Free for educational use
Death of a Workman In A Streeton Painting
Video clip synopsis – Streeton's eyewitness account of the death of a workman during the blasting of a railway tunnel at Lapstone in the NSW Blue Mountains. It becomes the inspiration for his painting "Fire's on, Lapstone Tunnel".
Year of production - 1984
Duration - 2min 36sec
Tags - art, artists, biography, occuptional health and safety, see all tags
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About the Video Cliptop
Death of a Workman In A Streeton Painting is an excerpt from the film Fire’s On, Lapstone Tunnel, part of The Australian Eye Series : Australian Impressionists 1888-1896 (66 mins), produced in 1984.
Fire’s On, Lapstone Tunnel: The death of a workman during blasting of the railway tunnel at Lapstone in the NSW Blue Mountains in 1891 was Arthur Streeton’s inspiration for this painting. Streeton’s vivid description of the accident in a letter to his artist friend Tom Roberts is included in the commentary.
The Australian Eye Series: Based on the principle that the more one knows about a work of art the better one can appreciate it, this series makes a detailed examination of many of Australia’s most outstanding paintings. Besides scrutinising one key work in close detail, each film reveals, wherever possible, the artist’s drawings and studies for that work, and shows other related works. Many little known paintings from private collections have been included. Living artists have been recorded, talking about their techniques and the ideas behind their paintings. The letters and journals of earlier artists are drawn on, as well as the views of critics of the day. Every film was made in consultation with a leading expert on the artist, and scripts were discussed with the Education Department of NSW prior to production. The series consultant was Daniel Thomas, Curator of Australian Art at the Australian National Gallery, Canberra.
The Australian Eye Series was produced by The Art Gallery of New South Wales and the Art Gallery Society of New South Wales in collaboration with Film Australia.
Reading standard: Students read, view, analyse, critique, reflect on and discuss contemporary and classical imaginative texts that explore personal, social, cultural and political issues of significance in their own lives.
Writing standard: Students write sustained and cohesive narratives that experiment with different techniques and show attention to chronology, characterization, consistent point of view and development of resolution.
They select subject matter and begin to use a range of language techniques to try to position readers to accept particular views of people, characters, events, ideas and information.
Speaking and listening standard: Students analyse critically the relationship between texts, contexts, speakers and listeners in a range of situations.
The activities in this learning module are relevant to the Interdisciplinary Learning strand of Level 6 Communications (Listening, viewing and responding standard; Presenting standard) and Thinking Processes (Reasoning, processing and inquiry standard; Creativity standard).
The activities are also relevant to the Physical, Personal and Social Learning strand of Level 6 Interpersonal Development (Building social relationships standard; Working in teams standard) and Personal Learning (The individual learner standard; Managing personal learning standard).This material is an extract. Teachers and Students should consult the Victoria Curriculum and Assessment Authority website for more information.
Arthur Streeton was one of the 'Heidelberg School’ of Australian artists of the 1880s who popularised the painting of romantic yet realistic images of the Australian bush, and the open air, in an 'impressionist’ style that acknowledged and emphasised the Australian light and colour.
Streeton commented on this painting in a letter to a friend:
“This morning, hot, windy, and warm, as I travel down the line, and the mirage sizzling and jiggering over the railway track. I arrive at my cutting, 'the fatal cutting’, and inwardly rejoice at the prosperous warmth all glowing before me as I descend and re-ascend the opposite side up to my shady, shelving sandstone rock, perched up high. I wipe the wholesome moisture from my pale brow, and having partaken at my billy (like a somewhat lengthy and affectionate kiss), I look up and down at my subject: is it worth painting? Why, of course, damn it all! That is providing I’m capable of translating my impression to the canvas.
All is serene as I work and peg away retiring under the rock a bit when they light any shots, then, 'Up with that b____ wagon, Bill.’ 11.30: The fish train struggles over the hill and round to Glenbrook. 12 o’clock: The next shift comes toddling down the hot track with their billies, and I commence to discuss my lunch and tea (of which I consume over a quart every lunch), and now I hear 'Fire, fire’s on’, from the gang close by; rest my billy on the rock, take out my pipe and listen for the shots, with my eye watching the bright red-gum yonder. BOOM! and then rumbling of rock, the navvy under the rock with me, and watching says, 'Man killed’. He runs down the sheltered side, and cries, 'Man killed!’. Another takes it up, and now it has run through the camp. More shots and crashing rock, and we peep over; he lies all hidden bar his legs – and now men, nippers and 2 women hurry down, a woman with a bottle and rags. All the shots are gone but one and all wait and dare not go near. Then someone says the last hole was not lit, and they raise the rock and lift him on to the stretcher, fold his arms over his chest, and slowly six of them carry him past me. Oh, how full of dread is the grey, mysterious expression of death — 'tis like a whirlpool for the eyes. Blown to death twenty yards from me and, as a navvy said, it was an “'orrible sight”. By Jove! a passing corpse does chain your eyes, and indeed all your senses, just as strongly as love.”
- View the video clip with no sound and describe the story of Arthur Streeton’s painting in 5–7 points.
- View the video clip with sound and compare your story with the voice-over and list any differences.
- Describe the mood or feel the filmmaker creates using music, voice-over and sound effects (SFX).
- Whose point of view does the voice-over present and what are their feelings about the tragedy?
- Discuss and decide what dominates the painting — nature or the human tragedy? Explain the reasons for your decision.
- Write a 500-word newspaper report of this event. Make sure you include:
- an attention-grabbing headline
- a first paragraph that states who, where and when
- the reasons ‘why’ in the body paragraphs
- discussion of nature and the human tragedy
- Find another painting by Arthur Streeton and write a 500-word text telling the story of the painting from the painter’s point of view. It may be in the form of a monologue, voice-letter, or letter.