The Australian War Memorial Collection. Test site
Depicts a large crowd gathered in a city street watching the Anzac Day march in 1988, the Bicentennial of white settlement in Australia. In the right foreground (pictured in a wheelchair) is a veteran of the First World War, 2922 Private Harold Leslie Pryor of the 5th Pioneer Battalion AIF. The two figures in the immediate foreground on the left reflect the broad appeal the parade has for different generations. The young boy and old woman reflect the stark reality that as the years pass, and those who served in the world wars die, the responsibility of commemoration falls to the younger generations. Beilby's preoccupation with the everyday, the ordinariness of life, was an undercurrent theme in his painting of the Bicentennial Anzac Day march. It reflects the event itself as much as it does the long-held tradition of commemorating Australia's servicemen and women. The moment frozen in time catches the young boy pointing at the First World War veteran and turning his head to someone outside of the picture plane. Equally caught is the veteran waving to the crowd and a photographer checking his camera. It is a snap-shot of a specific moment, one of universal significance.
David Dare Parker (official war photographer during the Second Gulf War) has identified the photographer on the left, in brown, as Joe Whelan of the 'West Australian' newspaper and the photographer in the centre, in black, as Ross Swanborne. Also depicted are banners for Signal units from the two world wars. Pryor represents Australian Signallers during the First World War. Behind him is a Pipe and Drum band, followed by Second World War divisions; only the 6th and 7th are clearly distinguishable and the other banners are slightly obscured.
The artist, Marcus Beilby, lives and works in Perth. This commemorative painting was completed over a period of 9 months and is the result of detailed observations made at the time of the march from photos and newspaper records. Beilby has travelled and studied widely; his main influences being proponents of the social-realist style.
An unidentified veteran of the First World War (right) supports his blind friend (left) during the 1980 Anzac Day march in central Sydney. Despite their repeated appearance in the Sydney Morning Heral
An image of Anzac Day veterans. This print commemorates the bicentennial Anzac Day in 1988. Hammond enters the minds of the veterans and evokes their thoughts and feelings.
The Memorial first opened on Remembrance Day, 1941. In recognition of the 60th anniversary of this event, Marchant was commissioned to paint the Remembrance Day ceremony of 11 November 2001. His appro
Drawn at the Shrine of Remembrance, Melbourne, of the crowds on V.E. Day. Sketch for painting 'Shrine crowd on V.E. Day'. The completed painting does not exist in National Collection and it is unclear
Depicts an Australian soldier in uniform walking up a beach, with the ocean and a cliff behind him. He wears a hat and carries a pack and rifle extended with a bayonet. The painting was produced durin
This Lithograph is the key to the painting 'The Dawn of Anzac Day' by Herbert Hellier (ART09581). The scene depicted is the morning of the Gallipoli Landing as seen from the sea, and within the work t