Merioola Group
The Merioola Group (sometimes also called the "Sydney Charm School") was a Sydney-based group of Australian artists active during the 1940s and early 1950s. The group was named after Merioola, a mansion where many of the group lived.

Merioola house 

The group took its name from Merioola, a Victorian-era mansion converted into a boarding house in the Sydney suburb of Woollahra, New South Wales, managed from 1941 by Chica Edgeworth Lowe. Lowe consciously encouraged artists, dancers, writers and theatre people to take up residence, forming the bohemian artistic centre of Sydney in the immediate post-war years.

Tenants included the European-born and trained artists Arthur Fleischmann (sculptor), Roland Strasser, Peter Kaiser, Michael Kmit and George de Olszanski. Others, such as Donald Friend, Edgar Ritchard (artist and costume designer), Loudon Sainthill (later to become one of the most prominent theatre designers of the 20th century) and his life partner Harry Tatlock Miller (writer, critic and curator and subsequently the director of the Redfern Galleries, London), had lived and worked overseas. Others connected with the visual arts included photographer Alec Murray, painters Justin O'Brien, Mary Edwards, artist and later noted costume designer Jocelyn Rickards. Other tenants included dancers Alison Lee, Darya Collin, Beatrice Vitringer and Edmee Monod, author and historian Hector Bolitho, architect George Beiers, civil engineer William Pierre Beiers, mathematician and astronomer John Sidgewick, musicians John and Norma Bannenberg, and many others.

When in Sydney, Ballet Rambert dancers often spent time at Merioola, where many theatrical and literary collaborations took place.

Merioola and the Sydney Charm School 

Although there was no common style or 'movement' at Merioola, it could be said that its artists were more interested in art as a light-hearted and poetic expression of the spirit and less interested in art as a progressive force. Many of the group had spent long years in the armed services or had been displaced persons as a result of the war in Europe.

Artists under the label of the "Merioola Group" exhibited in both Sydney (November 1947) and Melbourne in 1947.

The "Sydney Charm School" was another term used synonymously to refer to the Merioola group of artists because they shared a light-hearted, decorative element in their work. The Sydney Charm School included painters William Dobell, Russell Drysdale, Donald Friend, Lloyd Rees, Jeffrey Smart, Jean Bellette, Paul Haefliger, David Strachan, Sali Herman, Eric Wilson, Mary Edwell-Burke, Margaret Olley, Roland Strasser, Peter Kaiser, Harry Tatlock Miller, Jocelyn Rickards, Adrian Feint, Arthur Fleischmann, Eileen Haxton and applied artists Wallace Thornton, Loudon Sainthill and Wolfgang Cardamatis.

Paul Haefliger first used the phrase "Charm School" in 1948 in a review of the work of Jocelyn Rickards. Titled ‘Artist Relies on Charm’, Haefliger's review states that Rickard's work "certainly belongs to the charm-school and, as a substitute, it will carry this young artist quite a distance".

Later, the name "The Sydney Charm School" was disparagingly used by Australian Art critic Robert Hughes to describe the Merioola group of artists. He believed that the art made in Sydney in the period circa 1940–1955 was less worthy than the works produced in Melbourne as it was decorative and overly romantic, unlike the "truthful vital energy of Melbourne". Regarding the difference in art expressions between Sydney and Melbourne at that time Donald Friend commented:

By its ad hoc nature the Merioola Group were destined not to last, and by the mid-1950s its original members had left or were on the point of leaving, most overseas. But while it lasted Merioola provided a bohemian atmosphere, described by its chronicler Christine France:

Notes and references