Alice Marian Ellen Bale, known as A.M.E. Bale, (11 November 1875 – 14 February 1955) was an Australian artist.
Early life and education
Bale was born in Richmond, Victoria,[1] on 11 November 1875,[2] the daughter of Marian[3] and naturalist William Mountier Bale.[4] She was an only child, and her family had houses in both Kew and Castlemaine.[3]
Bale came to prominence as an artist in Melbourne in the 1920s and 1930s, developing a reputation as one of Australia's pre-eminent flower and still life painters.[5][6][7] Distancing herself from her fellow female artists who were more aligned with the suffragette movement, Bale preferred to work hard within the constraints of the traditional structures of the art world, and never left Victoria.[3]
An active member of the Pickwick Club of Kew, she would gather with young members, some of whom were fellow Gallery School students, for weekly discussions where they adopted the personas of Charles Dickens' characters. There she developed an intimacy with fellow club member Norman Brown, which came to an end by 1906 with Brown's departure and Bale's reluctance to leave her ordered family life.[3]
As a painter Bale did landscapes and portraits but was best known for her flower studies.[3] She was able to sell her paintings and exhibit in not just Australia but also London and Paris.[3]
Bale edited the Victorian Artists' Society's journal VAS before her efforts to reform the society in 1917 and 1918 and an election loss got her ousted as a troublemaker.[3] Her friend Jo Sweatman, the last remaining female office bearer, was ousted also a few months later on an electoral technicality. They became foundation members of the Twenty Melbourne Painters Society,[3] Bale holding the position of secretary until her death.[9]
Bale established the biennial A.M.E. Bale Travelling Scholarship and Art Prize through her will to support Australian artists in perpetuity. The prize "is intended to encourage, support and advance classical training of emerging artists (in their early to mid-career) at any stage of life, who are pursuing the study and practice of traditional art and who desire to study the works of old masters".[6][9]
^Peers, Juliette (1993), More than just gumtrees : a personal, social and artistic history of the Melbourne Society of Women Painters and Sculptors, Melbourne Society of Women Painters and Sculptors in association with Dawn Revival Press, ISBN978-0-646-16033-7