksevicius to his daughter Jurgis Miksevicius to his daughter
the the sky even more solid. The about the birds – that’s where my It is a wonderful place. I felt
Carolyn Leigh, 2010 Carolyn Leigh, 2014
challenge in the painting is to do feelings were. And it’s not those something and knew I could
34 35Tiger Hill, Darjeeling 1997 Mt Kanchenjunga 1980
oil on hardboard. Courtesy of the artist’s estate oil on canvas.
Courtesy of the artist’s estate
“Miksevicius visited Darjeeling (a
hill station in West Bengal) from
where the snow-capped peaks of
Mt Kanchenjunga can be seen in
the far distance. The world’s third
highest mountain and regarded
as sacred, its majestic beauty is
elusive - only visible when the
fog lifts and the clouds part.”
Carolyn Leigh, 2020
“Tiger Hill is outside Darjeeling the foothills as if it is rising from
(northern India) and you go there the ground like water. And the
in a 4WD to see the sunrise over light of it is indescribable.”
the Himalayas and once you are
Jurgis Miksevicius to his daughter
there you see the sunrise from
Carolyn Leigh, 2010
36 37Kandariya Mahadeva 1987 Indian temples 1991 oil on wood panel. Private collection oil on board. Courtesy of the artist’s estate The Kandariya Mahadeva, a Hindu temple dedicated to Shiva, is the largest and most ornate of the original 85 temples built 950–1050 CE on the Khajuraho temple site, now a UNESCO World Heritage site. “I had studied architecture but didn’t understand my relationship with it until I visited India. There it dawned on me, not what they were doing and building but what they were trying to say – practically each temple and each sculpture was not an object but a prayer. After all, for 5,000 years India has been percolated with the most intense spirituality and their art and architecture shows the intensity of that spirituality.” Jurgis Miksevicius to his daughter Carolyn Leigh, 2012 38 39
Indian landscape 1991 India - Towers reflected in rice paddies 1991 oil on board. Courtesy of the artist’s estate oil on board. Courtesy of the artist’s estate 40 41
Moon 1968
gold leaf and oil on hardboard.
Courtesy of the artist’s estate
IN THE SHADOW OF THE MOON
In Buddhist art, sculpture and of Buddhist philosophy and A signature work in Miksevicius’
philosophy, the full moon meditation. He believed that oeuvre is Moon 1968, where a
represents the Buddha’s there is no line between art and golden moon shines on a dark
knowledge and virtue, and religion, and that art is a method background. Similarly, his Twin
symbolises the aspirations of transcending thought. Moons paintings could be seen
of sentient beings hoping to to represent two mandalas that
With basic forms – circle, line
attain Buddhahood. It is an are joined with the cosmos and
and carefully selected colour –
enduring symbol of truth and with each other to proclaim the
Miksevicius sought to capture
enlightenment. infinite change between life and
his reverence and awe for the
death, between beginning and
The moon was also a recurrent unknown, and to understand
end.
symbol in Miksevicius’s art. the transcendence of the human
It allowed him to express cycle of birth, death, rebirth
experiences or insights gained (Samsara) and enlightenment
through his study and practice (Nibbana).
42 43Full moon 1970 Dewdrop slipping into the shining sea 1971
oil on hardboard. Courtesy of the artist’s estate oil on hardboard. Courtesy of the artist’s estate
“Miksevicius thought this Arnold’s epic poem The Light of
title was a quote from The Asia and refers to the moment of
Upanishads. It can also be the Buddha’s enlightenment.”
found at the end of Sir Edmond
Carolyn Leigh, 2020
44 45Twin moons (I) 1971 Twin moons (II) 1972 oil on hardboard. Courtesy of the artist’s estate oil on hardboard. Courtesy of the artist’s estate 46 47
Tree of Life, (Wentworth Falls) 1999 126 Fiddens Wharf Road, Killara c2002
oil and gold leaf on timber. Private collection oil on canvas. Courtesy of the artist’s estate
Tree of Life, (Wentworth Falls)
was originally painted on a bench
top in Miksevicius’ daughter’s
kitchen, it was removed when
she moved house. Miksevicius
considered this an extension of
a Tree of Life he had previously
painted on the concrete laundry
floor of his home in Killara
inspired by the mosaics in
the tomb of Galla Placidia in
Ravenna, Italy.
“Tree of Life’ means life itself as
a living thing and these are the
souls who are drinking the water
of eternal life and the souls are
birds. If you look at the mosaic
in Galla Placidia, it’s not that
someone has decorated the wall
with these things; they locked
their own prayers and faith into
it.”
Jurgis Miksevicius to his daughter
Carolyn Leigh, 2011
“Painted a year or so before Elva of Elva as she stands in the events, which had been shared
and Jurgis left the home they front garden. Jurgis planted the and celebrated in their home.”
built and lived in on Sydney’s magnolia tree for Elva and in this
Carolyn Leigh, 2020
North Shore for 50 years, this painting the flowers represent
could be viewed as a portrait all the significant life and family
48 49SS Charlton Sovereign Passing the Suez Canal September 1948 2013 SS Charlton Sovereign Moored in Gibraltar, August 1948 2013 oil on hardboard. Courtesy of the artist’s estate oil on hardboard. Courtesy of the artist’s estate “There are a number of paintings from memory. They take me back to the age and place, when I am painting, for example this painting of passing through the Suez Canal. It was a total recall of what happened at the time. The captain warned the passengers that the heat could be unbearable. There was nowhere to escape to - we were roasting on the deck. As I was painting, I felt the panic, confusion and hallucinations I felt when I was 24. The heat and the sun were threating and frightening… I am not expressing myself in the painting, I am just recording what I experienced. Everything was colour. Some colours I put down originally did not accord with my experiences… I was seeking colours that recorded my experience. For example, the sun was not yellow or red - you couldn’t say it was light because it was just heat.” Jurgis Miksevicius to his daughter Carolyn Leigh, 2013 50 51
Suez 1948 The other shore 2010 reproduction of drawing on card. Image courtesy of the National Gallery of Australia, Canberra collage on ply. Courtesy of the artist’s estate Miksevicius used this sketch from his journey to Australia as a reference for his collage The other shore 2010.(page 47) 52 53
Crystals 2004-2011 Colour Relationships
magazine paper on plywood. Courtesy of the artist’s estate “Every surface is a canvas” Jurgis Miksevicius
1. D
avies, Fiona. “The Right 3. The
Colour Green 4. M
iksevicius used tin lids
Colour in the Right Place.” Oz Miksevicius taught painting to experiment with colour
Arts, Issue 10, Summer 2017: over several years to his relationships and as ‘notepads’.
pp. 44 – 47 brother-in-law, Dr Noel Lucas
5. S
election of green and blue
who lived in Bathurst. As they
2. L
ounge room – artist’s family paints in his repertoire.
both lived in different cities,
home, Killara Towards the end of his life
many lessons were by letter.
Miksevicius was legally blind
The letters in this display focus
and could no longer read the
on experimenting with colour
labels on his paint tubes so his
relationships - particularly the
daughter made
colour green.
“This complex collage responding He found that at this stage he
to refracted light, was completed could take colour further in
when Miksevicius was almost collage than in oil painting.”
blind from macular degeneration.
Carolyn Leigh 2013
54 55EXHIBITIONS
2019 1999 Jurgis Miksevicius Collection of Chase Bank of Manhattan, New Six Directions, Artists’ Society of Australia, Mark Foys Art Gallery,
Art from the Vault: Artists Abroad Baltic Nations Art Exhibition, Small Works, SHRG, Bowral York; Scarab Club, Detroit Canberra, Canberra Sydney
and Recent Acquisitions, Manly Strathfield, Sydney
1994 1959 The Australian Women’s Weekly 1952
Art Gallery and Museum, NSW
1997 Southern Highlands Arts Festival Vanguard Painters, Terry Clune Portrait Prize, toured all States Artists’ Society of Canberra
Keepers of the Flame: The Jurgis Miksevicius Retrospective Exhibition, Gibraltar Gallery, Galleries, Sydney Annual Exhibition
Artists’ Society of Canberra Open
Legacies of Murch and Exhibition, The Gallery Space, Bowral
Paris Preview Exhibition, Air Exhibition, Canberra 1950
Miksevicius, Manly Art Gallery Sydney International Airport,
In the Small, Gibraltar Gallery, Chatterton Gallery, Sydney New Australians Arts Exhibition,
and Museum, NSW Sydney Contemporary Art Society – New
Bowral Canberra
1958 South Wales, Annual Interstate
2017 Jurgis Miksevicius Portraits and
Exhibition of Donated Works by Blake Prize, Mark Foy’s Gallery, Exhibition Art Display, Albert Hall, Canberra
Colour Run Series II: Jurgis Drawings, The Old Fire Station
Lithuanian Artists from Australia, Sydney
Miksevicius – the Right Colour in Gallery, Kiama, NSW 1956 Artists Society of Canberra
Vilnius, Lithuanian Art Museum
the Right Place, Woodford, NSW Newcastle Hotel Art Competition Jubilee Art Exhibition, Ku-ring- Annual Exhibition
1996
1990 gai Municipal Hall, Killara, Sydney
Display of Jurgis Miksevicius Human Form, Southern Highlands The Australian Women’s Weekly 1949
From Australia with Love,
artworks from the collection Regional Gallery (SHRG), Bowral, Art Prize, toured all States Artists’ Society of Canberra Sixth Artists’ Society of Canberra
Rebecca Hossak Gallery, London
of the National Art Museum, NSW Annual Exhibition, Canberra Annual Exhibition
Six Directions, The Gallery,
Vytautas Kasiulis Museum, Vilnius 1961
Australia to Zimbabwe. An Riverside Centre, Canberra 1955 1948
Christmas 1961, Farmers Blaxland
Jurgis Miksevicius - Portraits exhibition by Australian artists Warringah Shire Exhibition Exhibited paintings, Bathurst
Gallery, Sydney Australian Watercolour Institute,
Real and Imagined, Everglades of note for Aids Awareness, Migrant Camp, Bathurst
Annual Exhibition Canberra Art Club – Sixth Annual
National Trust Exhibition, Leura, National Gallery of Bulawayo, Australian-Latvian, Ukrainian
Exhibition, Canberra Graduation Exhibition,
NSW Zimbabwe and Harare Exhibition – Ciurlionis Gallery, 1957
Werkstaetten der Bildenden
Chicago Canberra Art Club, Eight Annual 1954
2011 1995 Kunst, Darmstadt, Germany
Exhibition, No 8 Riverside, Canberra Art Club, Fifth Annual
Jurgis Miksevicius – Life and Rhythm of Life, SHRG, Bowral, 1959 – 61
Canberra Exhibition, No. 8 Riverside,
Practice, Everglades National NSW Australian Group Exhibitions –
Canberra
Trust Gallery, Leura, NSW Galerie Royale, Paris; Raymond Newcastle Hotel Art Competition
Works from Notable Private 1953
Duncan Art Galleries, Paris; Ligoa Six Directions, Bissietta Art
Collections, SHRG, Bowral Exhibition of Lithuanian Artists in
Duncan Galleries, New York; Gallery, Sydney
56 57SELECTED BIBLIOGRAPHY
Aavik, Edgar. Six Directions Kazokiene, Genovaite. “Jurgio Ogulevičiūtė|, Jurgita Kotryna. Elizabeth Fortesque. “Legacy of
and Creativism. Handbook for Mikseviciaus apzvalgine “Lietuvių dailininko Australijoje inspiration. Late Sydney artists
Europeans. Cultural Federation of paroda.”[Review of Jurgis Jurgio MikševiČiaus duktė: reunited by their daughters.”
Europeans in Australia, 1962. Miksevicius Retrospective jeigu nepaleisi praeities.” Alfa. Daily Telegraph 2 May 2019. p.56
Exhibition] Musu Pastoge n. lt 27/05/201(Interview with
“Art Display in Albert Hall.” The Christopher Allen. “Keepers of
15,1997: p 5. Carolyn Leigh) http://m.alfa.lt/
Canberra Times, Saturday 11 the Flame: The Legacy of Murch
straipsnis/50177461/lietuviu-
November 1950, p.4 Leigh, Carolyn. Jurgis Miksevicius and Miksevicius. Manly Art
dailininko-australijoje-jurgio-
- Life and Practice. Blurb: Gallery and Museum. Proudly
“Brave Display of Artists’ Work mikseviciaus-dukte-jeigu-
Wentworth Falls, NSW, 2012. shunning the trends.” Weekend
in Canberra.” Canberra Times, nepaleisi-praeities-negalesi-skristi
Australian Review, Visual Arts.
Friday 14 October 1949, p 4 Leigh, Carolyn; Butler, Roger
Rutkauskiene, Rima. “Lietuvos May 18 – 19 2019. pp.10 – 11.
(Introduction). Jurgis Miksevicius
James, Bruce. [Review of Jurgis Dailes Muziejus, A selection of
– Portraits Real and Imagined. Carolyn Leigh. 2019, Gallery Talk
Miksevicius Retrospective Australian Lithuanian art in the
Wentworth Falls NSW: Blurb, – Jurgis Miksevicius. PowerPoint
Exhibition.] Sydney Morning collection of the Museum of Art”
2016. presentation. Manly Art Gallery
Herald Friday, May 9, 1997 Lithuanian Art Museum Chronicle
and Museum NSW..
McCulloch, Alan and Susan. “Six II 1998.
Davies, Fiona. “The Right Colour
Directions.” Encyclopedia of Keepers of the Flame: The
in the Right Place.” Oz Arts, Issue “Keepers of the Flame: the
Australian Art. Allen and Unwin, Legacy of Murch and Miksevicius
10, Summer 2017: pp. 44 – 47 artist’s legacy.” Manly Art Gallery
1994. (2019). Film. Producer-
Kazakas Genovaite. Lithuanian and Museum, 4 May – 9 June
Director / Catherine Hunter.
Mikelaitis, Gediminas. “Jurgio 2019.’ Musu Pastoge Nr. “Keepers
Artists In Australia 1950 – 1990. Cinematography /Editor Bruce
Mikseviciaus katalogas iselistas of the Flame: the artist’s legacy.”
Melbourne: Europe-Australia Inglis. Duration/15.39 minutes
Australijoje.” (Jurgis Mikseviciaus Manly Art Gallery and Museum, 4
Institute,2003. ©2019 Catherine Hunter
catalogue released in Australia.) May – 9 June 2019.’ Musu Pastoge
https://spaces.hightail.com/
Draugo Sestadieninis Priedas Nr. 13, 2019.04.10, p.6
space/rvPANS4v2C
(US), 2016 September 3, p. 6
58 59AKNOWLEDGEMENTS
I would like to thank Bathurst preparing the original version of and Science, Sydney; Katherine
Regional Council and Bathurst the catalogue for this exhibition – Roberts, Manly Regional Art
Regional Art Gallery (BRAG) many thanks. Gallery and Museum; Ilona
for presenting this exhibition. Mažeikienė, Regina Urbonienė, This catalogue is copyright. Apart All dimensions are in centimetres,
Bathurst was a significant place
Particular thanks to Previous Dalia Rimkuniene, Lithuanian Art from fair dealing for the purposes height before width before depth.
for Miksevicius – he began his
Director, Richard Perram and Museum, Vilnius; Emma Collerton, of private study, research, criticism All artworks © the artist/
artistic practice in Australia here
Director, Sarah Gurich for Bathurst Regional Art Gallery. or review as permitted under the Copyright Agency, 2020
in 1948, and maintained a close
suggesting and offering to host Copyright Act 1968, no part may
connection with the region for Family and friends constantly
the exhibition. Thanks to Curator, be reproduced without permission
the next seven decades. I would encourage and support me to
Emma Collerton for curating the of the publisher.
like to pay tribute to our family continue my work in managing
exhibition with such sensitivity
members, the late Dr Noel and our father’s legacy, thank you
and insight. Thanks also to other Published in association with
Margaret Lucas, who always all. Helena Miksevicius, my sister,
members of the BRAG team the exhibition
welcomed us with love and shares the responsibility and
for their valuable contributions, JURGIS MIKSEVICIUS: In the light Bathurst Regional Art Gallery is
generosity to their home on Mt journey with me and I couldn’t do
Joel Tonks, Julian Woods and Jo of the sun and the shadow of the supported by
Panorama and made Bathurst it without her.
Dicksen. moon
a special place for our whole
Most importantly, my deepest Bathurst Regional Art Gallery
Thanks also to the galleries and family.
gratitude to my parents Elva and 12 December 2020 - 7 February
private collectors of Miksevicius
In managing my father’s legacy Jurgis Miksevicius, for leaving 2021
artworks who have allowed
I have received invaluable such a rich legacy which inspires
BRAG to borrow paintings for
assistance and knowledge from me every day. ISBN 978-1-925008-41-8
this exhibition.
a number of curators: Roger
Carolyn Leigh Published by Bathurst Regional
Good friends, Michelle Murch Butler, Elspeth Pitt, Sarina
who edited the video Bathurst Noordhuis-Fairfax, National Art Gallery 2020
Migrant Camp Photo Album Gallery of Australia; Dr Jacqui © Bathurst Regional Art Gallery
and Lyn Solly for assistance Strecker, Museum of Applied Arts 70-78 Keppel Street
Bathurst NSW 2795
02 6333 6555
www.bathurstart.com.au
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