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This poster is one of six designed by Mayo for the Australian National Travel Association. The commission was established to revitalise Australian tourism in the post-war era and consequently placed Australian graphic art on the global stage. Mayo’s designs, which drew on Australia’s flora and fauna, resonated with local audiences and gained international acclaim.
Mayo’s print work contributed to the broader legitimisation of printmaking as a fine art form in Australia at a time when it was still seen by many as secondary to painting and sculpture. Arriving in Sydney, Mayo brought with her an established reputation as a printmaker; after exhibitions at prominent British galleries – including the Redfern Gallery – two of her prints were acquired by the Victoria and Albert Museum.[1] She was accepted and valued in Australian art circles and became a prominent figure within Sydney’s printmaking circles, cofounding the Sydney Printmakers group in 1960, which played a pivotal role in the medium’s development.[2] Her...
This poster is one of six designed by Mayo for the Australian National Travel Association. The commission was established to revitalise Australian tourism in the post-war era and consequently placed Australian graphic art on the global stage. Mayo’s designs, which drew on Australia’s flora and fauna, resonated with local audiences and gained international acclaim.
Mayo’s print work contributed to the broader legitimisation of printmaking as a fine art form in Australia at a time when it was still seen by many as secondary to painting and sculpture. Arriving in Sydney, Mayo brought with her an established reputation as a printmaker; after exhibitions at prominent British galleries – including the Redfern Gallery – two of her prints were acquired by the Victoria and Albert Museum.[1] She was accepted and valued in Australian art circles and became a prominent figure within Sydney’s printmaking circles, cofounding the Sydney Printmakers group in 1960, which played a pivotal role in the medium’s development.[2] Her technical innovations, such as subtle layering techniques and precise line work, were widely admired and helped set a new standard for Australian printmaking. Her skill and artistry were recognised through prestigious awards, including the Albany Prize and the Ku-ring-gai Prize in 1954.[3]
This poster design features a striking depiction of a kangaroo and its joey, an unmistakable symbol of Australia. Other prints in the commission, a series of images that celebrate Australia’s natural beauty including depictions of koalas, birds, fish and plants, were featured in the commercial design journal Modern Publicity. Mayo’s printmaking, particularly in linocut and lithography, was characterised by a meticulous approach to detail and a balance between artistic design and natural observation. In this case, the choice of offset lithography enabled Mayo to make the most of bright, bold colours.[4] Mayo’s technical expertise as a printmaker, particularly her ability to integrate fine art and commercial design, is particularly evident in this poster series.
[1] John Gainsborough, (2019) Eileen Mayo DBE: Artist Illustrator Designer and Model. Sussex: The Towner Gallery, p.54.
[2] Jillian Cassidy, (1992) Eileen Mayo: Painter/Designer. Auckland: National Library of New Zealand, p.11.
[3] Frank A Mercer (ed.), (1956/7) Modern Publicity. no. 26, p.45-52.
[4] Peter Vangioni, (2019) Elieen Mayo: Nature, Art and Poetry. Christchurch: Christchurch Art Gallery, p.16.
