By Indranil Halder
I was delighted to be invited by Julie Booth to the opening of the Blanche Violet Maher’s Exhibition: Landscapes and Portraits 1894-1920 at the Woollahra Gallery in Sydney. The photographic exhibition was curated by Julia Booth and Rachel Knepfer.
Who is Julia Booth?
Julia Booth is a lecturer at Sydney University, and her ancestor is Blanche Violet Maher. She is also the Honorary Consul of Bhutan for NSW.
Blanche Violet Maher & her Artistry:
Upon entering the Woollahra Gallery, a spectacular property with a colorful garden, marble staircase, and sunken veranda overlooking RedLeaf Bay, I was greeted with a spectacular view of the distant Sydney skyline. The extraordinary exhibition celebrated an inspiring woman from Down Under. Blanche Violet Maher was born in the Victorian era, a time when women in Australia were primarily relegated to domestic roles, managing households and tending to familial duties. Despite these societal expectations, Blanche defied convention by immersing herself in the art of photography. Blanche, too, did her part in household duties, but she also spent her days documenting Australian landscapes, social scenes, and portraits. She dedicated her time to working with chemicals to create the best photos, which are a true testament to her work. In the exhibition, my favorite portraits were of the woman with the horse and the landscape with tall eucalyptus trees.
Blanche lived on a sheep station in Merriwa, NSW (Wonnarua Country), with nine siblings. Born in 1872, she came of age during a period marked by strict gender roles and limited opportunities for women. Yet, Blanche’s passion for photography transcended these constraints, as she dedicated herself to capturing the beauty of Australian landscapes, social scenes, and portraits. She became fascinated with photography and was a member of the Gulgong Amateur Photographic Association. Convinced her father to buy her a camera when she was only 21, thus beginning her love affair with photography.
The Woollahra Gallery updates mentioned, “Blanche, a petite woman, became known for lugging this bulky piece of equipment around the farm as she sought to capture her world. The photographs vary stylistically according to the evolving technology; her earlier works, produced with collodion plates, are dreamy and impressionistic.” Pippa Mott from the gallery stated that she had worked with Julia Booth to create this surreal exhibition, supported by the Woollahra Gallery at Redleaf Community Exhibitions Program. The exhibition at the Woollahra Gallery aptly demonstrates, Blanche’s photographs serve as a poignant reminder of the resilience and creativity of women during the Victorian era in Australia. According to the Woollahra Gallery update on the exhibition, “It is the first public exhibition of her work—a poignant tribute to the inventive, curious, and pioneering spirit she embodied.”
On the opening night, the exhibition was a real attraction for the locals as they walked up the marble staircase, only to be mesmerized by the display of photographs. Guests enjoyed Blanche’s unique talent as they admired the photos or looked through the book painstakingly created by Julia Booth. Mrs. Booth senior, who spoke to me, stated, “Blanche’s talent was unknown to me until Julia’s research.” As a first-generation migrant from India, privileged to explore art and culture across the globe, I found Blanche’s story particularly resonant. Arriving in Australia with a fresh perspective, I was eager to immerse myself in the rich tapestry of its history and heritage. Blanche Violet Maher’s journey, offered a fascinating glimpse into a bygone era of Australian society.
As I navigated through the exhibition at the Woollahra Gallery, I couldn’t help but marvel at Blanche’s artistry and determination. Her ability to transcend the societal norms of her time, coupled with her unwavering passion for photography, served as an inspiration to me as a newcomer to this land. Through her lens, Blanche captured not only the beauty of the Australian landscape but also the essence of its people and culture. As I delved deeper into her work, guided by the meticulous curation of Julia Booth and Rachel Knepfer, I gained a deeper appreciation for the enduring legacy of Blanche’s artistry. Her photographs, though taken over a century ago, continue to resonate with audiences today, transcending geographical and cultural boundaries. Blanche’s story serves as a testament to the power of art to transcend barriers and unite people from diverse backgrounds like myself in admiration and appreciation.