In essence, I'm painting the Story of my 'tribe' - the Europeans who came to Australia and built a nation.
The West Queensland town of Winton was where I was born and it was there that 'Waltzing Matilda' was written. Winton was centre stage of the 1890s uprising known as the Australian 'secret' civil war. All my work in images and writing is inspired by that eventful period of Australia's national Story.
Read Press Clippings (below) about her career
Dorothy Gauvin* (pronounced as *Go-Van) is an internationally acclaimed artist specialising in oil paintings of Australia's history and folklore. She is also renowned for her 'life-story' portraits, showing the subject's history on one canvas.
Art Gallery Gauvin
was the physical gallery established 1991- 2003 in Cairns near the Great Barrier Reef, to showcase Gauvin originals. It has been an online gallery since May 2002.
Phone:+617 40543615 Fax:+617 40412699
Mail: P.O.Box 601 Cairns Q 4870 Australia
Heritage Gallery Printing
is the Imprint established 1995 to reprint the books of Dorothy Gauvin that were previously published by HarperCollins/Angus&Robertson and to publish the artist's future books and novels.
Mail: P.O.Box 601 Cairns Q 4870 Australia
"A 'big-canvas' painter"
Gauvin developed a unique montage technique to capture the vast scope of Australia's outback and to add the dimension of Time to the stories in her pictures. Her research is as meticulous as the wealth of detail she lavishes on her scenes of life on the cattle station or drover's track, bush pub or crowded city.
In 1984, the artist made a five-month study tour of the great galleries of Europe and returned fired with a desire to show and to share all that being Australian means to her. The result was the start of her on-going Australia's Heritage series. An early group of the paintings was toured in Los Angeles and San Francisco the following year. Since then, the artist has worked exclusively on commission.
Gauvin's first historical adventure novel struck a chord with many readers for its authentic portrayal of life the rural West. Born at Winton, the birthplace of Waltzing Matilda, the artist grew up in Sydney and Toowoomba before moving to Cairns where she lives with her husband and son.
Current Project: A series of paintings on an epic Australian theme, with a technique that the artist believes is totally new. She has also resumed work on her second Novel, set on a North Queensland sugar Plantation during the volatile period of the 1890s.
Update: Complications caused by the rheumatoid arthritis that has been part of the artist's life from early youth brought her career to a halt in 2002. Four years later, she was able to resume her planned Final Series with reduced hours in the studio. In hope of giving practical encouragement to other painters with arthritis in any of its forms, she shares pictures of the special artist's tools she developed with her partner and the directions for building them.
If you're like me, you probably wonder about 'testimonials.' Unless you know the person who is making the statement, how much can it mean? Still, I'm a stranger to you at present. So you may like to see what people had to say about me and my work. Because you can check out articles printed in newspapers, I've included just a few:
Extracts from reviews
'The Consul-General of Australia Basil Teasey officially opened an exhibition of Australian art in Los Angeles early in March. At the show, he announced that an oil painting by Dorothy Gauvin had been sold for $12,000.'
Andrew Bairden - British Weekly
Los Angeles. Mar 1985
Update: A painting from the 1985 series was re-sold in 2002 for $23,000
'Gauvin has no doubts on the worth of her work - she knows they are good. The waiting list for her paintings, which sell at five-figure sums and feature in numerous corporate and private collections throughout Australia, in Canada and the USA, would appear to back this up.'
Murray Waldren - Weekend Australian Sydney.Jan 1990
'Gauvin paints with a passionate love of her subject. A perfectionist, with every detail of her paintings historically accurate, she will often take long field trips to authenticate a relatively small part of the work. For every average painting time of 200 hours, she spends four times that on research.'
Robert Reid - Sunday Mail
Brisbane. Jun 1995
All extracts reprinted with permission
see all my pages on the sitemap