In April 1943, Josephine Muntz Adams held a career-defining exhibition at the Athenaeum Gallery in Melbourne. Opened by influential media mogul Sir Keith Murdoch, the exhibition showcased more than 90 works spanning over 50 years of Josephine’s career, reaffirming her place in Australian art history.
A long-awaited recognition
Despite her considerable contributions to Australian art, Josephine was not as widely recognised as some of her contemporaries. Years before this exhibition, Josephine was forced to relinquish her artistic career due to failing eyesight. As The Sun’s Adrian Lawlor rightfully pointed out, ‘This personal misfortune was a distinct loss to Australian art.’1
The exhibition was met with critical acclaim, with reviewers highlighting the technical excellence, charm and sincerity of her work. Clive Turnbull, writing for The Herald, declared that the artgoing public ‘owed a debt’ to Josephine for letting them see it:
‘It shows that the best work is not always trumpeted from the housetops, and it should, belatedly, help to give Mrs Adams that place in the story of our artistic development which she deserves.’2
The Age3 praised her ability to depict both portraits and landscapes with equal sensitivity. Drawing comparisons to renowned artists such as Longstaff, Fox and Davies, it highlighted her grasp of form, volume, colour and composition. It was evident that her peers held her in high regard, and this exhibition solidified her reputation among them.
‘The paintings of Mrs J. M. Muntz Adams are the negation of cynicism and of everything meretricious or ugly.’
A selection of works shown at the Athenaeum Gallery exhibition
Portraits, landscapes and beyond
The exhibition featured a diverse range of subjects, from intimate portraits to expansive landscapes and still life paintings. Many critics singled out her figure studies, such as In the Garden, Relaxation and Arranging Flowers, as examples of her ability to capture freshness and emotional depth. Her landscapes and travel sketches showcased her keen eye for composition and atmosphere, offering fresh glimpses into scenes from Coolgardie to Cornwall and beyond.
Writing for The Argus, Harold Herbert commended Josephine’s demonstration of the impressionist tradition. ‘She was of that period when impressionism, beautiful colour and broad treatment were paramount. It is a splendid show demonstrating these qualities,’ he applauded. ‘An atmosphere surrounds many of them as being the work of a sincere and highly qualified painter in the full sense of the word.’4
The exhibition also included several portraits of Josephine’s family members, including niece Mabel Josephine Hagenaar (née Muntz) and brother William Jamison Muntz. Poignantly, William passed away just two months after the show in June 1943.
Exhibiting in the throes of war
As Clive Turnbull observed, the canvases presented at the Athenaeum ‘rove over the years between the halcyon days [at the turn of the 20th century, when Josephine was in her artistic prime] and our own unhappy time.’5
Held during the throes of World War II, the exhibition took place in a challenging cultural and economic environment. In recognition of the difficulties faced by artists during wartime, the Athenaeum Gallery had reduced its exhibition fees, making it possible for artists like Muntz Adams to continue sharing their work with the public.
As a result, the gallery was fully booked for the year, hosting exhibitions by Josephine and celebrated artists such as Sir Arthur Streeton, Jo Sweatman and George Colville6.
A permanent position in Australian painting
Josephine’s exhibition at the Athenaeum was more than just a retrospective – it was an affirmation of her rightful place in Australian art. It demonstrated that her work, though not always in the limelight, was of lasting value and deserved recognition.
Sir Keith Murdoch’s support of the exhibition further underscored its significance. As founder of the Murdoch media empire and a patron of the arts, his influence helped promote the work of many local artists during the early to mid-20th century.
In his opening address at Josephine’s exhibition, he said ‘The paintings of Mrs J. M. Muntz Adams are the negation of cynicism and of everything meretricious or ugly.’7
In retrospect, this exhibition was a defining moment in Josephine’s career. As The Herald’s Clive Turnbull declared: ‘Mrs Adams has every right to a permanent position in Australian painting.’8
‘Mrs Adams has every right to a permanent position in Australian painting.’
