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Moya DyringAn Australian Salon in Paris

When
25 October 2014 – 1 March 2015
Location
Heide Cottage
Admission

Free with Museum Pass

Free entry

Curator/s
Dr Melissa Boyde | Heide curator: Sue Cramer

Part of the early Heide circle, Moya Dyring left Melbourne for Europe in the late 1930s and lived much of her life in Paris, in an apartment on the Ile St Louis which became known as Chez Moya. This exhibition follows Dyring’s transition from art student at the National Gallery School in Melbourne (1929-1932), where she met her future husband Sam Atyeo, to Parisian resident and charismatic salonnière – from Heide to the Left Bank.

Moya Dyring
Holly
c. 1934
oil on canvas on plywood
98.2 x 51.2 cm
Gift of Barrett Reid 1993
© Estate Judith Innes Irons

Moya Dyring
Holly
c. 1934
oil on canvas on plywood
98.2 x 51.2 cm
Gift of Barrett Reid 1993
© Estate Judith Innes Irons

Moya Dyring
Melanctha
c. 1934
oil on canvas on plywood
30 x 22 cm
Bequest of John and Sunday Reed 1982
© Estate of Judith Innes Irons

Moya Dyring
Melanctha
c. 1934
oil on canvas on plywood
30 x 22 cm
Bequest of John and Sunday Reed 1982
© Estate of Judith Innes Irons

Moya Dyring
Notre Dame
c. 1950
oil on canvas on cardboard
45 x 37 cm
Transferred to Heide Museum of Modern Art by the Council of Trustees of the National Gallery of Victoria 2005.
© Estate of Judith Innes Irons

Moya Dyring
Notre Dame
c. 1950
oil on canvas on cardboard
45 x 37 cm
Transferred to Heide Museum of Modern Art by the Council of Trustees of the National Gallery of Victoria 2005.
© Estate of Judith Innes Irons

As a young artist, Dyring was among the first painters in Melbourne to respond to the influence of Cubism, evident in her painting Melanctha(1937), which John and Sunday Reed purchased from her first solo exhibition. Arriving in Paris in 1937, she immersed herself in the Parisian art world, meeting artists and attending studios and exhibitions. Later, on numerous excursions into the French countryside with artist friends she painted en plein air. Throughout the war years and up until her death in 1967, Dyring remained in close correspondence with John and Sunday Reed and extracts from their letters, as well as photographs and other archival materials, are displayed in the exhibition.

Artwork conservation supported by

Supported by

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