Weary

'Weary' was first exhibited at Florence Fuller's studio around 1888, alongside the work 'Desolate', the latter of which is only known from press descriptions. Both works, portraying subjects of child poverty, immediately sold. 'Weary' depicts a homeless child with background imagery of Melbourne's docklands, providing a powerful statement on the disadvantaged within the context of the city's booming commerce. While subjects of the urban poor were popular in the art of Victorian England, 'Weary' is unusual in Australian art from this period for its stark portrayal of Melbourne's street life and for its politicised message of social injustice. The work is also unique amongst the extant works of Fuller's own practice.

While the influence of Fuller's early painting instructor George Follingsby has been noted in relation to the narrative subject of 'Weary', the painting is more so telling of Fuller's distinct artistic vision in Melbourne art at this time. Striking is her inclusion of the tattered billboards, whose fragmented lettering renders their marketing messages alienating and incoherent. They imbue the painting with a sense of urban realism that is arguably unprecedented in Australian art. While the child may appear more cherub-like than destitute, Fuller draws on the figure of innocence to create a moving juxtaposition of the child against the dehumanising forces of the modern market place.

Fuller found inspiration for this painting in the poem 'Weariness' by Henry Wadsworth Longfellow that ruminates on the impact of child labour. Fuller reproduced the opening lines of the poem: "O, little feet that such long years/ must wander on through hopes and fears"; on a plaque on the frame. The poeticised sentiments were significant in delivering the pathos of the work in its day.