Tower HillEugen von Guerard · 1855

Identification of the Painted Landscape

In this work, titled View of Tower Hill, Eugene von Guérard captures a specific geological formation in southwestern Victoria. The scene depicts a dormant volcano, specifically a nested caldera, situated between Koroit and the south coast. Painted in 1855, the work offers a precise look at this volcanic landscape.

The commission for this piece came from James Dawson of Kangatong, located near Warrnambool. Through Eugene von Guérard's lens, the topography of the region is rendered with a focus on the natural structure of the land. The subject remains a significant landmark in the Victorian landscape, documented during a period of early settlement in the area.

Composition and Visual Details

The composition is structured around a vast valley, framed by the presence of mountains in the distance. A cloudy sky hangs above the landscape, casting a diffused light across the terrain. Within the valley, several trees are scattered throughout the scene, providing a sense of depth and natural rhythm to the topography. The arrangement of these elements creates a layered perspective, drawing the eye from the immediate foreground toward the distant peaks.

In the foreground, the scene includes Aborigines camping, adding a specific human presence to the landscape. Further into the valley, two people are visible, engaged in activity amidst the scenery. These figures provide a sense of scale against the geological features of the dormant volcano. The placement of these individuals allows for a quiet observation of the relationship between the inhabitants and the surrounding environment.

Technique and Physical Materials

Executed in oil on canvas, this work measures 68.6 x 122 cm. The artist’s process was remarkably disciplined, beginning with a large, detailed drawing and likely several colour studies produced on 9 and 10 August 1855. This preparatory stage allowed for a precise understanding of the landscape before the final application of paint. Once the canvas was prepared, von Guérard used a pencil to sketch the composition directly onto the surface, ensuring the structural accuracy of the volcanic terrain.

The physical construction of the piece reveals much about the artist's fastidious nature. On the reverse, a pencil calendar is marked upon the timber stretcher, recording the passage of time during the painting's creation. An 'X' indicates the commencement of the work on Wednesday, 15 August 1855, with the final layers completed fifty-two days later. This meticulous documentation provides a rare, intimate glimpse into the temporal reality of the studio practice.

History of Ownership and Collections

The provenance of this work is closely tied to the family of its original patron, James Dawson. Following the initial commission, the painting remained within the family's private sphere for several decades. In 1966, the piece was gifted to the public by Mrs E. Thornton, the granddaughter of James Dawson.

Upon its gift, the work was presented to the Department of Sustainability and Environment, specifically under the care of the Victorian Fisheries and Wildlife Division. This transition ensured the painting moved from a private residence into the hands of those tasked with the stewardship of the Victorian landscape. Since 1978, the painting has been held on loan to the Warrnambool Art Gallery. It remains on display there today, allowing viewers to observe the specific details of the volcanic terrain as it appeared in 1855.

Scientific Studies and Conservation

The physical history of this work is recorded with remarkable precision on its own structure. On the back of the timber stretcher, a pencil calendar remains, documenting the artist's disciplined approach to the canvas. An 'X' marks the commencement of the painting on Wednesday, 15 August 1855. From that moment, the process continued for fifty-two days, reaching its conclusion on Friday, 5 October 1855.

Modern technical analysis has allowed us to look beneath the surface of the oil. The composition can be imaged with infrared radiation, revealing the meticulous layers of the artist's method. This level of detail was not merely for aesthetic purposes; the painting has functioned as a vital ecological record. The work was used as a guide for the revegetation and restoration of the vegetation at Tower Hill, helping to return the landscape to its natural state after decades of environmental degradation.