391:'s music but also with Sainthill's set design, which he called "pictorially magnificent, a restless Oriental kaleidoscope …". Other critics were less impressed. One wrote "Tony Richardson, Loudon Sainthill and Roberto Gerhard combine to make an assault of barbaric ferocity on our senses". Another opined, "Richardson and Sainthill dressed up the mouldy tale like some gargantuan dog's dinner".
24:(9 January 1918 – 10 June 1969) was an Australian artist and stage and costume designer. He worked predominantly in the United Kingdom, where he died. His early designs were described as 'opulent', 'sumptuous' and 'exuberantly splendid', but there was also a 'special quality of enchantment, mixed so often with a haunting sadness'.
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on their three
Australian tours. He and Miller were regular patrons of Café Petrushka on Little Collins St, where they mingled with fellow members of the artistic and bohemian community, and they had the chance to meet some of the visiting Russian dancers. He painted some of the dancers and
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Around this time he met the journalist, book seller, art critic and leading member of the avant garde scene Harry
Tatlock Miller (1913–1989). They were to become life partners, and Miller's connections were to prove advantageous to Sainthill's career. Miller published an art magazine called
48:. He had a stammer from an early age. This continued into his adulthood, but was not apparent when talking to children. He had little formal schooling. He had a natural interest in drawing and painting, and was attracted to quality live performance. Before the age of 14 he had seen
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A scholarship named after him in 1973 (the Loudon
Sainthill Memorial Scholarship Trust) was established by Harry Tatlock Miller, and it assists young Australian designers to study abroad.
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then sent
Sainthill and Miller back to Australia, in charge of a major exhibition of theatre and ballet designs, which opened in Sydney in early 1940. He also designed the costume for
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72:). By age 17 he had set up a studio in the heart of Melbourne where he painted and sold murals. By 1935 he had changed the spelling of his surname to Sainthill.
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He created 'A History of
Costume from 4000 B.C. to 1945 A.D.', a series of water colours, which were bought by public subscription and presented to the
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suddenly withdrew from the project, Sainthill was engaged at short notice to design the sets and costumes for Robert
Helpmann's production of
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was given the commission, Sainthill's consolation prize was being invited to London with the company. There, with the assistance of
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He designed over 50 major productions in all, up to four in a year, for directors such as
Gielgud, Olivier, Helpmann, Richardson,
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for the Old Vic. In 1955 he was a member of the costume and wardrobe department for the ballet sequence in the film
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for The Old Vic, was particularly impressed with Loudon
Sainthill's work, and promised to help him in London.
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called
Sainthill's design "a rich, scenic orgy of ropes, sails, ships, bawdy houses and barbaric palaces".
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120:'s character in the farewell performance by the Ballet Russe in Melbourne in September 1940, the ballet
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was awarded a grant of $ 17,500 to publish the first illustrated book on Loudon
Sainthill.
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Theatre Company, and held two one-man exhibitions at the Macquarie Galleries.
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When London Calls: The Expatriation of Australian Creative Artists to Britain
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Sainthill and Miller returned to England in 1949. In 1950 he was engaged by
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Thwarting the Wayward Seas: A Critical and Theatrical History of Shakespeare
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at the Applied Arts School of the Working Men's College (a precursor of
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Can Heironymus Merkin Ever Forget Mercy Humppe and Find True Happiness?
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In 1936–37, 1938–39 and 1940, his artistic eyes were opened by seeing
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Australian Art and Artists in London, 1950–1965: An Antipodean Summer
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Australia.gov.au, The first wave of classical ballet in Australia
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designed some sets for the ballets. He was approached to design
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in 1969. He was also nominated in the same category in 1966 for
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Loudon Sainthill was a visiting teacher of stage design at the
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In 1941 he designed the costumes for a Melbourne production by
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plays performed. In 1932 he studied design and drawing under
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by Harry Tatlock Miller in 1989. He died later the same year.
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wrote and Harry Tatlock Miller edited, a memoir titled simply
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His final project was the designs for the dream sequence in
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A major retrospective of his work was included in the 1991
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The Telegraph, Obituary: Bryan Robertson, 25 November 2002
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In 2013, the College of Arts and Social Sciences of the
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The Guardian, Obituary: Jocelyn Rickards, 14 July 2005
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With Harry Tatlock Miller he produced books such as:
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and served as theatre orderlies on the hospital ship
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414:(1959). He designed the musicals
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369:. In 1958 came Shakespeare's
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474:(1959). There were also
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476:The Devil's Marchioness
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357:. In 1955 there was
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667:5 March 2019 at the
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314:George Bernard Shaw
252:Stratford-upon-Avon
126:Margaret Sutherland
89:Colonel W. de Basil
84:in Collins Street.
56:sing, and had seen
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420:(1963) and
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302:Eric Porter
294:Hammersmith
243:The Tempest
211:The Old Vic
180:Alec Murray
163:Vieux Paris
98:Serge Lifar
78:Manuscripts
1332:Categories
1268:Roger Kirk
1162:Franne Lee
1117:Franne Lee
1004:Alvin Colt
581:References
537:, London.
432:Tony Award
396:Cinderella
285:Richard II
280:Ian Bannen
260:Alan Badel
175:Wanganella
1238:Willa Kim
1174:Willa Kim
1133:1976–2004
943:1947–1975
540:In 1973,
472:Churchill
343:'s opera
122:Dithyramb
46:Melbourne
811:, p. 104
718:Archived
665:Archived
504:'s film
490:(1959).
466:(1951),
436:Broadway
246:for the
42:Tasmania
1016:Motley:
766:, p. 33
750:, p. 33
400:Aladdin
360:Othello
349:at the
288:at the
62:Chekhov
1318:(2004)
1312:(2003)
1306:(2002)
1300:(2001)
1294:(2000)
1288:(1999)
1282:(1998)
1276:(1997)
1270:(1996)
1264:(1995)
1258:(1994)
1252:(1993)
1246:(1992)
1240:(1991)
1234:(1990)
1228:(1989)
1218:(1988)
1212:(1987)
1206:(1986)
1200:(1985)
1194:(1984)
1188:(1983)
1182:(1982)
1176:(1981)
1170:(1980)
1164:(1979)
1158:(1978)
1152:(1977)
1142:(1976)
1125:(1975)
1119:(1974)
1113:(1973)
1107:(1972)
1101:(1971)
1095:(1970)
1089:(1969)
1083:(1968)
1077:(1967)
1071:(1966)
1065:(1965)
1059:(1964)
1053:(1963)
1047:(1962)
1041:(1960)
1035:(1959)
1029:(1958)
1012:(1957)
1006:(1956)
1000:(1955)
994:(1954)
988:(1953)
982:(1952)
976:(1951)
970:(1950)
964:(1949)
958:(1948)
952:(1947)
552:
522:Legacy
516:Ropley
38:Hobart
28:Career
875:(PDF)
155:Faust
102:Icare
58:Ibsen
1224:and
1025:and
883:2013
835:IBDB
783:IMDb
550:ISBN
455:and
398:and
304:and
278:and
209:and
190:and
161:and
60:and
556:).
482:'s
379:.
326:'s
316:'s
292:in
139:'s
135:of
100:'s
91:'s
1334::
1148:/
1021:,
773:^
676:^
634:^
589:^
570:.
518:.
459:.
451:,
444:.
353:,
300:,
274:,
270:,
266:,
262:,
258:,
250:,
198:.
186:,
182:,
165:.
157:,
153:,
128:.
40:,
928:e
921:t
914:v
885:.
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