Heide Museum of Modern Art

About

The Heide Museum of Modern Art, also known as Heide, is an art museum in Bulleen, a suburb of Melbourne, Victoria, Australia. Established in 1981, the museum exhibits modern and contemporary art across three buildings and is set within sixteen acres of heritage-listed gardens and a sculpture park. The museum occupies the site of a former dairy farm, purchased by arts benefactors John and Sunday Reed in 1934. Heide became the gathering place for a collective of young modernist painters known as the Heide Circle, which included Sidney Nolan, John Perceval, Albert Tucker and Joy Hester, who often stayed in the Reeds' 19th-century farmhouse, now known as Heide I. Today they rank among Australia's best-known artists and are also considered leaders of the Angry Penguins, a modernist art movement named after a journal co-published by the Reeds and poet Max Harris. Heide's close relationship to this movement is reflected in much of its art collection. Between 1964 and 1967, the Reeds built a new residence, Heide II, now considered one of the finest examples of modernist architecture in Victoria. In 1980, after several years of negotiations, the Reeds sold most of Heide and significant works...

See also: Heide Circle and Angry Penguins

The museum is situated on land originally used by indigenous peoples, a history evident in a distinguished scarred tree at the top of the property, called Yingabeal. In late colonial times through to the early twentieth century the site was a grazing property and dairy farm with a frontage on the Yarra River. The original farmhouse was built in the 1870s. From the nineteenth century onward, the area was frequented by artists and writers who found the Yarra River and surrounding hills east of Melbourne an ideal setting in which to work, exemplified in the formation of the Heidelberg School at Heidelberg, the Montsalvat artists' colony in Eltham, and various artists' camps in locations such as Box Hill and Warrandyte.

In 1934, the farm was purchased by John and Sunday Reed, passionate supporters and collectors of modern Australian art, who named the property Heide after the nearby town of Heidelberg. After moving into the farmhouse in 1935, they established a unique private library, including modernist literature, international art books, journals and magazines. Heide became a focal point for progressive art and culture as the Reeds opened their home to like-minded individuals such as artists Sidney Nolan, Albert Tucker, Joy Hester, Gray Smith, John Perceval and Danila Vassilieff. Nolan, who lived at Heide intermittently for almost a decade, painted his celebrated Ned Kelly series in the farmhouse's dining room in 1946–47.

In 1963, the Reeds commissioned Melbourne architect David McGlashan to design a new residence on the property, one that had a sense of mystery and romance, and was "a gallery to be lived in". Synthesising local and international design ideas, the light-filled home they called Heide II was constructed out of Mount Gambier limestone with a palette of minimal secondary materials and neutral colours. The Reeds moved into Heide II in 1967 and Sunday Reed established the second kitchen garden near the new house.

The Reeds returned to live in Heide I, the old farmhouse after selling Heide II, most of the adjoining property and a significant portion of their art collection (113 works) to the Victorian State Government in August 1980. The purchase was agreed to and formalised by the Minister for the Arts at the time, the Hon. Norman Lacy, who continued to provide the Government's on-going support for the creation of a public art gallery on the site, to be named 'Heide Park and Art Gallery'. The interior of Heide II was modified in preparation of it opening as a public art gallery in November 1981. Now Heide Museum of Modern Art operates as a non-profit company limited by guarantee, and on behalf of the Victorian Government, a Board of Directors is delegated as a Committee of Management.

Dr Norman Wettenhall was appointed the first Chairman and the then Premier of Victoria, Sir Rupert Hamer was honoured as the inaugural Patron. Maudie Palmer AO was appointed the inaugural Director.

The museum underwent major redevelopment in 2005–06 which included the installation of several sculptural and installation art pieces, landscaping and redesign of the gardens, construction of a new education centre & gallery space, extension of the Heide III building to incorporate works from the Barbara Tucker Gift and various other works. On 13 July 2006 the museum officially re-opened after its $ 3 million dollar renovation and extension. The new buildings were designed by O'Connor + Houle Architecture.

See also: Heide Circle and Angry Penguins

The museum is situated on land originally used by indigenous peoples, a history evident in a distinguished scarred tree at the top of the property, called Yingabeal. In late colonial times through to the early twentieth century the site was a grazing property and dairy farm with a frontage on the Yarra River. The original farmhouse was built in the 1870s. From the nineteenth century onward, the area was frequented by artists and writers who found the Yarra River and surrounding hills east of Melbourne an ideal setting in which to work, exemplified in the formation of the Heidelberg School at Heidelberg, the Montsalvat artists' colony in Eltham, and various artists' camps in locations such as Box Hill and Warrandyte.

In 1934, the farm was purchased by John and Sunday Reed, passionate supporters and collectors of modern Australian art, who named the property Heide after the nearby town of Heidelberg. After moving into the farmhouse in 1935, they established a unique private library, including modernist literature, international art books, journals and magazines. Heide became a focal point for progressive art and culture as the Reeds opened their home to like-minded individuals such as artists Sidney Nolan, Albert Tucker, Joy Hester, Gray Smith, John Perceval and Danila Vassilieff. Nolan, who lived at Heide intermittently for almost a decade, painted his celebrated Ned Kelly series in the farmhouse's dining room in 1946–47.

In 1963, the Reeds commissioned Melbourne architect David McGlashan to design a new residence on the property, one that had a sense of mystery and romance, and was "a gallery to be lived in". Synthesising local and international design ideas, the light-filled home they called Heide II was constructed out of Mount Gambier limestone with a palette of minimal secondary materials and neutral colours. The Reeds moved into Heide II in 1967 and Sunday Reed established the second kitchen garden near the new house.

The Reeds returned to live in Heide I, the old farmhouse after selling Heide II, most of the adjoining property and a significant portion of their art collection (113 works) to the Victorian State Government in August 1980. The purchase was agreed to and formalised by the Minister for the Arts at the time, the Hon. Norman Lacy, who continued to provide the Government's on-going support for the creation of a public art gallery on the site, to be named 'Heide Park and Art Gallery'. The interior of Heide II was modified in preparation of it opening as a public art gallery in November 1981. Now Heide Museum of Modern Art operates as a non-profit company limited by guarantee, and on behalf of the Victorian Government, a Board of Directors is delegated as a Committee of Management.

Dr Norman Wettenhall was appointed the first Chairman and the then Premier of Victoria, Sir Rupert Hamer was honoured as the inaugural Patron. Maudie Palmer AO was appointed the inaugural Director.

The museum underwent major redevelopment in 2005–06 which included the installation of several sculptural and installation art pieces, landscaping and redesign of the gardens, construction of a new education centre & gallery space, extension of the Heide III building to incorporate works from the Barbara Tucker Gift and various other works. On 13 July 2006 the museum officially re-opened after its $ 3 million dollar renovation and extension. The new buildings were designed by O'Connor + Houle Architecture.

Heide is situated on a former floodplain of the Yarra River in Bulleen. It is bordered to the north-east and east by the Yarra Valley Country Club, to the west and south by Banksia Park, and to the south-east by Templestowe Road. The site borders the Yarra River, at Fannings Bend, in its north-west corner. The museum itself comprises several detached buildings and surrounding gardens and parklands on the site, described in further detail below, all of which are used in various capacities as exhibition spaces.

- Heide I A former farmhouse dating from the 1870s, the building was purchased by the Reeds in 1934 and renovated in the French Provincial style. It underwent various renovations in 1934–35, 1954 and 1980 and was restored in 2001 and in 2010. Currently it is dedicated to exhibitions and displays from the Heide Collection and Archive.

- Heide II Commissioned by the Reeds in 1963, Heide II was designed by architect David McGlashan of the Melbourne firm McGlashan Everist, and constructed between 1964 and 1967. It was intended as "a gallery to be lived in" and served as the Reeds' residence between 1967 and 1980. The building is considered one of the best examples of modernist architecture in Victoria and was judged 'Outstanding Building of the Year' by the Royal Australian Institute of Architects. It is currently used to display works from the Heide Collection and on occasion projects by contemporary artists.

- Heide III Originally designed by Andrew Andersons of Peddle Thorp Architects, Heide III was built in 1993, and extended in 2005 by O'Connor and Houle Architecture to include additional exhibition spaces, storage facilities and visitor amenities. It is the largest gallery wing of the museum including: the Central Galleries; the Albert and Barbara Tucker Gallery, the Kerry Gardner and Andrew Myer Project Gallery; the Tucker Study Centre; and the Heide Store.

- Sidney Myer Education Centre Designed by O’Connor and Houle Architecture and built in 2005, its purpose is expressed as "a dynamic learning and thinking space for teachers, students, and community groups." The centre accommodates diverse education and public programs based on the art, architecture and gardens of Heide.