The artist loved the Australian bush, and studied the composition of paintings and techniques used by Australian Impressionist artists from the mid to late 1800’s. Whilst this is not a Conrad Martens (1838) Elizabeth Bay House equivalent, it could be a ‘country’ interpretation of that painting. There is a white dwelling, just off centre, in the middle, upper third of the painting. There is a cropped tree to the left in the foreground, and trees to the right in the central section. However, there is no water in this painting as there is in the aforementioned painting.
To create a natural, grassy path, the artist used diagonal, swirling, short brush strokes that seem to dance across the bottom two thirds of the canvas. The path leads the viewer’s eye to the white roofed, bush house.
The stippled foreground and the small dabs of paint used for the bushes, are in distinct contrast to the solid, smooth brushstrokes of the upright gums. The inclusion of the tree branch on the left helps frame the painting, and brings the foreground closer. A burnt tree stump seems important and has been positioned carefully on the canvas.
The soft, distant grey tones of the sky are in contrast to the foreground colours, and they give the painting a feeling of distance or aerial perspective.
The mood is one of relaxation. The artist has invited the viewer to take a stroll and visit the white roofed bush hut.
Acrylic on Masonite, date unknown, probably mid-career. (Cleaned and framed. Signature enhanced during restoration.)