The following catalogue entry was first published in Christopher Menz (ed.), Visions Past and Present: Celebrating 40 Years, Ian Potter Museum of Art, University of Melbourne, Parkville, Victoria, 2012, pp.42-43
It is easy to pinpoint the location of the scene depicted in Nicholas Chevalier’s Buffalo Range from the West . It is a vista near the town of Nug Nug, approximately 250 kilometres north-east of Melbourne. Nestled between the Buffalo River and the sloping range, it is a beautiful spot, and one can easily imagine the scene, on a still, quiet morning, as the sun slowly rises behind the peaks, bathing the horizon in a luminous haze. It is somewhat harder to ascertain when the artist might have visited Nug Nug in order to experience such an impressive view.
Nicholas Chevalier arrived in Australia in 1854, after studying painting in Lausanne, Munich, London and Rome. In Melbourne, he fell quickly into the company of artists such as Eugene von Guérard, Edward LaTrobe Bateman and S.T. Gill. Alongside von Guérard, Chevalier joined the 1858 expedition to the Dandenong Ranges and Baw Baw Plateau led by Alfred Howitt. Despite the artists’ enthusiasm to find picturesque views, the expedition was delayed when the pair arrived in fashionable, but inappropriate footwear for such a rugged journey. By the 1860s, however, Chevalier was a more seasoned traveller, joining Georg von Neumayer on two explorations in Western Victoria. Unfortunately, neither Howitt nor von Neumayer’s expeditions went anywhere near the Buffalo Ranges, so the source of Chevalier’s inspiration remains unclear. It is even possible that it came from a sketch by another artist, such as von Guérard.
But perhaps this is to miss the point of Chevalier’s Buffalo Ranges from the West. Amongst critics then as now, Chevalier’s work has tended suffer in comparison to von Guérard’s, being seen as decorative, and lacking in visual tension. But Chevalier’s intentions are markedly different to those of his close companion. Von Guérard sought to capture the picturesque whole of the landscape by close attention to its minute details. In contrast, Chevalier’s paintings are not interested in either natural detail or the picturesque. In Buffalo Ranges the view is deliberately distorted; the vista is greatly foreshortened and is coupled with the delicate play of dawn light in order to present a much more imposing than accurate visage. In 1821, William Hazlitt described the picturesque as a yearning for “ideal deformity, not ideal beauty.” In Buffalo Ranges from the West, Chevalier is not trying to present something particular, but something universally beautiful. Rather than looking for tension or naturalism, we should just enjoy the warm, reflected glow of Chevalier’s vision, and allow it to transport us, not to Nug Nug, but to the arcadia of the cosmopolitan artist’s imagination.