Paper

Student Artwork Guide

Audience #1

Name Class Date

David Dixon Porter, Audience #1 (1971), Penrith Regional Gallery - Home of the Lewers Bequest. Public domain. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
David Dixon Porter originaluniqueart.com/en/artists/david-dixon-porter/
Artist’s dates
1813 – 1891
Painted
1971
Held at
Penrith Regional Gallery - Home of the Lewers Bequest originaluniqueart.com/en/museums/penrith-regional-gallery-home-of-the-lewers-bequest-emu-plains/

In context

Audience #1 — David Dixon Porter

When was this painted?

  1. 1800
  2. 1820
  3. 1840
  4. 1860
  5. 1880
  6. 1900
  7. 1920
  8. 1940
  9. 1960

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 78 at death.

Shaded: the lifetime of David Dixon Porter (1813–1891) ▲ this work, 1971 every dated painting, decade by decade

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: originaluniqueart.com/en/art/similar/david-dixon-porter-audience-1-D76RWK-en/

Colours

Measured from the image

    Main colour

    Sap Green #5f625b

    Catalogued palette

    • #5F625B
    • #D9DAD9
    • #9C9E98
    • #2B2E27

    These colours inside the artist’s whole palette Find other paintings by colour

    Main colour name
    Sap Green
    Intensity
    Monochromatic How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Statement How much the colours differ in lightness and saturation across the picture.
    Harmony
    Unified Palette How well the colours work together, from clashing to fully unified.
    Brightness
    Balanced How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Muted How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by David Dixon Porter over the last twelve months — 2 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 50.0%
    2. 2 Singapore 50.0%

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 7 most looked-at works by David Dixon Porter

    1. 1 Joe Cocker (touches nose), 1972 28.6%
    2. 2 Six Performers The Tribe (Misere concert), 1971 14.3%
    3. 3 Johnny Farnham Backstage at ‘Charlie Girl’ #2, 1971 14.3%
    4. 4 Clog Stall #2, 1971 14.3%
    5. 5 Audience #3, 1971 14.3%
    6. 6 Gerry Humphrys (caveman), 1972 14.3%
    7. — Audience #1, 1971 this painting 0.0%

    Together these works take 100.0% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 33 works by this artist, of which 6 were looked at at least once. This painting has not been looked at yet in that time — it closes the list without a rank. The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    About this artwork

    Audience #1 — David Dixon Porter

    In the early 1970s David Porter was a contributing photographer for some of the most influential Australian Rock music and underground publications (Go-Set, Daily/Planet, Rolling Stone (Australian Edition), The Digger. Porter was based in Melbourne, his subject the zeitgeist of its Rock/Pop music, underground theatre, and Counterculture scenes, sometimes working as ‘David Porter’, sometimes ‘Jacques L’Affrique’, sometimes ‘Jack Africa’. In 1973 he left Melbourne, stopped working in commercial photography, and pursued a teaching career.This photograph was taken at MONTSALVAT ‘SYRIUS’ BENEFIT CONCERT (3 October 1971)An artist colony established in 1934. Montsalvat is in the Melbourne suburb of Eltham (boasting gardens, houses, halls, studios, galleries designed and built by residents). Montsalvat continues to present exhibitions, performances, and events (with artists residing and creating on site). In the 1970s bands such as Spectrum and Captain Matchbox Whoopee Band regularly performed there. On 3 October 1971 a benefit concert for the penniless and stranded Hungarian band Syrius was at Montsalvat by the lake. Organised by John Pinder and Let it Be the ‘benefit’ raised over $3,000 to enable the band to return home. The event bill featured Carson, Captain Matchbox, Daddy Cool, Highway, Pilgrimage, Syrius and Tribe Theatre. However, torrential rain caused chaos. Captain Matchbox was cut short when the sound system packed it in, and Daddy Cool citing equipment and safety concerns refused to play. However, a drenched Pilgrimage soldiered on. Theatrical radicals Tribe provided ‘good clean, obscene fun’. Carson, Syrius and Highway played during breaks in the weather. Daily Planet (6 October 1971) reported … the weather was shithouse…everything else was, the place, the bands, the people and the vibes were really good…the hillside was a quagmire, and the people were so wet they were beyond caring (there was plenty of booze around), that they were sliding down the hill in the mud and splashing into the pool in front of the stage...despite the rain, and the cold and the mud and the slush and the beer, it had been a good day. Syrius (1962-77) Hungarian jazz-fusion, progressive rock group. Miklos ‘Jackie’ Orszaczky (bass guitar, guitar and vocals), Zoltan Baronits (piano, oboe, saxophone), Latsi Pataki (organ, piano, drums), Mihaly Raduly (saxophone, flute, violin), Andras Veszelinov (drums, guitar, trombone).Published Syrius Benefit was Wet Fun!! Go-Set, 9 October 1971

    Artist and museum

    Artist

    David Dixon Porter

    Born in Chester, United States of America

    A Life Forged on the Waves: The Remarkable Journey of David Dixon Porter

    David Dixon Porter, born in Chester, Pennsylvania, in 1813, was a figure inextricably linked to the narrative of American naval history. His life wasn’t merely in the Navy; it was the Navy, a legacy inherited from his celebrated father, Commodore David Porter. From the astonishingly young age of ten, he embarked on voyages to the West Indies alongside his father, an immersion that instilled within him a profound connection to the sea and its demands. This early exposure wasn’t simply about nautical training; it was a baptism into a world of discipline, strategy, and unwavering dedication – qualities that would define Porter's entire career. His formative years continued with service in the Mexican Navy as a midshipman aboard the frigate Libertad, followed by a formal commission in the U.S. Navy in 1829. These early experiences weren’t just stepping stones; they were foundational, shaping his understanding of naval tactics and international relations. He diligently served on vessels like the frigates Constellation and United States, participating in Mediterranean voyages that broadened his horizons and honed his skills between 1829 and 1834. His commitment to meticulous charting and observation during coastal surveys from 1836 to 1842, ultimately leading to a promotion to lieutenant, demonstrated an analytical mind perfectly suited for command.

    Naval Command and the Crucible of Civil War

    The outbreak of the American Civil War found Porter poised to make a significant impact. His initial actions, though controversial – taking command of the Powhatan without explicit authorization to reinforce Fort Pickens – revealed his proactive nature and unwavering loyalty to the Union cause. This bold move, while initially met with disapproval from Secretary of the Navy Gideon Welles, ultimately underscored Porter’s commitment to preserving the nation. It was during the capture of New Orleans in 1862 that Porter truly distinguished himself, commanding a flotilla of mortar boats with remarkable precision and effectiveness. This pivotal moment showcased his innovative approach to naval warfare and cemented his reputation as a resourceful leader. His subsequent appointment as commander of the Mississippi River Squadron in October 1862 placed him at the heart of the conflict’s western theater. Porter's strategic brilliance was instrumental in assisting General Ulysses S. Grant during the grueling Vicksburg Campaign, culminating in the city’s surrender in 1863 – a turning point in the war. The challenges he faced during the Red River Campaign in Louisiana, navigating dangerously low water levels and overcoming logistical nightmares, further demonstrated his resilience and adaptability. His leadership extended to the North Atlantic Squadron, where he orchestrated joint assaults on Fort Fisher in North Carolina, marking one of the final major naval engagements of the Civil War.

    Reforms, Recognition, and a Unique Artistic Vision

    The years following the Civil War saw Porter ascend to unprecedented heights within the U.S. Navy. Promoted to Vice Admiral and later becoming only the second person to hold the rank of Admiral – after his foster brother, David G. Farragut – he dedicated himself to modernizing and professionalizing the naval service. As Superintendent of the U.S. Naval Academy, he initiated crucial reforms to enhance the curriculum and elevate standards for aspiring officers. Beyond formal duties, Porter wielded considerable influence within President Grant’s administration, effectively acting as an informal Secretary of the Navy for a period. He championed vital naval reform alongside like-minded officers, striving to create a more efficient and capable fighting force. However, Porter's legacy extends beyond his distinguished military career into a surprisingly artistic realm. While primarily known for his naval achievements, he pursued photography with passion, creating concert photographs, band portraits, and event scenes that offer a unique glimpse into 19th-century life. These images aren’t merely historical documents; they are vibrant snapshots of a bygone era, capturing the energy and atmosphere of social gatherings and musical performances. His artistic endeavors reveal a keen eye for detail and an ability to translate moments in time into compelling visual narratives.

    A Lasting Legacy: Admiral, Reformer, and Artist

    David Dixon Porter’s contributions resonate far beyond his lifetime. His leadership during the Civil War was undeniably crucial to the Union victory, particularly on the Mississippi River, effectively splitting the Confederacy and controlling a vital artery of commerce. His reforms at the Naval Academy laid the groundwork for modern naval education, producing generations of skilled and dedicated officers. As a two-time Admiral, he left an indelible mark on the structure and leadership of the U.S. Navy. But perhaps his most intriguing legacy lies in his artistic pursuits. His photographs offer a rare and intimate perspective on 19th-century American society, blending naval history with artistic expression. His work serves as a reminder that even within the rigid confines of military life, creativity can flourish. Porter’s story is one of family tradition, unwavering dedication, and unexpected artistry – a testament to the multifaceted nature of human potential. He embodies the spirit of innovation and service that continues to define the U.S. Navy today. His influence extends beyond the annals of naval history; it lives on in the photographs he left behind, offering a captivating window into a pivotal era of American life.

    Museum

    Penrith Regional Gallery - Home of the Lewers Bequest

    On show in Emu Plains, Australia

    A Sanctuary of Modernist Vision

    Nestled along the tranquil western banks of the Nepean River in Emu Plains,

    Penrith Regional Gallery - Home of the Lewers Bequest

    serves as a profound testament to the enduring spirit of Australian modernism. More than a mere repository for art, this institution is an immersive journey into the creative soul of two pioneers, Gerald and Margo Lewers. To walk through its doors is to step into a living legacy, where the echoes of mid-century intellectual fervor still resonate within beautifully preserved heritage gardens and thoughtfully adapted structures. The gallery occupies the very site that once functioned as a vibrant crucible for artistic experimentation, where the boundaries between life, landscape, and studio were perpetually blurred.

    The heart of the gallery beats through the extraordinary

    Lewers Bequest

    , a collection that offers an intimate window into the genesis of Australian abstraction. Visitors are invited to explore a vast assemblage of paintings, sculptures, and drawings that reveal Gerald Lewers’ mastery of geometric form and Margo Lewers’ evocative transitions from formal abstraction to fluid expressionism. The collection is not merely a display of objects but a study in how color palettes can be distilled from the rugged beauty of the Australian landscape, creating a dialogue between the canvas and the earth itself. For the discerning collector or art lover, these works represent a pivotal moment in art history, capturing the precise instant when local identity met international modernist movements.

    Architectural Harmony and Living History

    The architectural experience of the gallery is as much a part of the exhibition as the artworks themselves. The transformation of the Lewers' original homes into sophisticated exhibition spaces—including

    Ancher House

    and the

    Loungeroom Gallery

    —has been achieved with a masterful touch that respects the structural integrity of the past while embracing contemporary needs. Sunlight streams through expansive windows, casting shifting shadows across the galleries and drawing the eye toward the serene Nepean River gardens outside. This deliberate harmony between art and nature creates an atmosphere of contemplative stillness, making it an ideal destination for interior designers seeking inspiration in the seamless integration of built environments and organic beauty.

    Beyond its historical anchors, Penrith Regional Gallery remains a dynamic force in the contemporary art scene, consistently championing new voices and diverse narratives. The gallery’s program is a vibrant tapestry of seasonal exhibitions that bridge the gap between established legends and emerging talents such as

    Brook Andrew

    ,

    Leonora Howlett

    , and

    Craig Walsh

    . By hosting multidisciplinary installations ranging from video art to immersive sculpture, the institution ensures that its mission of provocation and conversation remains vital. It stands today as a beacon of cultural enrichment in Western Sydney, offering a holistic encounter where history, community, and innovation converge under the shade of ancient trees.

    Where to read more

    Find this online

    QR code linking to the download page for Audience #1

    originaluniqueart.com/en/art/download/david-dixon-porter-audience-1-D76RWK-en/

    Cite this artwork

    MLA
    Porter, David Dixon. Audience #1. 1971, Penrith Regional Gallery - Home of the Lewers Bequest. https://originaluniqueart.com/en/art/david-dixon-porter-audience-1-D76RWK-en/
    APA
    Porter, David Dixon (1971). Audience #1 [Painting]. Penrith Regional Gallery - Home of the Lewers Bequest. https://originaluniqueart.com/en/art/david-dixon-porter-audience-1-D76RWK-en/
    Chicago
    David Dixon Porter. Audience #1. 1971. Penrith Regional Gallery - Home of the Lewers Bequest. https://originaluniqueart.com/en/art/david-dixon-porter-audience-1-D76RWK-en/
    Harvard
    Porter, David Dixon (1971) Audience #1. Penrith Regional Gallery - Home of the Lewers Bequest. Available at: https://originaluniqueart.com/en/art/david-dixon-porter-audience-1-D76RWK-en/

    Look closely

    Audience #1 — David Dixon Porter

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Look back at Joe Cocker (touches nose) (1972), earlier in this guide. Name two things it shares with this work, and one that is different.
    4. What might the artist have wanted you to feel?
    5. If you could ask the artist one question about this work, what would it be?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Questions & Answers

    Can I see "Audience #1" by David Dixon Porter under different lights?

    The X-Ray view of "Audience #1" by David Dixon Porter is on the artwork's X-Ray page: an interactive examination of the image through eleven optical layers.

    What color leads the composition of "Audience #1" by David Dixon Porter?

    sap green (#5f625b) is the leading color of "Audience #1" by David Dixon Porter.

    What luminance does "Audience #1" by David Dixon Porter have?

    "Audience #1" by David Dixon Porter has a gentle luminance luminance. Luminance describes how much light the colors appear to reflect.