Responses to Gold

'When gold came to eastern Australia in the 1850s it brought with it tremendous social, economic, political, demographic, cultural and racial upheaval.' - Deborah Gare and David Ritter (p190)

The discovery of gold not only changed Australian society; it also altered the way in which many people imagined Australia's future and their place within it.

For many, the gold fields inspired dreams of wealth and independence; whilst for other the social upheaval and rapid workforce displacement caused by the gold rushes brought anxiety and uncertainty.

The prolific paintings of Samuel Thomas Gill (1818-1880) reflect many to these diverse responses to gold. 

'A Bendigo Mill'

'A Bendigo Mill' - S.T Gill

http://www.slv.vic.gov.au/pictoria/gid/slv-pic-aab36493/1/b28283

One of the anxieties that the gold rushes appeared to inspire was the fear of the breakdown of order. A fear of what these temporary, spontaneous tent cities might become outside the civilising influence of home and settled, ordered society.

How was order, and a British sense of civility to be maintained in this almost exclusively male society-outside-society?

The above watercolour by S.T Gill depicts an uneasy tension between a sense of British civility (it depicts a boxing match rather than a brawl) and the possibility of descent into violence. 

'The Claim Disputed'

'The Claim Disputed' S.T Gill

http://www.slv.vic.gov.au/pictoria/gid/slv-pic-aab36416/1/b28260

One common anxiety produced by the rush to the gold fields appears to be the fear of how order and principals of ownership will be maintained in the face of greed, and in a society which has not been founded on the traditional British/Australian notions of property and ownership.

'The Claim Disputed' expressed the tensions and the fear of the gold fields erupting in sudden violence.

The anxious expressions of the onlookers, and their sudden rush to action express the concern of the 'neighbours' in this gold field 'society', but also appear to suggest the potential for escalating violence present in this situation.

'Convivial Diggers in Melbourne'

'Convivial Diggers in Melbourne' - S.T Gill

http://www.slv.vic.gov.au/pictoria/gid/slv-pic-aab36501/1/b28291

This depiction of 'Convivial Diggers' could have suggested different ideas to different contemporary audiences.

To some, the sense of the painting, coupled with the word 'convivial', would suggest a merry, friendly atmosphere of feasting and drinking. 

The diggers have returned to the centre of Melbourne, having achieved success in their pursuit of gold - The dream has been realised.  

As Geoffrey Blainey wrote - 'To win gold was the only honest chance millions of people had of bettering themselves, of gaining independence, of storing money for old age or sickness, of teaching their children to read or write'. (p190)

Although the painting can be read in this way, it could also be seen as a reflection of the unease felt by many at this sudden wealth, which was in theory available to anyone.

English society at this time was ordered through a strict class structure, and in Australia this social stratification would also have been evident.

Although we may think of the bush as the place where a spirit of mateship and equality flourished, there still existed a distinct separation between master and servant, landowner and worker.

This watercolour depiction is not flattering. The diggers are drunk, apparently frittering their newly gained wealth, and failing to act with the propriety which the wealthy settlers of 'good breeding' would have expected of those of their own social standing.

This parody of the Nouveau riche, may appear to be occasioned by an abstract, snobbish fear; however the fear that the traditional relationships between employers and the working class was breaking down was in part caused by the very real disruptions which the gold rushes caused, as many employers lost their workers to the gold fields. 

'Cradling' 

'Cradling' - S.T Gill

http://www.slv.vic.gov.au/pictoria/gid/slv-pic-aab36419/1/b28262

In contrast to the social anxieties produced by the gold rush era, this watercolour depiction is closer to the way in which many were re-imagining Australia's future in light of the gold rushes.

The gold rush ear continued the formation of a uniquely Australian identity, which was seperate from English identity.

Life in Australia - as seen through life on the gold fields - was an outdoors life. Man worked surrounded by nature, instead of in an industrial setting.

Life in Australia may not have been entirely egalitarian, but as shown in the above depiction of the two diggers, there were many opportunities for men to work for themselves, or in partnerships, rather than working for a boss. 

The soft light of the picture suggests and ideal, healthy, outdoor lifestyle; and the two men are talking, or joking, as they work in partnership. The work may be hard, but with the possibilities in Australia of working ones own land (or working a claim on the gold fields) came the dream of reward for labour. The egalitarian notion that anyone could find 'wealth for toil'.

'Unlucky Digger that Never Returned'

'Unlucky Digger that Never Returned' - S.T Gill 

http://www.slv.vic.gov.au/pictoria/gid/slv-pic-aab36506/1/b28295

Whilst the discovery of gold inspired the dream that anyone could strike it lucky - that anyone could gain wealth, independence, and a better future, there was always the chance that many would be unlucky in their ventures.

The digger in this painting had died alone. Far from family, society and the church, there is no one to mourn, or to bury his body.

Emma Woodward

References:

'Section 7: Gold and the Coming Australian' in Deborah Gare and David Ritter (eds), Making Australian History: Perspectives on the Past since 1788, Thomson, South Melbourne, 2008, pp190-193.