The Hidden History of an Australian Painter: Louisa Haynes Le Freimann (1863-1956)

Abstract

This article seeks to reconstruct the story behind Bush Picnic Scene near Adelaide (1896), a small-scale Impressionist painting from the Pictures Collection of the National Library of Australia in Canberra, created by the ‘forgotten’ Anglo-Australian painter Louisa Haynes Le Freimann. First described by feminist art historian Joan Kerr as a “modest little oil painting,” the picture challenges social norms, especially traditional gender roles, in complex ways. It provides a previously unacknowledged counter narrative to the emerging national discourse of the pre-Federation years as famously captured by Australian Impressionism. By contextualizing the painting, and by providing biographical details on Haynes Le Freimann’s formative years at Birmingham Municipal School of Art, a fuller picture emerges of an artist who was influenced by, and participated in, two major innovative movements of the late nineteenth and early twentieth centuries: the Arts & Crafts Movement in Birmingham, England, and the Theosophical Society in Sydney, NSW.