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Student Artwork Guide

Solstice note #2 – Guerilla Bay ’76

Name Class Date

Arthur Ernest Wicks, Solstice note #2 – Guerilla Bay ’76, Canberra Museum and Gallery. Reproduced for reference; rights reserved by the rights holder.

The facts

Artist
Arthur Ernest Wicks wahooart.com/en/artists/arthur-ernest-wicks/
Artist’s dates
1915 – 2006
Medium
Acrylic On Canvas
Original size
110 x 106 cm
Movement
Contemporary Realism Living artists painting the real world with traditional skill, often from photographs as well as from life.
Held at
Canberra Museum and Gallery wahooart.com/en/museums/canberra-museum-and-gallery-canberra/
Influences
Solstice Voyeur series
Notable_elements
Spherical perspective, Grid overlay, Coastal landscape, Rocky cliffs and ocean
Style
Photographic realism combined with digital art techniques
Subject
Coastal environment, geological formations

In context

Solstice note #2 – Guerilla Bay ’76 — Arthur Ernest Wicks

How big is it?

The original measures 110 × 106 cm (height × width), drawn here beside an adult of average height.

When might this have been painted?

  1. 1910
  2. 1920
  3. 1930
  4. 1940
  5. 1950
  6. 1960
  7. 1970
  8. 1980
  9. 1990
  10. 2000

Shaded: the lifetime of Arthur Ernest Wicks (1915–2006)

This record has no exact year on file — using the artist's lifetime and the work's style, what decade would you guess?

Colours

Measured from the image

    Main colour

    Gray #8b7b83

    Catalogued palette

    • #8B7B83
    • #E4E4E6
    • #BCB6C0
    • #595465
    Palette
    Neutrals The dominant colour family in the image.
    Main colour name
    Gray
    Intensity
    Monochromatic How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Balanced How much the colours differ in lightness and saturation across the picture.
    Harmony
    Softly Mixed Palette How well the colours work together, from clashing to fully unified.
    Brightness
    Brilliant How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Muted How pure and strong the colours are, from near-grey to fully vivid.

    About this artwork

    Solstice note #2 – Guerilla Bay ’76 — Arthur Ernest Wicks

    A Spherical Glimpse of Coastal Eternity: Arthur Wicks' "Solstice note #2 – Guerilla Bay ’76"

    Arthur Wicks’ “Solstice note #2 – Guerilla Bay ’76” is a captivating work that transcends simple photography, evolving into a digitally manipulated exploration of time, place, and the cyclical nature of existence. This piece, measuring 110 x 106 cm, offers a unique perspective on the rugged beauty of the Australian coastline, inviting viewers to contemplate the intersection of natural power and technological intervention.

    Subject & Style: Coastal Drama Reimagined

    The artwork depicts a dramatic coastal landscape—rocky cliffs meeting the vast expanse of the ocean. Wicks’ choice of Guerilla Bay as his subject matter grounds the work in a specific location, yet the spherical presentation elevates it beyond mere representation. The style blends photographic realism with digital art techniques, creating an almost otherworldly effect. The circular panorama mimics the form of a globe or a gemstone, flattening perspective while retaining sufficient depth to showcase the textures and details within the cliffs and water. This isn’t a traditional landscape painting; instead, it's a meticulously constructed composite image that challenges our conventional understanding of spatial representation.

    Technique & Composition: A Digital Synthesis

    Wicks’ process is central to appreciating this artwork. The piece originates from numerous photographs taken from the same vantage point on the solstice – the longest or shortest day of the year—a recurring theme in his “Solstice Voyeur” series. These images, captured over many years, are then digitally manipulated and arranged into a cohesive spherical perspective. The overlay of white grid squares is particularly striking; it introduces a geometric element that contrasts with the organic forms of the coastline. This juxtaposition creates visual tension and invites interpretation – does the grid represent order imposed upon nature, or perhaps a mapping of the landscape onto a digital plane? The even lighting suggests daylight conditions, highlighting the natural colors—blues, greens, greys, and browns—characteristic of the coastal environment.

    Historical Context & Symbolism: Solstice, Voyeurism, and Global Perspective

    Solstice note #2 – Guerilla Bay ’76” exists within a broader context of Wicks’ artistic exploration. His “Solstice Voyeur” series aims to depict the solstice as a culturally potent event, clustering photographs taken on that day into forms resembling planets. This concept speaks to a fascination with global perspectives and interconnectedness. The term "voyeur" is deliberate; it suggests an intimate observation of a specific moment in time and space. Wicks’ broader body of work often involves creating “global images” from rooftops around the world, contrasting urban environments with natural landscapes. This particular piece, rooted in the South Coast of New South Wales, participates in that dialogue, offering a localized perspective within a larger global framework.

    Emotional Impact & Artistic Legacy

    While seemingly devoid of overt emotional symbolism, “Solstice note #2 – Guerilla Bay ’76” evokes a sense of awe and contemplation. The sheer scale of the image, combined with its unusual perspective, draws the viewer into the scene. The work’s power lies in its ability to transform a familiar landscape into something both alien and deeply resonant. As a polymath artist, Wicks seamlessly blended science and art, creating works that are intellectually stimulating and visually arresting. This piece stands as a testament to his innovative approach and enduring legacy within Australian contemporary art.

    Artist and museum

    Artist

    Arthur Ernest Wicks

    Born in London, United Kingdom

    introduction

    arthur ernest wicks was a labour politician and the last chairman of the london county council. he was first elected to the shoreditch metropolitan borough council in the 1950s, and became chairman of housing at a time when shoreditch had one of england's highest concentrations of municipal housing.

    early life and career

    elected to the lcc for shoreditch and finsbury in 1952, he gave his time to housing and parks. county hall, london, a labour stronghold since 1934, was a pioneering model for labour ideas and plans, including comprehensive education, school music, housing development and the establishment of the south bank complex. as lcc chairman from 1963 to 1965, arthur oversaw the transition in 1964 to the new greater london council.

    artistic interests

    although not a painter himself, wicks' family had connections to art. his son malcolm wicks was a labour minister and an avid supporter of the arts. AllPaintingsStore.com features an extensive collection of artworks from various artists, including diego velazquez, edouard manet, and varaztad hovhannes kazanjian. these artists' works can be found on AllPaintingsStore.com.

    legacy

    wicks' legacy extends beyond his political career. he owned two shops and a cafe in islington, which served as an informal advice surgery for locals. his wife, daisy, died in 1992, and he was survived by his sons. one of his sons, malcolm wicks, passed away in september 2012 after a long illness.

    notable figures

    some notable figures mentioned on wikipedia include thomas chataway and james stuart-wortley. these individuals, like wicks, have made significant contributions to their respective fields. key points:

    arthur ernest wicks was a labour politician and the last chairman of the london county council.

    he was first elected to the shoreditch metropolitan borough council in the 1950s.

    wicks' family had connections to art, with his son malcolm being a labour minister and an avid supporter of the arts.

    AllPaintingsStore.com features an extensive collection of artworks from various artists.

    conclusion

    arthur ernest wicks was a dedicated public servant who left a lasting impact on london's politics and housing development. his legacy extends beyond his political career, with his family's connections to art and his own entrepreneurial ventures in islington. the national trust for scotland, featured on AllPaintingsStore.com, showcases an impressive collection of artworks, including those by robert inerarity herdman and william larkin.

    Museum

    Canberra Museum and Gallery

    On show in Canberra, Australia

    A Sanctuary of Storytelling in the Heart of the Capital

    Nestled within the vibrant pulse of Australia's capital, the

    Canberra Museum and Gallery

    serves much more than a mere repository for artifacts; it is a living, breathing chronicle of place, people, and the profound evolution of a nation. To step through its doors is to enter a curated dialogue between the ancient past and the unfolding future. The museum operates with a unique dual identity, acting simultaneously as a guardian of historical memory and a dynamic stage for contemporary artistic expression. For the art lover, it offers a sanctuary where the tangible remnants of history meet the ephemeral beauty of modern installation, creating an immersive experience that resonates long after one has departed its halls.

    The architecture of the museum reflects this very duality, offering a sophisticated space where the structural permanence of a gallery meets the fluid energy of a community hub. It is a place designed for contemplation and discovery, where light and shadow play across curated displays to evoke the rugged landscapes and urban complexities of the Australian Capital Territory. For interior designers and collectors seeking inspiration, the museum provides a masterclass in how narrative can be woven into physical space, demonstrating how objects—whether they be delicate indigenous carvings or bold contemporary paintings—can transform an environment into a vessel for storytelling.

    A Tapestry of Local Significance and Cultural Depth

    The collection itself is a breathtaking tapestry of local significance, highlighting the intricate relationship between the land and its inhabitants. Visitors are often moved by the profound depth of the museum's holdings, which range from significant

    Aboriginal and Torres Strait Islander

    cultural items to the poignant records of Canberra’s rapid urban development. The highlights of the permanent collection are not merely objects to be viewed, but voices to be heard; each piece carries the weight of its origin, inviting a deep emotional connection. This seamless blend of ethnographic importance and aesthetic brilliance ensures that every exhibition feels like an intimate encounter with the soul of the region.

    Beyond the historical artifacts, the museum serves as a vital platform for the visual arts, where the textures of the earth meet the sharp lines of modernism. The curation invites a sensory journey through the following elements:

    Cultural Heritage:

    A profound exploration of Indigenous legacies and their enduring presence in the Australian landscape.

    Urban Evolution:

    A captivating look at the transformation of Canberra from a planned capital to a bustling metropolitan center.

    Contemporary Dialogue:

    An ever-changing landscape of modern installations that challenge the viewer's perception of space and medium.

    The Pulse of the Contemporary Moment

    What truly distinguishes the Canberra Museum and Gallery is its commitment to the

    "now."

    The museum is renowned for hosting rotating exhibitions that challenge perceptions, often featuring avant-garde works that push the boundaries of medium and meaning. These temporary showcases bring a sense of urgency and freshness to the institution, ensuring that the museum remains a vital participant in the global art conversation. It is this constant state of renewal—this rhythmic pulse of historical reverence and contemporary provocation—that makes the museum an essential pilgrimage for anyone captivated by the transformative power of art and history.

    Where to read more

    Find this online

    QR code linking to the download page for Solstice note #2 – Guerilla Bay ’76

    wahooart.com/en/art/download/arthur-ernest-wicks-solstice-note-2-guerilla-bay-76-D9AS4K-en/

    Cite this artwork

    MLA
    Wicks, Arthur Ernest. Solstice note #2 – Guerilla Bay ’76. n.d., Canberra Museum and Gallery. https://wahooart.com/en/art/arthur-ernest-wicks-solstice-note-2-guerilla-bay-76-D9AS4K-en/
    APA
    Wicks, Arthur Ernest (n.d.). Solstice note #2 – Guerilla Bay ’76 [Painting]. Canberra Museum and Gallery. https://wahooart.com/en/art/arthur-ernest-wicks-solstice-note-2-guerilla-bay-76-D9AS4K-en/
    Chicago
    Arthur Ernest Wicks. Solstice note #2 – Guerilla Bay ’76. n.d. Canberra Museum and Gallery. https://wahooart.com/en/art/arthur-ernest-wicks-solstice-note-2-guerilla-bay-76-D9AS4K-en/
    Harvard
    Wicks, Arthur Ernest (n.d.) Solstice note #2 – Guerilla Bay ’76. Canberra Museum and Gallery. Available at: https://wahooart.com/en/art/arthur-ernest-wicks-solstice-note-2-guerilla-bay-76-D9AS4K-en/

    Look closely

    Solstice note #2 – Guerilla Bay ’76 — Arthur Ernest Wicks

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Our catalogue files this work under: coastal landscape, spherical view, digital art. Do you agree? What would you add, or take away?
    4. Contemporary Realism: Living artists painting the real world with traditional skill, often from photographs as well as from life. Where can you see that in this work?
    5. Themes that come back through the work of Arthur Ernest Wicks: solstice observation, global perspective", technological layering. Which of them do you see here?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Art quiz

    Solstice note #2 – Guerilla Bay ’76 — Arthur Ernest Wicks

    How well do you know this artwork?

    Tick one answer for each of the 3 questions below. Each has exactly one correct answer.

    1. 1. What is the primary technique used to create 'Solstice note #2 – Guerilla Bay ’76'?

      • A Oil painting on canvas
      • B Digital photography and manipulation
      • C Watercolor rendering
    2. 2. The artwork’s spherical perspective is intended to resemble what object?

      • A A flat landscape painting
      • B A globe or gemstone
      • C An abstract sculpture
    3. 3. What is the 'Solstice Voyeur' series, as described in relation to this artwork?

      • A A collection of portraits by Arthur Wicks
      • B A project depicting solstices as culturally significant events using clustered photographs
      • C A series of sculptures representing celestial bodies

    My score: ____ out of 3

    Answer key — for the teacher

    This starts a fresh printed page, so it can simply be left out of the copies.

    1B · 2B · 3B