Hidden women of history: Hop Lin Jong, a Chinese immigrant in the early days of White Australia She was “never without a sketch-book and pencil in her hands …”, Daryl wrote. Lindsay was tough and showed how determination and a self-made image required an independent and forceful effort. “Social engagements, affairs of the heart, all took second place to overriding ambition to become a black and white artist,” he wrote. Ironically it was her brother Daryl who wrote, in his memoir The Leafy Tree, of Ruby’s drive to break the suppressive female stereotype of the day. This newspaper was extreme in its Nationalist tone, which, as various historians have noted, marginalised and mocked women. Lindsay also distanced herself from the general misogynistic tone of The Bulletin. She deliberately obscured her relationship to her famous brothers by changing her name and signing her work as “Ruby Lind”, “Ruby Lyne”, “Ruby Lyn” and once, in At the Labour in Vain, as “ Ruby Ramsbottom.” However, Lindsay went to great lengths to stand on her own two feet. Her eventual husband was the Australian artist and political cartoonist William Dyson (1880-1938). Lindsay’s visibility was overshadowed by the men surrounding her – her brothers Percy Lindsay (1870–1952) and Sir Lionel Lindsay (1874-1961), who were also well known for cartoons they had published in The Bulletin Norman Lindsay (1879-1969) who was the author and illustrator of The Magic Pudding and Daryl Lindsay (1889-1976), who was knighted for his services to art in 1963. Restrictive ideas about identity, roles and expectations were something Lindsay quietly challenged through her practice in graphic design. Both images are out of copyright.Įven though she made a significant contribution, most have never heard of Lindsay because women working at this time were marginalised by their gender and society. Poster for the Sydney Society of Artists’ Picture Show, 1907 (left) and cover illustration for The Gadfly, both by Ruby Lindsay, 1907 (right).
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