The culminating
work, both of Rayner Hoff’s career and of his utilisation
of stylistic devices which can be identified as Art Deco, came
in the early 1930s with his commission from architect C. Bruce
Dellit to produce sculpture for the state’s memorial to
the First World War — the Anzac Memorial — which lies
at the southern end of Sydney’s Hyde Park.
At the time of its completion in 1934, the Anzac Memorial was
one of the most innovative of Australia’s public monuments,
embracing a style which, although popular in theatre architecture,
had rarely been seen in Australian ‘high art’ products
of the period. A unique statement of architectural and sculptural
unity, it has been described as the ultimate conception of the
Art Deco style in this country. The memorial was conceived by
the architect virtually as a monumental sculpture, and its structure
incorporates an extraordinary number of sculpted figures, both
internally and externally. It holds in microcosm the modern—classical,
national—international duality at the heart of Hoff’s
work and his interest in Art Deco.
The memorial, which stands thirty metres high and is tipped by
the stepped form of an Art Deco ziggurat, incorporates a wide
range of classic Art Deco motifs — from the skyscraper motifs
in its windows, to the stylised funerary urns, rising sun motifs,
winged finials, geometric detailing above doors, and the interior
marble wreath. It also incorporates, on the exterior the blocky
masses of Hoff’s sixteen seated and four standing figures
in cast synthetic stone, four corner sections of cast stone reliefs,
and two ten-metre-long bronze reliefs, over the east and west
doors. The exterior sculpture portrays the functions of individuals
and groups in various units of the Australian Imperial Forces
and illustrates their activities overseas. The interior chamber
of the building holds Hoff’s bronze sculpture, Sacrifice,
surrounded by a marble balustrade, relief panels representing
‘The March of the Dead’, and 120,000 gold stars which
stud the ceiling, symbolic of each person who left for the war.
The memorial was constructed by Dellit with the idea that it
should function to bring the past into the present, for the future,
through the symbolism of art. For Dellit, who felt that the memorial
must align itself to contemporary Australian values, the Art Deco
style facilitated a distinctive form encapsulating modern expression.
Rayner Hoff, the ideal collaborating sculptor on such a project,
was chosen, Dellit claimed, because he would provide the ‘dynamism’
required to complement the modernity of the architect’s
structure. (Hoff and Dellit had previously collaborated on Dellit’s
commission to design the Kinsela Funeral Parlour in Sydney’s
Darlinghurst in 1931—32.)
The exterior figures and Sacrifice, like the Art Deco style of
the building itself, combined modernity and archaism in order
to convey a modern—ancient and a timeless—specific
duality which promoted the permanency of modern Australian values.
These values are concentrated and celebrated in the pervasive
sculpted figure of the Anzac in the work. The interior group,
Sacrifice, which is literally and figuratively at the heart of
the memorial, is undoubtedly the Australian masterwork of Art
Deco sculpture. Sacrifice constructs a code of meaning through
the central preoccupation of the Hoff school — that is,
the relationship of male and female — and it holds in microcosm
those symbolic dualities (masculine—feminine, timeless—
specific, modern—ancient, sacred—profane, past—future)
through which meaning in the memorial is organised. In it Hoff
utilises the highly polished machine-inspired aesthetics of Art
Deco to deal with the concept of the sacrifice and horror’laid
on the youthful manhood and womanhood of the nation by war and
to create productive tensions between ‘the ancient’
(the classical) and ‘the modern’ (the Australian)
in the work.
Facilitated by the split-level architecture of the building,
Sacrifice presents two associated concepts of ‘sacrifice’
— one through a ground- level view dominated by a column
of three women and a child, and the other through a view from
above, dominated by the lithe body of a young dead soldier. Radiating
from the work, in bronze paving, are the flames of destruction.
The soldier, who is both the Australian Anzac and a Spartan youth
returning home dead on his shield, is carried literally by a caryatid
—figures who represent the Australian mothers, sisters and
wives—lovers who lost soldiers. Hence the soldier becomes
simultaneously the brother, son and husband killed in war. The
women represent the living — the soldier the dead. He signifies
the past — they hold the future in the child one of them
carries. Together the figures are meant to embody the abstract
concept of sacrifice. As they are welded together structurally
into one coherent form, so too are the individual sacrifices represented
welded into a complex unity signifying national sacrifice.
Classical allusion — the youth, the caryatid column and
classicised robes — projects the work into the realm of
the timeless and universal. Yet the contemporary or Art Deco references—for
example, the streamlined gun barrel or bullet-shaped base of the
work indicating the devices of modern warfare, and the geometricised,
repeated surface patterning of hair and robes—pull the sculpture
back to the recent past.
In terms of the current notions of what constituted sculptural
acceptability in Australia in the 1920's and 1930's, Hoff’s
and his students’ work was particularly adventurous. Contributing
to its adventurousness was the use of Art Deco devices, which
while not aligned to the revolutionary theories of modernism,
made strong claims to being ‘Moderne’.
Taken from "Art deco in Australia : sunrise over the Pacific
by Mary Nilsson, Mark. Ferson, Art Deco Society of New South Wales. |
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