Our historic mural . . a lasting record of public significance
The art of mural painting has been used throughout history to depict social, religious, and patriotic themes.
And so what better way to look back in time at the start of Phillip Island’s 150th birthday celebrations, than through Phillip Island’s magnificent mural, housed within the Cowes Cultural Centre.
The mural, which depicts historic events on Phillip Island, was commissioned by the local Cowes Bicentenary committee back in 1987 to celebrate another auspicious historical occasion . . . the Bicentennial of Australia which occurred in 1988.
Eric Juckert, potter and sculptor for 52 years, and island resident until his death in 2004, conceived the idea, and was invited by the committee to carry out the commission.
Therein began a task that was to consume him for 18 months; and which has resulted in a magnificent and historically accurate pictorial record of events that have shaped the history and direction of Phillip Island since settlement 150 years ago.
The mural, on canvas and in oils, was unveiled in 1988, by Australia’s then Governor General Sir Ninian Stephen.
What emerged was a pictorially accurate record encompassing an historic theme, which provided a lasting record of public significance, for the enjoyment and education of generations to come.
Harold Freedman was Australia's best known muralist at the time the Phillip Island mural was commissioned.
His work was on display in many public buildings, and included the magnificent history of transport mural at Spencer Street station; the history of horse racing mural at Moonee Valley racecourse; and a third mural at the Metropolitan Fire Brigade headquarters in East Melbourne.
It was to Harold Freedman that Eric Juckert went to for advice, before setting about the mammoth task of creating a pictorial record of island history, for posterity.
Eric was invited to Harold Freedman's studios and shown, over a number
of visits, the technique he used, which began with stretching a canvas 13 feet by six feet onto a thick plywood sheet.
This proved to be no mean feat; and Eric said he was eternally grateful for the help he received from Harold Freedman.
He expressed amazement back then that a man who was so busy took the time to help him, and such interest in the island project.
To get a piece of canvas of that size without a wrinkle or a bubble onto board seemed almost to be an art in itself, and certainly a
technique that had to be mastered before a stroke of the brush could be applied.
Finding the correct thick plyboard of the size needed proved difficult. It took months, in fact, before one was procured from Sydney.
The next stage, shaping and gluing the canvas to the board, was described by Eric as "a frightening process.”
In fact, it look six friends, a lot of care, and a dry run first, before it was successfully completed.
The canvas was then painted with rabbit skin glue, and sized each week
for a month, in readiness for the mural to begin.
Design
A mural subcommittee from the Bicentennial main committee was formed, and this group met regularly at Eric's Grossard Point studio to discuss which subjects and facets of island history should be included.
At the time, Eric paid particular tribute to Cherry McFee, a member of one of the island's oldest families, for her knowledge of and interest in days gone, which proved to be invaluable; and to Phil Dixon, Greg Price and Russell Murray, who were also sub-committee members.
"This group helped very much with the research for the mural, and were greatly helped in their work by photos and books kindly donated by many island residents,” he commented.
The full Bicentennial committee met monthly at the studio also, and their help and encouragement was greatly appreciated by Eric.
Shipping
As shipping had played such an important role in the development of the island, it was decided to devote quite a large part of the mural to it.
John Jansson and his late father Frank came along with a large collection of photos of early ships, and ships right up to the present day, and these were used extensively for this segment of the mural.
As most of the photos were black and white, Eric was astounded at the fact that the pair knew the colours of every vessel.
They were able to describe each one in detail, which was extremely important as part of the charter of the mural was historical accuracy.
Eric said he could not have succeeded without their help.
"John was a regular visitor - the little details, such as the rigging of the day had to be right. And he was able to guide and check as each vessel took shape,” Eric said.
Similarly, Arthur Woodley, author of "Western Port Ferries Past and Present" was a source of much knowledge and gave a great deal of assistance.
To the untrained eye, the ships depicted may appear to be a casual interpretation, but everyone is a faithful and meticulous recreation, and an accurate and exact replica in every aspect.
The meticulous line work and sketches applied to rough canvas was indeed a feat.
The ships included in the mural were selected because of the part they played in the island's development - The Lady Nelson, early exploring ships, and coastal steamers through to present day vessels and ferries.
The Speke, The Swan, The Killara, The Alvina "the most beautiful one of all” and "The Hollydene" are all names that conjure visions of days gone by, and roll back the pages of history, to the early pioneering days.
The mural is flanked on each side by large sections depicting shipping, which is also intended to symbolise an island surrounded by water.
Shipping aside, the mural starts with the arrival of Bass in the Elizabeth and moves from the bottom, left to right, upwards.
Making of a mural
Eric Juckert modelled his mural on Freedman's methods, and enormous attention to accuracy and detail was his trademark.
A difficulty confronted with this form of art is the number of different topics to be "married," and the fact that a chronological sequence must be followed.
Everything then has to sit together in a way that is pleasing to the eye.
In order to achieve this, another board, the same size as the mural was used.
Eric made individual drawings of each subject that had been chosen by the committee and pinned them on to the board to get an idea of design.
An enormous amount of playing around and rearranging took place in order to achieve a well-balanced, chronological design, before work on the canvas could actually start.
Great care was taken to avoid a cluster of buildings or rural scenes, and to see that colour and form were also in balance.
The end result was the creation of an invaluable public asset that has stood the test of time, and which presents an historically accurate pictorial record of events that have shaped the history and direction of Phillip Island, to be enjoyed by the generations which follow.
