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Student Artwork Guide

Micro-mini dancer

Name Class Date

David Dixon Porter, Micro-mini dancer (1971), Penrith Regional Gallery - Home of the Lewers Bequest. Public domain.

The facts

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

In context

Micro-mini dancer — 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

Shaded: the lifetime of David Dixon Porter (1813–1891) ▲ this work, 1971

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: artsdot.com/en/art/similar/david-dixon-porter-micro-mini-dancer-D76TUY-en/

Colours

Measured from the image

    Main colour

    Phthalo Green #202320

    Catalogued palette

    • #202320
    • #8D928B
    • #545A55
    • #CDCFCB
    Main colour name
    Phthalo 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
    Strong Color Unity How well the colours work together, from clashing to fully unified.
    Brightness
    Shadow 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.

    About this artwork

    Micro-mini dancer — 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 T.F. MUCH/MUCH MORE BALLROOM (1970-72)Cathedral Hall (aka Central Hall) Brunswick St, FitzroySeries of ‘Counterculture’ performance events staged at Cathedral Hall (owned by the Catholic Church). Created by John Pinder, Peter Andrew, Warren Knight, Bani McSpeeden, Hugh McSpedden. Music, art, light shows, circus, and vaudeville inspired by the psychedelic San Francisco ballrooms of the late 1960s. Built 1903 Cathedral Hall had generous floor space, large proscenium style stage, heavy draw curtains, large domed windows, ornate ceiling and chandeliers, dress circle on three sides facing the stage. Held up to 1,500 patrons (sitting on the floor and in the balcony, standing or dancing).The first T.F. Much Ballroom took place in August 1970 featuring Spectrum, Jeff Crozier’s Indian Medicine Magik Show, Lipp Arthur, Adderley Smith Blues Band, Sons of the Vegetal Mother, Gerry Humphreys & the Joy Band, Captain Matchbox Whoopee Band, Margret RoadKnight, Flash Light Show, Tribe Theatre. A flea market also sold macrobiotic food, hippie clothing. Subsequent events were usually held monthly and featured concert-style performances presenting multiple musical acts interspersed with comedy, poetry, theatrical, dance and novelty performances. The epicentre of the early 1970s ‘Carlton scene’, the T.F. Much/Much More Ballroom was a ‘head venue’. Capturing Melbourne’s alternative theatre, music, and experimental art scenes and counterculture, it was the antithesis of Melbourne’s pub and suburban rock music circuits.After a name change (necessitated when officials twigged that T.F. Much meant ‘Too Fucking’ Much) the ‘Much More Ballroom’ began in November 1971. The last event was held in December 1972 with Spectrum, Indelible Murtceps, Captain Matchbox Whoopee Band, Miss Universe, Gary Young and Hot Dog.

    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 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. Established in 1981, 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. To walk through its doors is to step into a living legacy, where the echoes of mid-century intellectual fervor still resonate within the beautifully preserved heritage gardens and thoughtfully adapted structures.

    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.

    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 Micro-mini dancer

    artsdot.com/en/art/download/david-dixon-porter-micro-mini-dancer-D76TUY-en/

    Cite this artwork

    MLA
    Porter, David Dixon. Micro-mini dancer. 1971, Penrith Regional Gallery - Home of the Lewers Bequest. https://artsdot.com/en/art/david-dixon-porter-micro-mini-dancer-D76TUY-en/
    APA
    Porter, David Dixon (1971). Micro-mini dancer [Painting]. Penrith Regional Gallery - Home of the Lewers Bequest. https://artsdot.com/en/art/david-dixon-porter-micro-mini-dancer-D76TUY-en/
    Chicago
    David Dixon Porter. Micro-mini dancer. 1971. Penrith Regional Gallery - Home of the Lewers Bequest. https://artsdot.com/en/art/david-dixon-porter-micro-mini-dancer-D76TUY-en/
    Harvard
    Porter, David Dixon (1971) Micro-mini dancer. Penrith Regional Gallery - Home of the Lewers Bequest. Available at: https://artsdot.com/en/art/david-dixon-porter-micro-mini-dancer-D76TUY-en/

    Look closely

    Micro-mini dancer — 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. How many faces can you find? ____ (our catalogue counts 6 — do you agree?)
    4. 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.
    5. What might the artist have wanted you to feel?

    Your response

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