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Anarchy is not chaos. It is not destruction. It is simply the
absence of "government."
The agency most people erroneously identify as "government"
today is in reality a gang of lawyers, armed thugs, and con
artists backed by an army of bureaucrats, which operates an
immense array of protection and other rackets financed through
extortion and fraud.
I assume there will always
be people who will complain about something or who will criticize public issues.
Therefore I suggest the following: Just continue surfing. I’m not
going to stop you!
"Mit der
Abschaffung der Meinungsfreiheit, zunächst in
bestimmten Bereichen, wurde der Weg zur Abschaffung
des Rechtsstaates, der Weg in die Knechtschaft,
betreten.
Denn wo die
Wahrheit gering geschätzt wird, geht bald die
Freiheit verloren."
Gerard Radnitzky
„Den Islam sehe
ich als eine außerordentliche Bedrohung an, als eine
feindliche Gesellschaft."
Pim
Fortuyn
"Capitalism gave
the world what it needed, a higher standard of
living for a steadily increasing number of people."
Ludwig von Mises
"Libertarians
first and foremost trust themselves. They do not
scream for help and demand that the Government
should provide “comforters” and an all-round social
care system."
Robin
Renitent
"Diejenigen,
die den von
Palästinensern ausgehenden Terror als
„Freiheitskampf“ verkaufen und Israel ein
Notwehrrecht absprechen, die die positiven Seiten
dieses einzigen respektablen Rechtssystems in Nahost
leugnen, widern uns in ihrer ideologischen
Unaufrichtigkeit an.´"
Robin
Renitent
"Unfortunately, history shows that running an empire
is a disastrouly expensive business. You pay in
cash. You pay in blood. And you pay with your own
soul."
Bill
Bonner
"Nirgendwo
wird die Würde der Frau so verletzt wie in der
islamischen Gesellschaft.
Die
Geschichte des Islam ist eine einzige Entwürdigung
der Frau und das bis zur Stunde.
Und ich will
das sagen dürfen, auch wenn es radikalen Muslimen
nicht gefällt. "
Ralph Giordano
"Gibt
es irgendwo auf unserem Planeten ein Land, das an zu
wenig Staat leidet? Wann, wo und wie hat es das
jemals gegeben?!
Es
hat Länder gegeben die gelitten haben, weil ihre
Armee zu klein oder zu schwach war, aber niemals,
weil ihre Regierung zu klein gewesen wäre."
Richard Daughty
Self
Portrait - 1930
The four Leaved Clover
Rupert Charles Wulsten Bunny was born in the suburb of St Kilda, Melbourne , in a house called “Eckerberg” after his German mother's home in Frankfurt-an-der-Oder. His father was a judge, his mother an accomplished musician. The household was
filled with noisy children. A host of visitors came over the swamp from Melbourne for musical evenings, amateur theatricals and select gatherings of novelists, scientists and politicians. Though Bunny belonged to the first generation of Australian-born artists, and studied at the National Gallery School , Melbourne , with Arthur Streeton and
Frederick McCubbin, his “Australianess”, unlike theirs, is not what is remarkable about him. In his own day, his paintings looked foreign. Most of his painting career – from 1886 to 1932 – was spent in Paris , and there were few Australian subjects. But this was not the reason people found the paintings foreign. Their exoticism was observed
not only by Australians: Parisian and British audiences noticed the mix of familiar and unfamiliar ingredients in his paintings. Bunny used the fancy-dress of ancient myths and classical literature to tell stories which have equivalents in modern life. On the other hand, even his imagery of modern life in Paris had an air of fantasy. Gustave
Geoffrey observed the air of privacy, the “secret charm” of women enacting the pleasant festival of an intensely feminine life, in images of “delicious fantasy”.
Evening Near Choyes
Bunny was receptive to the idea of expressing music, literature and dance in painting. An aesthetic synthesis of that sort satisfied everything he believed in, because although he had chosen a career in art he continued
to explore his interest in music, classics and the theatre.
Orchard, South of France
Paris where he met and married the artist Jeanne Morel (born 1871, died 1933) and where he lived for forty-six years - between 1886 and 1933 – had a profound influence on him. He absorbed its music, theatre, plastic arts
and dance, heard it's intellectual arguments and read its literature. He saw the dancing of Isadora Duncan, Otero, and later, the Ballets Russes; listened to the music of Faure, Satie and Debussy; and read the stories of Guy de Maupassant. Paris at the time of the Belle Epoque gave Bunny his major contemporary theme – the leisured life of women.
Between 1906 – 1911 images of women comprised most of his work, but he lamented the passing of this excessively feminine style that ended with the First World War. “When short skirts came in I no longer wanted to paint women” said Bunny.
Une nuit de Canicule
At the war's end, Bunny emerged from the shadowy life of Paris and made a number of annual winter-spring excursions to the south of France . There he enjoyed the warmth of Provence in winter, and painted landscapes and
sketched. They illustrated not winter, but the serene promise of the spring season. These landscapes (painted while the artist was aged in his late fifties and sixties) dwelt comfortingly on natural sequences of light, weather and season.
The Letter
When Bunny painted at Tintaldra on the upper Murray in 1926, the critics were muted in their comments. It was felt that Australians, “accustomed to a brush stroke doing its work in a definite fashion” would be “uncertain
about the handling” in these works of Bunny, with “the character of the gum tree hardly well enough expressed”. (Note II)
The new book
In fact, the style and imagery of the Tintaldra paintings accorded with a change in Australian landscape painting towards a bony interpretation of dry, blonde colours, as in Hans Heysen's Flinders Ranges paintings and the
1920's landscapes of Elioth Gruner and Arthur Streeton.
Study for Rhea
Bunny's reputation in Australia fluctuated in his lifetime and has continued to be a matter for debate ever since. In the late 1960's Daniel Thomas judged him “a much better painter” (Note III) than his contemporaries
Tom Roberts and Arthur Streeton. James Gleeson thought his paintings “of such quality that they transcend the limitations of their period”(Note IV). Twenty years later, historian Humphrey McQueen disagreed “He was the complete cosmopolitan – at home nowhere”(Note V). But at the same time, art critic John McDonald noticed “a refreshing willingness to
keep reinventing himself which distinguished him from most of the artists of the ‘Golden Summer' (Australian) impressionism exhibition”(Note VI).
The Garden Trick
What is clear is that Bunny had an astonishing ease in the use of different styles and inventiveness in image making. In this respect he was a truly modern artist.
Quiet evening
Note II: “Argus” Melbourne 2 March, 1927 .
Note III: “Sunday Telegraph” Sydney 18 August, 1968 .
Note IV: “Sun Herald” Sydney 14 September, 1969 .
Note V: “Time Australia ” Melbourne 8 September, 1986 .
Note VI: “National Times” Sydney 11 July 1986 .
Ali, Ayaan Hirsi
Aliberti, Lucia
Barenboim, Daniel
Benanteur, Dahmane
Berger, Erna
Berliner Philharmoniker
Björling, Björling
Bläser der Berliner Philharmoniker
Bravo, Manuel A.
Broder, Henryk M.
Bunny, Rupert W.
Fallaci, Oriana
Friedman, David
Galitsin, Gregori
Giebel, Agnes
Gigli, Benjamino
Hopper, Edward
Johaentges, Karl
Kästner, Erich
Koelbl, Herlinde
Lebeck, Robert
Lenau, Nikolaus
Leonhard, Wolfgang
Michener, James A.
Müller, Wilhelm
Nakic, Adrian
Newton, Helmut
Rand, Ayn,
Richter, Karl
Richter, Svjatoslav
Rozhdestvensky, G.
Saarinen, Pekka
Schneiderhahn, W.
Serebryakova, Sinaida
Snow, Aurora
Traven, B.
Wunderlich, Fritz
"Europa ist nicht mehr Europa, es ist 'Eurabien',
eine Kolonie des Islam, wo die islamische Invasion
nicht nur physisch voranschreitet, sondern auch auf
geistiger und kultureller Ebene."
Oriana Fallaci
"Seit
den Anfängen der Geschichte stehen sich die beiden
Antagonisten gegenüber: der Schöpfer und der
Schmarotzer. Als der erste Schöpfer das Rad erfand,
tat der erste Schmarotzer den Gegenzug. Er erfand
den Altruismus."
Ayn
Rand
"Wir
sind keine Bürger mehr, wir sind Untertanen, bloße
Zuschauer am Schicksal, das andere für uns gewählt
haben. Wir sind nur dann Bürger, wenn wir echten
Einfluss darauf haben, wie unsere Steuergelder
ausgegeben werden. Wir sind Untertanen, wenn wir die
Steuern einfach nur bezahlen, während andere
entscheiden, was mit diesem Geld gemacht wird."
(Robert Spencer)
"Tyranny is a
political corollary of socialism, as representative
government is the political corollary of the market
economy."
Ludwig von Mises
"There
is no comparable contractual relationship between
the state and its citizens. Therefore we resist the
enforcement-monopolistic state."
Robin
Renitent
"Der Islam
vertröstet
auf das
Paradies, die Sozial-
demokraten
auf eine Besserung in zehn oder zwanzig Jahren."
Ayaan Hirsi Ali
"Es gibt eben
keine andere Wahl als die: entweder von Eingriffen
in das Spiel des Marktes abzusehen oder aber die
gesamte Leitung der Produktion und der Verteilung an
die Obrigkeit zu übertragen. Entweder Kapitalismus
oder Sozialismus; ein Mittelding gibt es nicht."
Ludwig von Mises
"Public interest
criteria" does not mean criteria that the public
decides are in its interest. It means that the elite
– via various appointed bodies – decide what the
public’s interest is for them."
Mark Steyn
"Es
gibt keine einfachere, keine wirksamere und keine
dauerhaft verläßlichere Methode der
Herrschafts-beschränkung (und damit der
Freiheitssicherung) als dem Herrschaftsapparat die
Verfügungsmacht über das Geld zu entziehen."
Roland Baader
Biography
1864
Rupert Charles Wulsten Bunny was born on 29 September at St. Kilda, Melbourne, third son of Victorian Country Court Judge, Brice Bunny, and Marie Hedwig Dorothea Wulsten. Brice Bunny had come to Australia during the gold rushes in 1852. After six unsuccessful months on the Forest
Creek diggings (Castlemaine), he resumed his practice as a barrister in Melbourne.
1870s
Rupert Bunny was educated at Hutchins School, Hobert; in Germany, Switzerland, and at Alma Road Grammar School in St. Kilda.
1881
Although he wanted to become an actor, he was obliged through family pressure, to study civil engineering at the University of Melbourne. Through the influence of Alfred Felton, a family friend, Bunny abandoned university to study art, joining the National Gallery School of Design, Melbourne,
under Oswald Rose Campbell. Fellow students included Frederick McCubbin, Julian Ashton and Emanuel Phillips Fox.
1882-1883
Studied in School of Painting under George Frederick Folingsby and received a "special mention" in students exhibition of 1883.
1884
To England where he studied at Calderon's art school in St. John's Wood, a preparatory school for the Royal Academy, London.
1886
Moved to Paris and studied under Jean Paul Laurens.
1887
Exhibited with the Royal Institute of Painters in Watercolou7r, London: 1887-1888.
1888
Bunny began exhibiting at the Salon de la Société des Artistes Francais (Old Salon), Paris: 1888-90 and 1892-1900.
1890
Awarded a mention honorable in the Old Salon exhibition for the painting The Tritons, purchased by Alfred Felton and now in the Art Gallery of New South Wales. Bunny was the first Australian artist to gain this distinction. First exhibited at the Royal Academy, London:
1890-98, 1902-04, 1906-07 and 1910.
1891
Exhibited Sea Idlyll in the Royal Academy, which was purchased by Alfred Felton and presented to the National Gallery of Victoria in 1892. It was the first painting by Bunny to be acquired by an Australian art gallery.
1893
Bunny exhibited widely, in addition to the Old Salon in Paris and the Royal Academy in London. This included the Royal Society of British Artists, London's New Gallery and the Manchester Academy Autumn Exhibition. His Old Salon painting, The Pastoral received much acclaim and was
purchased by Baronne Vanffy, wife of the Prime Minister of Hungary. This painting is now in the Australian National Gallery, Canberra.
1894
Became a member of the Royal Society of British Artists.
1897
Began exhibiting in the Annual Exhbitions (later International Exhibitions) of the Carnegie Institude, Pittsburg: 1897, 1899, 1904-09, 1914, 1920 and 1924-25.
1898
First solo exhibition, of monotypes at the Fine Art Society's Galleries, London.
1900
Awarded a Bronze Medal for Burial of St. Catherine of Alexandria in the Exposition Universelle, Paris. This painting is now in the National Gallery of Victoria. Became a memeber of the American Art Association of Paris.
1901
Exhibited with the Salon de la Société Nationale des Beaux-Arts (New Salon), Paris: 1901-14, 1919-26, 1929-32. Showed two paintings in the Victorian Gold Jubilee Exhibition 1851-1901, Bendigo. Awarded the gold medal for the best painting. His work overlooked by Bendigo Art Gallery.
1902
Married Jeanne Heloise Morel, a French beauty, former art student and model who appeared frequently in Bunny's paintings. Painted portrait of Nellie Melba, exhibited at the Royal Academy and Autumn Exhibition of Walker Art Gallery, Liverpool.
1903
One-man exhibition, Galerie Silberberg, Paris, included mythological paintings, landscapes and portraits. Exhibited in Salon d'Automne, Paris: 1903, 1905, 1909, 1913, 1919-25, 1927 and 1931.
1904
Bunny's Aprésle Bain purchased from the New Salon exhibition by the French Government for the Musee de Luxembourg, Paris. This was the highest honour French art could bestow upon a living artist. Bunny was the first Australian to receive this honour. Exhibited with Victorian
Artists Socity, Melbourne: 1904, 1911, 1937, 1939, 1940 and 1942-44. Bequeathed an annuity of£100 by Alfred Felton, great benefactor of the National Gallery of Victoria, and friend of the Bunny family.
1905
Membre associe de la Société Nationale des Beaux-Arts. Sociétaire du Salon d'Automne. One-man show, Galerie Henry Graves, Paris, again showing mythological subjects, landscapes, portraits and figure compositions.
1906
Second painting purchased by French government for Luxembourg collection. Invited to exhibit in inaugural exhibition of Cercle des Arts, Union Artistique Internationale, Paris.
1911
Exhibition at Baillie Gallery, London, of 103 paintings including northern French landscapes, coastal scenes and figure compositions. Visited Australia, with his wife, after an absence of 27 years. Exhibitions at Athenaeum Gallery, Melbourne and Messrs. Lawson and Little, Sydney.
1912
Returned to Paris. Elected at sociétaire of Société Nationale des Beaux-Arts.
1914-1918
World War I. Most Salons and international exhibitions closed. From 1914 Bunny worked in the American Hospital, Paris, several paintings of the time recorded the harrowing scenes.
1917
Exhbition at Galeries Georges Petit, Paris of figure compositions and quiet, domestic scenes.
1921
Completed commission of 100 monotypes of mythological subjects for Galeries Georges Petit and held exhibition there.
1922
While retaining their Paris apartment, Bunny and his wife lived and worked in a recently acquired cottage at Les Landes, par Sué vres, Loir et Cher. His first landscapes of the south of France date from about 1919-1923 - Le Lavandou. St. Paul du Var, Bormes - Bunny making many sketching trips
during the following years. Exhibition of mythological decorations at Galeries Georges Petit, Paris; and mixed exhibition at Fine Arts Socity's Gallery, Melbourne. A number of major early Salon paintings were included in Melbourne exhibition.
1923
Exhibition at Anthony Hordern Galleries, Sydney of same owrks shown in Melbourne the previous year.
1925
Exhibition at Anthony Hordern Galleries, Sydney; 61 paintings mainly landscapes of the south of France.
1926
Bunny visited Australia and exhibited at New Gallery, Melbourne; included many of the landscapes shown in Sydney the previous year. Painted at "Tintaldra" on the Upper Murray.
1927
Athenaeum Gallery, Melbourne exhibition of Australian and French landscapes and several portraits. Exhibited with Twenty Melbourne Painters, Melbourne: 1927-28, 1932, 1934-41. Returned to Paris in July.
1928
To Australia in April for exhibitions at Athenaeum Gallery, Melbourne, and Anthony Hordern Gallery, Sydney of earlier Salon paintings, religious subjects and portraits covering the previous twenty years. Returned to France with Australian painter, Robert Campbell.
1929
Exhibited mainly landscapes of the south of France at Galeries Georges Petit, Paris. Painted with Robert Campbell at Bandol.
1930
London exhibition at Twenty One Gallery. Painted landscapes with Robert Campbell at Sanary, Toulon and Bandol. Bunny's wife suffered a severe stroke.
1932
Returned to Australia with intention of establishing himself and then bringing his wife out to tsettle in Melbourne. Began an art school withJohn Monroe. One of Bunny's students was Arthur Lindsay, who later settled in Castlemaine. Painted series of Melbourne Botanical Gardens pictures.
1933
Exhibition of monotypes at Everyman's Library, Melbourne. Returned to France on death of his wife there in April, aged 61. Exhibition of mainly botanical gardens subjects, Australian landscapes and portraits at Athenaeum Gallery, Melbourne. Bunny returned to Melbourne and settled in a flat at
147 Toorak Road, South Yarra.
1934
Exhibited with Contemporary Art Group Melbourne; 1934-37.
1936
Exhibition at Hogan's Art Gallery, Melbourne, included early Brittany landscapes, later landscapes of the south of France, and important later mythological paintings. Moved to 43 Toorak Road, South Yarra.
1937
Exhibitions at Hogan's Art Gallery, Melbourne in April and September included many landscapes of the south of France and flower paintings.
1938
Became first Artist Vice-President of the newly established Contemporary Art Society, Melbourne. Included in 150 Years of Australian Art, Sydney. Exhibition with Hogan's Art Gallery, Melbourne, again included south of France landscapes.
1939
Exhibited in inaugural Contemporary Art Society exhibition, Melbourne. First one-man show with Macquarie Galleries, Sydney of mainly south of France landscapes.
1940
Exhibition at Macquarie Galleries, Sydney, of mythological paintings and south of France landscapes. Opened by the artists, Roland Wakelin.
1941
Early north and later south of France landscapes and monotypes exhibited at Macquarie Galleries, Sydney. Opened by the artist, Lloyd Rees.
1942
Exhibition at Macquarie Galleries, Sydney of landscapes, flower paintings and monotypes.
1943
Exhibition at Macquarie Galleries, Sydney of 25 works of south of France landscapes, flower paintings and monotypes.
1944
Macquarie Galleries, Sydney exhibition of 15 south of France landscapes and 3 flower paintings.
1945
Two separate but interrelated exhibitions at Macquarie Galleries, Sydney provide small retrospective view of Bunny's art: Landscape and Flower Paintings and Earlier Paintings. Exhibited with Melbourne Contemporary Artists included Russel Drysdale, Ola Cohn, George
Bell, Jeffrey Smart and Alan Sumner.
1946
Retrospective exhibition at National Gallery of Victoria of 86 paintings, 6 "colour notes" and 2 drawings covering the period from about 1893 to 1940s. Organised by Daryl Lindsay. First such exhibition by this institution to honour a living Australian artist. Small exhibition at Macquarie
Galleries.
1947
Rupert Bunny died on 25th May, aged 82.
All articles and links, not written by rebellog, are quotations. The articles and links we present in these pages we found at
the time to be interesting. As a matter of principle, we cannot accept any restrictions to links with pages of dubious content. Judgement is left to the responsibility of the visitor.
Libertarianism – Anarchism - Anarchistic-Capitalism - Self-Governance - Individualism - Free-Trade - Global Competition - Right to Self-Defence – Cosmopolitanism - Freedom of Expression - Self-Determination – Optimism - Environmental Stewardship - Gender Equality – Liberty - Independent Thinking - Right to Bear Arms -
Critical Thinking - Right to Refuse Taxation - Right to Notaxable Income - Friendship with America and Israel - Right to Abortion-Pornography - Prostitution - Mild Stimulants
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