‘The price of re-discovery, or so it seems, is eternal vigilance; if the flame is not attended it will go out and the reputation of that artist will again sink into obscurity.’
Janine Burke1
The Heidelberg Era is one of the most celebrated periods in Australian art history. The colonial images created by its artists are embedded into our cultural mythology and reproductions of Tom Roberts’ Shearing the Rams (1890) and Frederick McCubbin’s The Pioneer (1904) were once as ubiquitous on our loungeroom walls as the souvenir spoon racks fashioned into the shape of Australia.
A glaring omission from this mythology, however, is the contribution of women. Female painters were largely overshadowed by the larger-than-life figures of Roberts, McCubbin and Arthur Streeton2.
As Victoria Hammond and Juliet Peers rightfully ask: ‘Why have the majority of [the Heidelberg] women been neglected or forgotten? Why did so many of them begin so promisingly, brilliantly even, and slip into mediocrity and obscurity?’3
Josephine Muntz Adams was one of these women: a maverick and a trailblazer. She forged a hugely successful career during a time when women didn’t have careers. She travelled the world for her art when most women were confined to domestic duties.
While the reputations of the male painters continue to thrive beyond the grave, Josephine’s legacy – like many of her female contemporaries – has dimmed with each passing year.
My mission with this website is to keep the flame alive. This biography is, by necessity, one of broad brushstrokes. There are few artefacts or primary sources to piece together a comprehensive narrative of Josephine’s life.
No diaries, no letters – just a handful of documents that preserve Josephine’s voice in her own words. But thanks to the wonder of Trove, and family histories of relatives past, I’ve compiled a brief snapshot of her life – or at least how it was reported in the newspapers of the day.
This overview frames her life through a familial lens rather than art history. In doing so, I hope to provide more context to the woman – and the life – behind the artist.
Peter Muntz
Researcher & Digital Curator
A pioneering family
Josephine was born into a pioneering family, where ambition and perseverance ran deep.
In 1854, her father, Thomas Bingham Muntz, set sail for Australia from Northern Ireland at just 19 years old. Like many Irish nationals of the time, he sought escape from the poverty and cultural repression in Ireland for the lure of the Australian goldfields. He spent his first two years in Australia panning for gold in Blackwood, Victoria – albeit, without much success. He then settled in the rural town of Barfold, near Kyneton, where he became shire engineer, farmer and land dealer.
In 1861, Thomas married Jane Jamison at St Luke’s Church in Emerald Hill (now South Melbourne). The following year, on 30 March 1862, Josephine Margaret Muntz was born in Barfold. She was the first of 10 children over the next 16 years.4
In 1871, the family moved to Prahran, where Thomas Bingham became a respected figure in Melbourne. He worked as a civil engineer and, in 1885–86, served as Mayor of Prahran.
Josephine’s brothers were highly accomplished in their respective fields. Like their father, Edwin Parnell, William Jamison and John James Nelson were all civil engineers. Thomas Carson was Town Clerk of Wangaratta for 30 years and David Livingstone was a noted photographer in Malvern.
Ahead of the social norms of the time, the Muntz family encouraged female achievement. The Prahran Council at this time was ‘actively sympathetic to the suffragist movement’5 and Josephine’s mother was a supporter of the cause. Josephine’s sister Edith was one of the first women to graduate in science at the University of Melbourne, while her sister Florence excelled in modern languages.
This rise in feminism, coupled with the Muntz family’s upper middle-class status, fostered a social climate that supported Josephine’s artistic ambitions. As a young woman, she grew up in a world where expectations were clear and choices were often made for you. Yet, Josephine carved her own path as a gifted pianist and talented painter.
She was also an intrepid traveller, returning to Melbourne from Liverpool by ship in 1875, when she was just 13 years old. Although it’s unclear when (or why) she left Australia, family history suggests she may have attended school overseas, or visited her grandfather in Killough, County Down, Ireland.
The school of art
From a young age, Josephine immersed herself in the arts. She began her formal art training in 1876, aged 14, at the Prahran School of Design. She then honed her craft at the prestigious National Gallery School in 1882 and from 1884–89. There she studied under George Frederick Folingsby, who rejected the long-held practice of copying old masters in favour of encouraging his students to experiment with new techniques and develop their own artistic voice.
Josephine’s contemporaries at the school included Clara Southern, Jane Sutherland, May Vale and Arthur Streeton, the latter of whom became a long-standing friend of the Muntz family.
Life at the National Gallery School was no place for faint-hearted dilettantes. In his 1907 article for New Idea on career options for young women, William Moore described the gruelling ‘ordeal’ of art school, which could last as long as a university degree.
‘A girl starts in the drawing school, and for eighteen long months she draws nothing but anatomical casts and antique statues. If she survives this ordeal, she goes upstairs to the painting studies, where for six months she draws nothing but heads from life, varying the monotony by attending life classes in the evening. And so she advances slowly, step by step, for a period of five or six years.’6
For anyone looking to make an income beyond art school, Moore declared: ‘In painting portraits this is possible, in painting landscapes it is impossible.’7 Although Josephine was adept at both forms, she chose to specialise (and excelled) in the former.
By the time she finished at the National Gallery School in 1889, Josephine was eager to expand her creative world. Like many artists at the time, Josephine followed the well-worn artistic pilgrimage to Paris and then on to London.
‘While London was the centre of Empire, Paris was the centre of art. Both cities were essential destinations for what became for Australian artists an indispensable pilgrimage to the Old World.’8
She lived abroad from 1890–96, first studying at the Académie Colarossi in Paris (which encouraged greater freedom of expression than the more popular option at the Académie Julian).
The pinnacle of her success in Paris was the exhibition of her painting Care (pictured below) at the Paris Salon in 1893. There it had the honour of being hung ‘on the line’ – a position reserved for the most outstanding works, placed at eye level for maximum visibility. As the official art exhibition of the Académie des Beaux-Arts, the Salon provided great exposure and was a gateway to significant recognition in the art world.
Sady, that same year that Josephine painted Care, her sister Florence Annie Gibb (née Muntz) passed away in Melbourne after giving birth to her first child.
By the time she finished at the National Gallery School, Josephine was eager to expand her creative world. Like many artists at the time, Josephine followed the well-worn artistic pilgrimage to Paris and then on to London.
Florence’s death likely weighed heavily on Josephine, who was on the other side of the world and would have only learnt of her sister’s passing through letters arriving in the post months later. Perhaps Josephine interpreted the grief and sorrow through the figure in Care, imagining this letter exchange between herself and her mother.
Josephine then studied under Hubert von Herkomer at the Herkomer School of Art in Bushey, Hertfordshire, not far from London. Herkomer’s was a well-regarded school, known for its emphasis on realism and technical excellence, and attracted students from around the world. Although it accepted both male and female students (which was not standard practice), women had to be under 28 and unmarried. Josephine would have been around 30 when she arrived, so she may have had to lie about her age or was granted an exception. Whatever the reason, she would have been thankful to have been accepted, because she claimed to have ‘gained more real knowledge at Bushey’ than anywhere else.9
Professor Herkomer was equally complimentary toward Josephine (if you can look past the outdated gendered views), noting that ‘the work of Miss Muntz was more like that of a man than that of a woman.’10
A selection of Josephine's student work
A marriage cut short
Josephine was in her mid-30s when she returned to Australia and many people might have presumed she was married to her art. Then came Samuel Howard Adams.
Taken by journalist and art critic, William Moore.
As a pioneering female artist in Australia, Josephine navigated a world where women were often expected to prioritise domestic life over professional ambition. Most women married in their early to mid-20s, but Josephine was anything but conventional. She was in her mid-30s when she returned to Australia and people might have presumed she was married to her art.
Then came Samuel Howard Adams. He emigrated from County Antrim, Ireland in the late 1880s. He was four years younger than Josephine and, according to Muntz family history, was said to be ‘a very handsome man’. On 25 August 1898, at the age of 36, Josephine married Samuel at her parents’ home in Melbourne.
In 1901, the couple settled in Brisbane at ‘Adaroni’ in the Jubilee Estate (in the suburbs now known as Red Hill, Paddington and Bardon). Samuel worked as a manufacturer’s agent and, like his father-in-law, was active in civic life. He was a member of the Queensland Labour Party during its formative years and had a strong interest in social and political causes.
‘From his youth up, Sam has been a careful student of the march of progress, and of the causes underlying our social and political ills.’11 In 1902, he contested the Queensland state seat of Balonne, narrowly missing out on election.
While in Brisbane, Josephine’s reputation as an artist continued to grow. At the Queensland Art Society’s 14th Annual Exhibition in 1902, the Worker newspaper quipped that: ‘The only pictures you feel you want to nick are painted by a woman, Mrs Muntz Adams, the wife of Sam Adams.’12
Tragically, their married life was cut short. On 20 March 1903, as Josephine and Samuel were preparing to go to town, he called out to her from an adjoining room. He died suddenly in her arms shortly after. Although he had been suffering from a bout of kidney stones, death was unexpected. The Worker reported: ‘Ailing for some months past, and only lately risen from a bed of sickness, he had a sudden seizure on Friday last week, and died within half an hour.’13 The official cause of death was cardiac failure.14 Samuel was just 37 years old; he and Josephine had been married for less than five years.
As the Labour-affiliated Worker declared: ‘Sam’ was one of the Worker’s most valued friends, and a fine fellow in every sense.’15
Return to Melbourne
For Josephine, it was more than a simple return to society; it was her way of marking the end of mourning and her reintroduction to Melbourne’s art world.
Devastated by the sudden loss of her husband, Josephine returned to Melbourne in July 1903, to rebuild her life and re-establish her artistic career. She immersed herself back into the city’s artistic and intellectual circles. The next month, Josephine hosted an ‘At Home’ event – a common social gathering for Melbourne’s upper and middle classes.
For women, these events offered one of the few formalised ways to shape their professional and personal networks.
For Josephine, it was more than a simple return to society; it was her way of marking the end of mourning and her reintroduction to Melbourne’s art world.
As the Arena-Sun reported, her ‘studio was set out with art treasures, amongst which were a number of dainty water colours of Queensland scenery.’16 The guest list was notable, with visitors such as Mrs R L J Ellery (the wife of Robert Lewis John Ellery), Mrs E. J. White (the mother of Stella White) and the Hon. Charles Young – whose portrait Josephine had painted some years earlier.
During this period, Josephine exhibited regularly with the Victorian Artists Society and served on its council from 1905 to 1908.
Sadly, death came calling again all too soon with the passing of Josephine’s father, Thomas Bingham Muntz, in October 1908. As a much-respected citizen, flags were flown at half-mast on the town halls of Prahran, Malvern, Kew and Caulfield – a sign of great respect for an eminent citizen.
He was remembered fondly as one of the best-known civil engineers in Victoria. ‘The old gentleman and all his family are highly respected in this district, and the deceased was always termed a “dear old fellow”.’17
Following their father’s death, Josephine and her sister Edith embarked on a round-the-world journey, departing Melbourne for Naples (Napoli), Italy, on 29 December 1908. The trip likely provided some solace after the heavy losses Josephine had endured. It also served as a break for Edith, who had suffered a severe nervous breakdown caused by overstudy following the completion of her Bachelor of Science at the University of Melbourne. This trip would account for the Venetian works from this period, along with others produced across Europe, England and Ireland.
Josephine and Edith returned to Melbourne in June 1911, but tragedy struck again just months later. On 28 June 1911, Edith died at the age 41 from subacute nephritis uraemia (inflammation of the kidneys). According to The Bulletin, she ‘appeared to be well on the road to health when she arrived home the other day; her death, therefore, came as a severe shock to her friends, who had thought that the time for anxiety was past.’18
After Edith’s passing, Josephine remained in Melbourne and continued her involvement with the Victorian Artists Society. She served again on the council from 1912–1913 and in 1916, steadfastly continuing her artistic journey despite the heartache she had faced.
Queensland revisited
World War I had a profound impact on Australia. Although the war was fought far from its shores, its effects were deeply felt – economically, politically and socially. Perhaps it was the tumult of the war that inspired Josephine’s return to Brisbane in 1917. It was another turning point, reflecting her resilience and desire to help nurture the next generation artists as a teacher.
On 1 February 1917, Josephine began teaching part-time at the Central Technical College, where she taught freehand drawing and painting. The Daily Standard Brisbane hailed her arrival with enthusiasm: ‘Art lovers will hear with great interest and pleasure that Mrs Muntz-Adams, one of the most successful women painters in Australia, has just arrived in Brisbane.’19
To celebrate Josephine’s return, the college held an exhibition of her work, which featured around 200 paintings. The exhibition was opened by Reginald Heber Roe, Headmaster of Brisbane Grammar School. Although Josephine was unable to display her more recent portraits (as most were hung in Melbourne), she was able to secure the loan of two portraits she had painted during her earlier time in Brisbane.20
Her return to Brisbane was no doubt bittersweet, carrying the memory of her late husband. However, she didn’t make the move alone. Her niece, Mona Isobel Muntz – daughter of William Jamison and Alice Irvine – joined her in Brisbane.
It was another turning point, reflecting Josephine's resilience and desire to help nurture the next generation artists as a teacher.
Josephine and Mona shared a close bond and an artistic temperament. Mona was a talented soprano, and together they created a nurturing environment for their respective crafts. From 1919 to 1920, or possibly longer, they lived and taught at the Richard Randall Art Studio on Cordelia Street, South Brisbane.21 On Saturday afternoons, Josephine held drawing and art classes, while Mona taught singing and voice production.22
Mona quickly made her mark in Brisbane’s musical world, giving regular recitals to much acclaim. ‘That Miss Mona Muntz, a comparatively recent arrival from Melbourne, should take a high place in the Brisbane musical world was the opinion of all those who were privileged to attend her recital at Beale’s salon last evening. It is seldom indeed that an artist combines perfected technique with the rare and precious gifts of temperamental sympathy and sincerity.’23
The period was rich with creativity for both aunt and niece, as they cultivated their talents and shared their expertise. It was a time of deep personal and artistic fulfillment, one which they surely cherished for many years.24
The final brushstrokes
Upon her death, Brisbane’s Courier Mail hailed Josephine as ‘one of the best Australian portrait painters of her time’.
By 1922, Josephine returned south. She settled in Melbourne at her property, ‘Killarney’, at 9 Tollington Avenue, Malvern25, which she had built after her father died. She divided her time between Malvern and her Edithvale beach house, often drawing inspiration from the local coastal scenes for her painting.
As the years passed, Josephine’s professional life slowed down. After 1930, she began to suffer from the effects of arteriosclerosis and her eyesight gradually failed. Although she continued to paint, the quality of her work diminished as her health declined. During this period, she was a member of the Plymouth Brethren, a Christian movement that originated in the United Kingdom.
In 1943, at the age of 80, a retrospective exhibition of Josephine’s work was held at the Athenaeum Gallery, opened by Sir Keith Murdoch. In his review of the exhibition, The Herald art critic Clive Turnbull declared that ‘Mrs Adams has every right to a permanent position in Australian painting.’26
Josephine’s property ‘Killarney’ had a studio in the garden, as well as an attic studio on the top floor. A chance meeting with Anne Graham, a young Viennese refugee and fellow artist, offered a glimpse into Josephine’s creative sanctuary.
‘The profusion of objects in the latter resembled an oriental bazaar with velvet hangings, Persian carpets, couches draped with silken shawls and Muntz Adams paintings, which covered the walls and were stacked against them.’27
Graham recognised that Josephine’s work was in the true impressionist tradition. The meeting also left a poignant image of the nearly blind artist, ‘old, forgotten, melancholy and alone, surrounded by the relics of a varied career.’28
A month after being hospitalised with a cerebral thrombosis, a rare type of stroke, Josephine passed away on 18 November 1949. She was 87 years old. Upon her death, Brisbane’s Courier Mail hailed her as ‘one of the best Australian portrait painters of her time’.29 Josephine was buried alongside her ‘dearly loved’ husband, Samuel Howard Adams, at Toowong Cemetery in Brisbane.
Josephine’s art was deeply intertwined with her personal experience. She may have outlived her husband and all of her siblings, but the ravages of old age ultimately robbed her of the eyesight upon which her career relied.
Her legacy may have flickered and dimmed, but like the flame she once ignited, it will never fully fade.
