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Intrigue, censorship, and school folklore are at the heart of a new portrait of Fintona’s formidable second owner and Principal, Margaret Cunningham, by 2025 Artist-in-Residence, Fiona McMonagle.
Miss Cunningham purchased the school from founding Principal Annie Hughston in 1934. Described by Biographer Joan Gillison as both ‘a redoubtable and unusual woman’ and ‘one of the most progressive thinkers in the education of girls in Melbourne’, Miss Cunningham was the driving force behind a curriculum that equipped girls for life. She also introduced key annual events like Shakespeare Day and the Annual Music Concert – traditions that continue to shape Fintona today.
Her most enduring legacy was bequeathing the school to the Fintona community upon her retirement in 1961. She was also known for her sharp wit, a lively sense of humour, and her fondness for a glass of whiskey and a cigarette. The last two traits are rumoured to have been captured in an original portrait by A.D Colquhoun, but later edited out. As school legends go, no one is sure when this editing took place, or if the notorious elements were ever there. Fiona’s new portrait restores them to where they were, or perhaps should have been.
During her residency, Fiona became fascinated by the remarkable women who had led the school – drawn to their achievements, strength, and determination. After seeing the possibly edited portrait and hearing the school
legends behind it, she knew she wanted to work on her own interpretation.
‘When I discovered that an original portrait of Miss Cunningham may have been altered, I felt compelled to recreate it,’ Fiona says. ‘The more I learned about her, the more intrigued I became. She was a much-loved Principal, known for her sharp sense of humour and deeply respected by those around her. I wanted to honour that legacy. My goal was to capture both her strength and authority, while also acknowledging the more personal, human side of her – like her fondness for a glass of whiskey. From everything I gathered, this was who she truly was, and I felt she deserved to be celebrated in full.
For Fiona, the process became about more than just correcting history. ‘What began as a tribute to an extraordinary woman evolved into something deeper – an exploration of censorship and the ways society tries to fit women and girls into neat, acceptable boxes, often denying aspects of who they truly are. As well as increased awareness that smoking was bad for health, painting out of cigarettes widespread in portraits across many industries and homes. ‘It became a commentary on the expectations we place on girls – the way their words, behaviours, and identities are constantly monitored and judged in ways that boys and men are not.
It also speaks to the double standards women face, and how society continues to hold them to a higher, often impossible, standard.’ The finished portrait was painted using multiple studies of Miss Cunningham’s face.
With limited photographic references to work from, Fiona spent time repeatedly sketching her – studying her features and expressions to build a deeper understanding. Then she prepared two larger portraits on watercolour paper simultaneously – an artistic process that embraces the unpredictable nature of the medium, and allowed her to explore which version best captured Miss Cunningham’s vibrant personality and commanding presence.
Fiona’s hope for the final work of art is that it is received for what it truly is: a celebration of a remarkable woman in Fintona’s history. ‘While A.D. Colquhoun’s original portrait is a beautiful piece of art, my interpretation
aims to open up a conversation around censorship and acceptance. More than anything, my wish for all students is that they feel empowered to embrace every part of who they are,’ Fiona says.
Q&A WITH FIONA
What was it like working within a school setting?
It was incredibly rewarding. From the very beginning, I was warmly welcomed by both students and staff, which made the experience all the more enjoyable. Having the chance to engage with students and hopefully offer some guidance in their creative work was a real privilege. I also appreciated getting a glimpse of Fintona’s unique sense of community – it was heartening to see how the students genuinely support and look out for one another.
How did you involve students in your practice while on campus?
I had a studio set up in the gallery, and this regular presence gave students the opportunity to gradually feel comfortable approaching me to chat, ask questions about my work, or learn more about the process of working with watercolour. I also ran several watercolour workshops, where students picked up tips and
techniques to help build their confidence with the medium. In addition, I spoke with students about my art practice – both professionally and creatively – and spent time in the classroom offering one-on-one
conversations about their own work.
Is there a conversation or creative moment that stood out to you?
Spending time with the Year 12 students really stood out to me. What made it particularly special was seeing how open they were to discussing their ideas and processes, and how receptive they were to feedback and encouragement. It was fulfilling to feel that I may have had a small but positive influence on the direction of their artworks – whether through helping them resolve a technical challenge, encouraging them to take creative risks, or simply offering a fresh perspective. Those conversations, both formal and informal, felt genuinely collaborative and reaffirmed the power of art as a shared experience.
How do you hope to inspire in young artists through your work and presence at Fintona?
I hope to inspire students to pursue their passions wholeheartedly and give their all to whatever they do. I truly believe it’s important to love the work you choose to dedicate yourself to – something that’s perfectly reflected in Fintona’s motto, Age Quod Agis.
