As you may be aware, my theme for the 2018 A-Z April Blogging Challenge is Writing Letters to Dead Artists. Today, I’ll be writing to Norman Alfred William Lindsay (22 February 1879 – 21 November 1969). He was a famous Australian artist, sculptor, writer, editorial cartoonist, scale modeler, and an accomplished amateur boxer. Today, we’ll be entertained by Australian Jazz band Galapagos Duck performing I Feel Good at Norman Lindsay’s home at Springwood in the Blue Mountains, west of Sydney.
By the way, it is almost comical that Norman Lindsay follows on directly after Abstract Expressionist, Wassily Kandinsky. While Kandinsky lauded modern art as a founder of the Blaue Reiter and later at the Bauhaus, Norman Linsday, like Hans Heysen , seemed oblivious to various new ways of painting and steadfastly continued along the same path. Both Norman Lindsay and his brother and fellow artist, Lionel, resisted modernism. Indeed, Lionel Lindsay called modernism : “The Cult of Ugliness” and they distinctly saw it as a threat to the Australian national identity and civilization itself.
However, my introduction to Norman Lindsay pre-dates my awareness of all these “isms”. When I was a little girl. My mother gave me a book for Christmas… The Magic Pudding , which was written & illustrated by Norman Lindsay. For some reason, I didn’t read the book at the time, just as both my kids have managed to ignore the beautiful, hardcover edition I bought for them at around the same age. Surely, I must’ve read it at some point. The illustrations are very familiar and the story line more or less came back to me tonight, as I powered through it online.
The Magic Pudding was published in 1918 and tells the story of a magic pudding, which grows back after a slice is eaten. Moreover, you just have to whistle and the pudding changes flavour. Clearly, such a pudding was worth a fortune, and the plot centres around the battles between the pudding owners and the conniving pudding thieves. While I’m focusing on the illustration side of the book, the creative use of language throughout reminds me of Basil Fawlty (played by John Cleese) in Fawlty Towers (who I just found out played Alfred the Pudding in the movie based on the book). How about you try reading this out after a few drinks:
‘Of all the swivel-eyed, up-jumped, cross-grained, sons of a cock-eyed tinker,’ exclaimed Bill, boiling with rage. ‘If punching parrots on the beak wasn’t too painful for pleasure, I’d land you a sockdolager on the muzzle that ‘ud lay you out till Christmas. Come on, mates,’ he added, ‘it’s no use wastin’ time over this low-down, hook-nosed tobacco-grabber.’ And leaving the evil-minded Parrot to pursue his evil-minded way, they hurried off in search of information. 
Yet, while the language is comical and entertaining, Lindsay’s illustrations bring the story to life with his incredible drawings. These include: Albert the Pudding, Bunyip Bluegum, the Koala; Sam Sawnoff, the penguin; Watkin Wombat and the Possum.
However, there was a lot more to Norman Lindsay than the Magic Pudding. However, to get to know that side of Norman Lindsay, I had to grow up. I can’t remember which came first…the movie Sirens starring Elle McPherson, or visiting his former home at Falconbridge in the Blue Mountains and seeing his obsession with the nude in its unrestrained splendour. He didn’t hold a lot back. Indeed, some of his works were very controversial.
The first major controversy of Norman Lindsay’s career erupted in Sydney in 1904 when the pen and ink drawing, Pollice verso, 1904, was displayed in the twenty-fifth Annual Exhibition of the Royal Art Society of New South Wales. A huge debate erupted over the painting, which was seen as “blasphemous”and debauched by its detractors. Indeed, it landed Lindsay in a lot of hot water, which carried over into the pages of The Bulletin, where Lindsay worked as an illustrator. Three years later, Lindsay sent it to Melbourne for display in the Sydney Society of Artists’ First Melbourne Exhibition, which opened at the Guild Hall in Swanston Street on 25 October 1907. Most astounding for Lindsay, Pollice verso was purchased from the exhibition by the Trustees of the National Gallery of Victoria for the extraordinary sum of 157 guineas and 10 shillings.
While Lindsay might condemn me as a “wowser”, I am much more comfortable with his Magic Pudding sketches, than his more “interesting” nudes.
Meanwhile, today I uncovered another Norman Lindsay gem: Creative Effort: An Essay in Affirmation, which was published in 1924, which covers the meaning of life and art, drawing on philosophical concepts and is heavily influenced by the philosophies of Friedrich Nietzsche. It was mind-boggling reading, especially as I was really zooming through it. However, I’ve jotted down a few quotes, which I intend to follow up later…
“One thing alone in existence is manifest, permanent, indestructible, and that is the individual effort to create through thought and beauty. This passion to create something finer than the creator himself is the one, permanent and enduring element in man, and since creative effort is the rarest, most difficult achievement, it remains the greatest stimulus to high development- and this development is life”.
“But evil must be measured by its reach, its aim, its capacity to destroy the highest. Therefore, its attack must be in an effort to pervert, mislead and destroy the creative impulse
“Pain and exultation, Beauty and Ugliness, Good and Evil, these are all part of the Test. Without them there is no development – no leap upwards into the gigantic problems of Futurity.”
“But the problem of Common man is not effort, it is the desire to escape effort.
So, after cramming my head full of all of this today, I am somewhat prepared to start writing to Norman Lindsay…
Letter to Norman Lindsay
I don’t know whether you ever felt torn between your creative drive and inspiration and the realities of family life. However, I’m burning the midnight oil and it’s getting far too late to wax lyrically about anything. I have an early start and need to get my daughter ready for a dance Eisteddfod. Clearly, it doesn’t take much for my mind to fill up with research and I should be thinking about tutus instead of the meaning of life.
However, after reading snatches of your Effort: An Essay in Affirmation, I thought you might be a good one to direct this rather weighty question to:
What is the meaning of life? Has it become any clearer for you since you crossed over to the other side?
I’d appreciate your help.
Letter from Norman Lindsay
Thank you very much for your letter. It’s forced me into conversing with that Kandinsky chap, although I did enjoy sharing letters with Hans Heysen.
All I’ll simply say is not to be afraid of death. Indeed, death is birth. After all, “why should the change in this life to the next be anymore stupendous than the arrival of Life on Earth?”
I hope that helps.
Norman Lindsay, Creative Effort.
 The Magic Pudding: http://www.gutenberg.org/files/23625/23625-h/23625-h.htm pg 53
 Norman Lindsay, Creative Effort pp 20-21.
 Ibid p 45.
 Ibid p 48.
 Ibid p 59
 Ibid pg 52.