| Accession Number | ART27556 |
|---|---|
| Collection type | Art |
| Measurement | framed: 88.2 cm x 74.8 cm x 5 cm |
| Object type | Painting |
| Physical description | oil on canvas on wood panel |
| Maker |
Freedman, Harold |
| Place made | Australia: Victoria, Melbourne, St Kilda Road, Victoria Barracks |
| Date made | c.1944 |
| Conflict |
Second World War, 1939-1945 |
| Copyright |
Item copyright: Copyright expired - public domain
|
Aircraftwoman, WAAAF [Gloria Gwendolyn Grace]
Description
This is a portrait of Gloria Gwendolyn Corcoran (nee Grace) (1920-2009) who served with the Women's Auxiliary Australian Air Force (WAAAF) during the Second World War, service no. 97284. The portrait was painted by Harold Freedman, who had enlisted in the Royal Australian Air Force (RAAF) service no. 41616 and was appointed as an official war artist attached to the RAAF Historical War Records Section in 1944. Grace, originally from Tasmania, was serving in Melbourne and was 23 years old when the portrait was painted. She was spotted by Freedman on a Melbourne tram, who was able to trace her through the monogram on her bag, G.G.G. Freedman placed an article in a RAAF paper searching for the woman, asking "Would she report to F/Lt Harold F at Vic Barracks re a portrait he wished to paint to represent the WAAAF in Australia."
The painting was pictured in the 1944 publication of 'RAAF Saga', page 109, with the title 'Lady of the WAAAF'. The work became popularly known by this title, even though the inscription on the artwork identifies the title given by the artist as "Aircraftwoman, WAAAF". Interestingly, the portrait has undergone significant changes since the Second World War. In December 1967, the Australian War Memorial approached Freedman to re-frame the artwork. This he did, but as a letter to the Memorial indicates: "When I saw the portrait again after so many years I was a little disappointed with it, so after giving the portrait a good clean, I have now repainted it, and I feel that know you will be pleased with the result - I am satisfied with it now." A comparison between the painting now, with the reproduction in 'RAAF Saga' clearly shows extensive reworking of the background and subtle adjustments to the face, including lightening the colour of the lips, adding shadow to the cheekbones and darkening on the edges of the eyes. These changes do seem to alter the intention and character of the subject from a poised, focused woman to imbuing an air of modernity and independence.