Early Life, Family and Training

Born in St Kilda, Melbourne, Victoria, on December 7, 1913, Julian Richard Ashton entered a world where art was woven into the very fabric of his lineage. He was a member of a family that had established the Sydney Art School in 1890, a lineage that would shape the artistic landscape of Australia for generations. This heritage meant that the pursuit of visual expression was not merely a vocation for him, but a profound family legacy that guided his earliest years.

His formal education took place within the walls of the Julian Ashton Art School, where he studied under the watchful eye of his grandfather, Julian Rossi Ashton. This intimate connection to his mentor allowed for a direct transmission of technique and tradition. Through this rigorous instruction, Richard Ashton developed a solid classical art training that became the foundation of his creative identity. He spent his formative years absorbing the discipline required to master form and light, preparing himself for the challenges of a professional life in the arts.

By the time the outbreak of the Second World War arrived, Richard Ashton had already established himself as a painter of significant capability. His years of study and practice had yielded a command of classical principles, ensuring he was a settled artist before the world was plunged into conflict. He had moved beyond the status of a mere student, possessing the technical skill and the settled hand of a man who understood the weight of his craft.

Military Service and War Art

The onset of the Second World War diverted Ashton from his studio and into the ranks of the Australian Imperial Force. He enlisted in December 1941, serving as a corporal with the Signals Corps. His duties took him to the difficult terrain of New Guinea, where he functioned as a Sapper. Even amidst the hardships of active service, his desire to document the conflict remained strong. He wrote to the authorities expressing a deep wish to dedicate his talents to recording the air activity and the surrounding life of the campaign for future generations.

His official appointment as a war artist arrived on 25 May 1942, intended for a period of three months. However, the circumstances of his service were complicated by physical struggle and administrative confusion. After contracting Dengue Fever and requiring surgery for appendicitis, he was sent back to Australia to recuperate. During this time, a lack of adequate art supplies and uncertainty regarding his official status between the army and the military history section made his position precarious. He remained a corporal throughout these trials.

By late 1942, he was seconded to the Military History Section. This allowed him to return to his Sydney studio, where he focused his efforts on his New Guinea paintings. While he worked in the quiet of his studio, his brush captured the essence of the distant theater of war. He also spent time proofing illustrations for army annuals, ensuring that the visual record of the service was maintained through his draughtsmanship.