Replicating the works of old masters was a long-held tradition in Western art, enabling students to hone their style and technique.
These copies of old masters and still life paintings are likely to have been undertaken during Josephine’s time as a student in Melbourne (1882, 1884–89) and Europe (1891–1896).
When Josephine was studying at the National Gallery School in Melbourne under George Frederick Folingsby, copying of the old masters was virtually abandoned. His report to the gallery committee in 1882 said ‘the practice is in no way beneficial to art students, and one that can only have a pernicious and lowering effect on the public taste.’1
It was a bold move that not only steered students towards original work, but laid the foundation for a distinctly Australian style and practice.
This would account for the rare occurrence of old masters in Josephine’s oeuvre. Other than the two examples below, we know Josephine produced a copy of Paolo Veronese’s The Flight from Sodom (c.1585). It was shown at her exhibition at the Athenaeum Gallery in 1943, but its location is unknown.
These still life paintings, though rare in her body of work, also highlight Josephine’s inclination towards portraiture and landscapes.
