Art is in the blood: Case study on Lance Vaiben Solomon

Since I was a kid, I've had an eye for art. In reality, art is a fundamental component of my being and identity. It was my intention in this post to explore a topic that is quite personal to me!

I'm going to conduct a case study on Lance Vaiben Solomon, or "Uncle Lance" as I knew him. He was my great-granduncle through my Nan. My Nan is Vivian Geraldine Quinlan (Maiden name: Solomon).

This case study seemed like it could be an interesting in-depth look at a piece of Art and Australian History, and I was curious about him so I could find out more about him. My grandmother and father constantly told me stories about how my uncle Lance would go into the bush and spend hours painting with a knife. I've also heard that the Queen Mother purchased a painting by him for exhibition in Buckingham Palace.

With that in mind, let's go into the tale of Lance Vaiben Solomon.

Lance was born in Liverpool, New South Wales, Australia, on the 27th of January 1913. He was the son of Edwin Arthur Vaiben Solomon, a cabinetmaker, and his wife, Jessie Elisabeth Solomon (maiden name: Black). He was the fourth child of five children: Edna (1898–1975), Bessie (1908–1994), Jean (1909–2007), and George (1914–1993, my great-grandfather).

Growing up, Lance and his family lived in a house in the Liverpool bushland that his grandfather, Moss Vaiben Solomon (1837 -1915), had constructed. His formative years in the Bush probably had a profound impact on his eventual artistic career. His interest in art began at a young age. Black wattles, ti trees, willows, and other native trees filled his mind as he recalled their abundance.

Portrait of the Artist's father, Edwin, 1927

Even though he had a strong preference for the arts, he was forced to take violin lessons when he was a small child. Ultimately, he enjoyed wandering around the bush. He was given his first "commission" when he was just a kindergartener and instructed to draw some November lilies in chalk.

In 1920, the Solomons uprooted to Manly, leaving behind the family house. Lance continued to show talent in art class if in no other subject for the remainder of his academic career. As he puts it, he "was spent Scribing" throughout that time. When he was 15 years old, he dropped out of school.

Around this time, Australia also began experiencing the Great Depression. an age that was both prosperous and plagued by disaster and destitution. For Lance, though, the Great Depression ended up being a fortunate event. When low-paying service employment dried up, he had to turn to paint to support his family. He worked at reclaiming the mudflats in Concord. His first "serious" piece, a watercolour of a historical house near his new home in Marsfield, was purchased by Ryde Council shortly after he sold pen and ink sketches of a Vauxhall car for a pound.

While at Marsfield, Lance met Robert Johnson, who praised the young artist's watercolours and taught him how to work in oil.

The Sydney Morning Herald critic who reviewed his first one-man show at the Rubery Bennett Galleries in 1937 was also won over. Although he thought that "on occasion, his canvasses are too large... and give an impression of emptiness," he lauded Solomon’s Penchant for attacking completely uncompromisable material. "Who thought of "The Creek" as seen in nature except as a mere tangle of bushes and trees?" he wrote. "Yet, this painter makes of the picture a keenly interesting study." "One has a feeling of growth, of complex light and shade."

The Creek, 1937, Oil on canvas on plywood

Ironically, up until this time, Lance had gotten no formal training whatsoever, with the exception of a few months spent at East Sydney Technical College (formally the site of the Historic Darlinghurst Gaol, now known as NAS the National Art school)

Because he like the muted tones of a bushy setting. Some people saw similarities between Solomon and Elioth Gruner, while others saw parallels to Arthur Streeton. The brushwork and style, though, were unmistakably Lance's. His intuitive and one-of-a-kind ear for tonal clarity and composition was plain to observe.

It was 1937 when he was 24 years old. After gaining a devoted following among Sydney's art connoisseurs like Sir Marcus Clarke, Lance Solomon exhibited his work in his first royal Art Society exhibition. He commissioned three Guineas to paint three viewpoints of a garden scene. A significant sum of money for the time period.

Instead of the expansive landscapes that were popular at the time, Lance preferred to focus on more intimate details of the scenery. Many people commented on how refreshing and original his viewpoint was.

During his second exhibition at the Rubery Bennett Galleries in 1938. The Patron, Howard Hinton, formally purchased Lance Solomon’s Long reef. Which he lent to the gallery for the duration of the show.

Later that year, upon his return to Manly, Lance wed Beryl Nasmith, a girl he had been seeing since they were both 17 years old. In Manly, Beryl taught Sunday school at the Presbyterian Church. They inhabit a small apartment in North Sydney. Lance painted on whatever surfaces he could find, as his family was by no means wealthy. However, this situation didn't continue for very long.

Shortly after his marriage, the New South Wales Traveling Art Scholarship was awarded to Lance for his landscape painting "North West." Naturally, he was ecstatic about the thought of spending time in London's Royal Academy and touring Europe's top art museums.

Following a casual get-together at Rubery Bennett's Hunter Street studio in Sydney. Sir Marcus Clarke sent him off to England in June of 1939 with a package of artist supplies on behalf of Solomon's pals (he was 26 years of age).

North West, 1939, Oil on board

He moved to London just before the Second World War broke out. Due to the War, his plans to join the royal academy were derailed, and his chances of studying on the continent were dashed. Nonetheless, a number of academy members, like Sir Reginald Brundit, contributed significantly to his success. He got the opportunity to study under German-Jewish artist Bloch, and he wrote back to his family that he had found a new artistic direction he wanted to pursue. His happiness was betrayed in the letters he wrote to his wife and friend, Albert Sherman. The cold weather made him pine for Sydney, and the battle rendered him unable to concentrate.

An account of one of his artistic misadventures was included in this period. When painting, he was renowned for being frequently engaged in his subject. While in England, while painting a group of trees, Lance accidentally entered a restricted area near a barrage balloon and was subsequently held by police who believed he was a spy. Lance Solomon was informed that he could no longer work in England without a work permit following this occurrence. Only nine months after his initial arrival did he decide to make his way back home via the Suez Canal, which was subsequently closed.

Lance's time in England was not a complete loss, but he never got the most out of his scholarship, thus he looked back on it with regret.

Lance would arrive home in March 1940, to be presented with his first son, Trevor, who was born during his absence. Another boy named Clifford arrived two years later.

“English art had suffered a severe shock through the war, but artists were determined to continue with their exhibitions because they believed the public needed more diversions more than ever”

- Lance Solomon

Despite Lance's wish to continue painting, he volunteered for the AIF (Australian Imperial Force) and eventually became a cook for the army, stationed in Greta near Newcastle, New South Wales. Beryl and her family had travelled to her brother's residence in Coolah during this period. On rare occasions, Lance would travel there to spend time with them as he painted and sketched. After 18 months, he was granted an extension of his leave, and he was not summoned back into duty. According to reports, "the army did not miss him, greatly."

Grey Day, Coolah NSW, 1943, Oil on Canvas on Plywood

His work throughout the war years was interrupted. Solomon was required to work in weapons manufacturing during the day and paint throughout the night. Despite this, in 1943, he sold his first oil painting, "Terminus Street, Liverpool," to the National Art Gallery of New South Wales, and he used the money from an exhibition at David Jones Art Gallery to support the French Resistance.

Terminus Street, Liverpool, 1943, Oil on Canvas on Paperboard

By the end of the war, he had energetically pushed his work to make up for the lost time. He should have won the Wynne Prize in 1945, but he didn't. The next year, however, Lance's burgeoning fan base was appeased when his painting "January Summer" won the 1946 Wynne Prize. This was his second official acknowledgement.

“Like Gruner before him, (Lance Solomon) isn’t one of the artistic tribe that runs wild in hair and whiskers. He is 34, married and lives at Canley Vale where the outer suburbs of Sydney begin to lose themselves, mercifully in the gum trees. Slight in build and quiet in manner, he gives, as do his paintings an impression of restrained and growing power. He believes that an artist has to feel a subject in his bones before he can do it justice”

- An Enthusiastic Bulletin reporter wrote at the time.

Country Lane, 1947, Oil on Canvas on Hardboard

After selling his painting “country lane” to the National Gallery of New South Wales from an exhibition at the education department gallery in 1947. He got most of his praise for his painting “Morning in the Bush” Which the bulletin art critic thought was Lance Solomon’s best Painting to date.

“Morning in the bush is a characteristic Solomon Painting in as much as it reveals the painter’s special faculty for viewing – and painting – the bush from inside and from the same level”

Just when he thought everything was going in the right direction, he caught the eye of renowned artist Norman Lindsey. Lance Solomon's sincere friend, mentor, and critic was Norman. In retrospect, I can see how thrilling it would have been to meet someone who had been such a significant influence and role model. Just in case you haven't heard of him, Norman Lindsey was an Australian painter, etcher, sculptor, writer, art critic, novelist, cartoonist, and amateur boxer. The novel The Magic Pudding and the accompanying illustrations by Norman are both critically acclaimed.

“You have a strong command now of draughtmanship with the brush…Drawing is the first essential in all art and that’s why modernism must go under.

There is only one thing I think you need to bear in mind and that is the flick of paint which gives a sprinkle to light in foliage, and to landscape generally… It can also be used to centralise a picture. Just a little more impasto where want the eye to fall on a picture will often do it.”

- Norman Lindsey in a letter to Lance Solomon

Even though he continued to display his art, such as his 1947 exhibition of 28 oil paintings at the Grosvenor Galleries in Sydney. In just a few short days, all tickets for this show were gone. The bulletin's praise for him never ceased.

Nonetheless, Lance continued to make only a small livelihood from painting despite this unusual attention. He started doing things he was interested in like model railroading and stone fossicking.

He was famous for never being without his sketchbook, and the Ironbark area near Canley Vale not only provided a sufficient chance for work but also an inspiration for new subjects.

Our Backyard, Canley Vale, 1946, Oil on paperboard

Once Lance started painting again, he started including human figures, mainly depictions of his wife and sons out exploring, fishing, or picking blackberries. Figures of Stockman and Farmers would eventually become an important piece of art. Not like other artists, Lance made it a habit to bring his canvas to poultry farms, and the resulting paintings were a big hit.

“I was told that no one would want a picture of a fowl run. But believe it or not, I sold every Fowl I painted”

- Lance Solomon

Early Wattle, 1978, Oil on Canvas on board

His artwork mirrored the tranquilly of the bush. There were two near-death experiences he endured. The first occurred while he was painting in the Canley Vale area. Lance, completely engrossed in his work, scaled a dilapidated fence in order to have a better look at a wattle tree. He didn't see the enraged landowner arriving and didn't know he was there until he was staring down the muzzle of a shotgun.

The second incident occurred while he and a friend were painting in the Burragorang Valley and suddenly the air was filled with flying bullets. As the friend put it, the situation was "more terrifying than Tobruk." They ducked for safety behind their vehicle and drove off without bothering to identify the source of the gunfire.

Lance felt the strain of supporting his young family on a sporadic salary throughout the decade beginning about 1950. They stayed in a garage for a while they had it converted into their beautiful Narrabeen house. Lance considered quitting his art career more than once in favour of a more conventional profession.

Narrabeen proved to be a highly fruitful environment for the five years that were spent there. The Queen and the Duke of Edinburgh were shown a recently acquired huge landscape painting by the Commonwealth Art Advisory Board. An additional one of Solomon's paintings was brought to the United States by the Australian ambassador, Sir Percy Spender.

In 1955, with the opening of John Brackenreg's Darlinghurst gallery, he had a successful display that Will Ashton presided over. It was his final significant solo show.

“I have always loved your work Lance and I regard you as one of Australia’s Leading landscape painters. Sir Malcolm Sargent said in his speech in Adelaide, when he opened the Royal Society of Arts there – the purpose of art was to give something elevating to the spirit and satisfying to the soul and mind, and you my friend, have always done that.

At the opening of the fine artists at John’s Art Gallery I could have said a good deal more about you and your work. Like Corot, you love nature, and like the French master, portray the beauty around you. I have never yet seen a painting of yours I didn’t like. It has a quality and after all its quality that counts. Your work will live long after we have gone and give pleasure to all those who are fortunate enough to posess an example of your work.”

- Sir John William Ashton in an Extract from a letter to Lance Solomon

Reflections, 1970, Oil on board

When given the opportunity, privacy was one of Lance's favourite things. When art dealers came to his house, he became anxious and irritated rather frequently. He did not appreciate the frequent interruptions to his job and the constant haggling that ensued.

The Solomons would end up relocating to an old, sprawling house near Lisarow, on the central coast of New South Wales, known as "Brushwoods." Vacant and falling apart, Brushwoods had been sitting empty for close to a year. When he was unable to concentrate on painting, he would always go to the garden. As a result, he was severely impacted by any disturbances to his home life, which occurred all too frequently. He was quite reclusive, to the point where he didn't appreciate having his picture taken at all.

Blue Lagoon, Lance's acclaimed artwork, was chosen by the State Government to be presented to the Queen Mother, much to his surprise. He had left the artwork with John Brackenreg, along with numerous others.

The American embassy was given a picture of the American Legalisation in Canberra, which continued to get commissions.

While his artwork was widely acknowledged throughout this time period. Solomon's years at Brushwoods were marred by misfortune and emotional pain.

He was always superstitious, so when he heard there had been a death nearby, he was already a little unnerved; when his car was knocked off the road by an oncoming truck, he was convinced the house and grounds were haunted. As a result of the car rollover, Lance had a reoccurring neck condition. Both Lance and Beryl avoided car trips for quite some time afterwards.

Brisbane Waters, Saratoga, 1972, Oil on Canvas on board

Shortly thereafter, Lance was removing undergrowth with a Scythe. He was practically immobile for a whole year after severing his Achilles tendon. Several procedures, including skin transplants, were necessary. Both his physical and mental condition had significantly declined. Beryl was required to return to her job because he was unable to concentrate on his painting.

They lost contact with friends and become more reclusive. While his artwork became more sought after.

Eight of his paintings had been purchased by 1958 by the National Art Gallery of New South Wales. Australian embassies in London and Washington, as well as the Art Gallery of Western Australia and the Queensland Art Gallery, feature examples of his work.

They left Brushwoods for a cottage in Umina in 1962. Around 1965, he had already won a number of accolades for his work. The Royal Agricultural Society purchased Mellow Day, his artwork, and presented it to the Duke and Duchess of Gloucester. On Commonwealth bank notes was printed the artwork Pleasant day.

In the years that remained to him, Solomon maintained his self-imposed exile. He continued to paint at his Umina cottage, content to pass his time.

Fishing Boats, Forster 1968, Oil on Canvas on Board

It was not until his 75th birthday in January 1988 that his work was exhibited by itself once more. Gosford Gallery hosted a retrospective exhibition of his fifty years of work. It would be the last exhibition during his lifetime.

Lance was afflicted with the disease the following year and spent four months in and out of the hospital prior to his death in January 1989, where his leg was amputated. Because of his progress, his physicians released him from the hospital with an artificial limb and permitted him to stay at home indefinitely. He passed away peacefully in his Umina home, surrounded by the country he cherished while sleeping.

In June 1989, a memorial exhibition was held at Kenhurst Galleries, Sydney.

“The picture, I feel, takes you further than anything I have seen yet and assures me that the fine tradition of Australian Landscape is safe in your hands”

- Norman Lindsey to Lance Solomon

Hawkesbury River Picnic, January 1989, Mixed media

My Reflection:

I had some knowledge of my uncle Lance before to the event. I was surprised to discover as much as I did. I felt that the spirit of Lance himself was directing me while I told his narrative. Perhaps that is a bit over the top. I made a remarkable discovery: Lance Solomon was a renowned Australian painter on par with the greats of Australian history and art history. He possessed an outlook that, oddly enough, I believe I share with him. After all, we are a family.

He was a walking embodiment of the bohemian artist culture that flourished in Depression-era Sydney. His story is a continuation of the artist's journey. Along the way, he experienced both highs and lows. I could identify with his sense of being held back by the conflict, just as I had been by the pandemic.

As someone who shares the opinion that he is a talented artist who deserved to be better known after his death than he is now, I can only urge that this be the case. His life narrative and artistic ability are both remarkable.

I am proud to call him My Great Granduncle or simply Uncle Lance.

“I wanted to capture to capture the poetry of the bush on canvas”

- Lance Solomon

I hope you all enjoyed the case study and learn something new!

All the works present and information were sourced by A Tribute to Lance Vaiben Solomon (1913–1989). ill. SOLOMON, Lance Vaiben. Kenthurst, Sydney: Dekiki, 1990

All though not all artwork mentioned could be shown.