Summary of Sidney Nolan
Sidney Nolan is one of Australia's greatest mid-to-late 20th century painters. A self-styled renegade, Nolan drew on the legacies of European modernism, moving through Post-Impressionism, and Surrealism, to form his own inimitable take on his country's topography and folklore. Nolan announced himself as a force to be reckoned with via a series of landscapes that captured something of the humid and desolate force of the Western Australian Wimmera outback. But it was his series of paintings (reaching a career total of 27) on the infamous Australian outlaw, Ned Kelly, that brought him widespread international acclaim. Nolan also added portraiture to his canon, with his late-life self-portraits presenting the haunting image of a defiant artist battling deteriorating health.
Accomplishments
- Nolan identified strongly with the notorious 19th century bushranger, Ned Kelly. It was through his fantasy attachment to this violent antihero of Australian folklore that Nolan was able to process "complicated events" in his own life. Nolan stated that his Kelly paintings represented "an inner history of my own emotions".
- Already well known for his unforgiving wilderness scenes, Nolan painted many landscapes inspired by places outside of his homeland. His serene, Silk Road series, for example, demonstrated the artist's deft skill (often renderer through spray paint on canvas) in its understated deference to the traditions of Chinese ink paintings.
- Many of Nolan's portraits were rendered in a Primitive, Fauve-like, style. This preference for exaggerated features, bold primary colors and face markings, also lent these pieces a highly personal quality in the way they alluded to the warrior traditions of Indigenous Australian rock and bark paintings.
- Nolan was deeply influenced by the poetry of Arthur Rimbaud. He bought directly into the Frenchman's view that art must be completely experimental, and adhered, in art and in his romantic life, to Rimbaud's famous maxim: "Il faut être absolument modern" ("one must be absolutely modern").
The Life of Sidney Nolan
Author Nancy Underhill writes, "an exploration of Nolan reveals that he became his own myth manager, presenting himself as a recorder of Australian history. Nolan's success shifted facts from history into its antithesis - myth ".
Important Art by Sidney Nolan
Boy and the Moon
This early career work, also known as Moonboy, was painted shortly after Nolan left Fayrefield Hat Factory where he had worked for five years as an illustrator and sign-writer. Having also attended night school at the National Gallery of Victoria Art School, Nolan would have been familiar with the words and images of some of the greats of European culture. Curator Natalie Wilson writes that, "there is conjecture about a probable source of inspiration for this enigmatic work: the poetic works of Rainer Maria Rilke or Arthur Rimbaud, or from artists such as William Blake, Paul Gauguin, Vincent Van Gogh, Pablo Picasso or Henri Matisse".
The painting is composed of just two color tones: a mustard-yellow elliptical shape set against a bluey black background. Wilson writes, the painting "has been likened to a lavatory seat; to the rising plume of debris thrust into the atmosphere following an atomic blast; the tree of life; and the emblematic Rising Sun Flag used by feudal warlords in Japan during the Edo period. Readings of this deceptively unassuming image are numerous". Nolan, however, stated that the work came to him having observed the head of a friend silhouetted against a full moon at the suburb resort of St Kilda, Melbourne (the work is also known as Portrait of John Sinclair at St Kilda and Moonboy).
This explanation didn't deter Wilson from offering the following reading: "I can't help but be reminded of William Blake's frontispiece to his illuminated book, The Song of Los, in which a glowing sphere emanates from a darkened space. [...] In Blake's invented mythology, Los represented imagination, his purpose to create his own system, distinct from all others. So too, in a time of global conflict and the conservative oppression of 1940s Australia, Nolan's conception of Moonboy can be viewed as a defining moment, when the artist began to construct his own visual language, culminating in the idiosyncratic apparition of a cut-out black square infiltrating the Australian landscape: the mythological figure of the helmeted Ned Kelly that Nolan would make his own five years later".
Oil on canvas - National Gallery of Australia, Canberra
Self-portrait
In this early self-portrait, Nolan holds a palette and brushes, and is pictured in front of a red wall on which two of his Wimmera landscapes are displayed. The painting displays his grounding in Primitivism while at the same time drawing inspiration from Polynesian and Antipodean art. According to the Art Gallery of New South Wales, this influence "may be indicated in a letter Nolan wrote to his patron and muse, Sunday Reed, in 1944, in which he admires Picasso's use of African scarification and Māori [warrior] markings in portraits. Selective distortion, exaggeration and the visual impact of pure, bold primary colours express Nolan's feelings about his surroundings".
It is significant that this self-portrait was painted while Nolan was on military duty. Although he was a member of the Citizen Military Forces (assigned to its food Supply Corps) the recent Japanese attack on Darwin filled him with the dread of having to face armed combat in the Philippines. The Sidney Nolan Trust writes that "Nolan painted himself as an artist ready for combat" and that he confronted his viewers (the fact that he absconded notwithstanding) "with a penetrating gaze [while] his brushes and palette are poised as his weaponry". The Trust continues that Nolan's war-time service would "provide a platform for a period of intense experimentation and existential investigation. He not only developed his radical vision of the Australian environment from the Wimmera flatlands, but also first tested the expressive potential of Ripolin paint. Self portrait is telling of how he seized on the enamel's flat, saturated finish to augment the power of his imagery".
Ripolin enamel on hessian sacking - Art Gallery of NSW, Sydney, Australia
The Camp
The Camp is one of a series of paintings Nolan based on the life of the Australian outlaw, Ned Kelly throughout his career. As described by the Art Gallery of New South Wales, the painting "refers to the moment in the story of Kelly's exploits, just before his gang's ambush at Stringybark Creek in rural Victoria, where three policemen sent to apprehend the outlaws were killed. The bold division of the painting into two halves creates a powerful psychological tension: the calm landscape to the right is juxtaposed against an electric-blue area of paint, from which emerges the square, black, silhouetted figure of Kelly, wearing his beaten-iron armour and helmet ".
Nolan claimed to have a strong personal investment in these paintings. Without evidence to back up his claims, he told the story of how his grandfather was one of the heroic policemen who captured Kelly in 1880. Whatever the truth of the matter, he felt a strong personal connection to the outlaw and created other series' of Kelly paintings in the 1950s and 1960s (creating a grand total of 27 "Kellys"). According to author T. G. Rosenthal, "while Kelly was constantly on the run, so Nolan's compulsive travelling and his constant search for new stimuli was conducted at an almost epic level which Kelly would surely have understood ". Rosenthal concludes that, "Nolan's Ned Kelly paintings are, by common consent, the most important of his entire career. From the first great sequence of 1946-47 they dominated his output, for better or for worse, more or less until his death. They are among the most sought-after of his work, even to the extent that Kelly forgeries have turned up at auction houses and dealers' galleries ".
Ripolin enamel and alkyd on hardboard - Art Gallery of NSW, Sydney, Australia
Mrs. Fraser
This work is one of a series of twelve paintings Nolan made during the 1940s inspired by the story of Eliza Fraser. Nolan had been persuaded to visit Fraser Island (named after Eliza) by his friend, the poet Barrie Reid. A sea captain's wife, Eliza was shipwrecked and held prisoner by the Badtjala people on an island off the Australian Queensland coast before being rescued by an escaped convict named Bracewell. Observed through what appears to be some sort of telescopic lens, Mrs. Fraser is shown crawling through a swamp-like undergrowth. Her twisted limbs and torso, without a visible head, suggests a human body in pain and distress. The body and landscape are rendered with a Primitive-like simplicity that alludes to the stylistic preferences of Indigenous art.
According to the Queensland Gallery of Modern Art, "in 1957, after emigrating to Britain, Nolan began a new Mrs. Fraser series with a palette that merged the colours of the muddy reaches of the Thames at Putney, where he now lived, with memories of the Queensland rainforests. The new painting medium of polyvinyl acetate allowed him to emphasise a heavy, psychologically-charged atmosphere, where the figures of Eliza Fraser and Bracewell hover in a dark world of swampy and anthropomorphic vegetation. The continuing presence of Eliza Fraser in Nolan's work, almost twenty years after he first explored it, suggests that the episode had a strong impact on his work and was instrumental in his development as an artist ".
Ripolin enamel on hardboard - Queensland Art Gallery | Gallery of Modern Art, South Brisbane, Australia
Drought skeleton
A somewhat unsettling work, Drought skeleton features the carcass of a large bovine, with what appears to be a glowing fire in its hollow abdomen. Rendered through muted reds, browns, pinks, and creams, the image is reminiscent of the decaying figures associated with the Surrealist Salvador Dalí. The starkness of this skeletal animal is all the more impactful as it is presented to the viewer as a singular object (with no background or defined picture plane). Nolan stated that he had become interested in such misshaped forms following a visit to a museum in Pompeii that displayed plaster casts of the petrified shapes created from human and animal ashes after the eruption of Mount Vesuvius (in AD79). He said, "Death takes a curiously abstract pattern under these arid conditions. Carcasses of animals are preserved in strange shapes, which often have a kind of beauty or even grim elegance".
According to the Art Gallery of New South Wales, "in June 1952 [Nolan] travelled to the Northern Territory and Queensland, under commission from the Brisbane Courier-Mail [newspaper], to record the effects of severe drought in the north of the continent. 'Drought skeleton', with its heat-seared bony remains, is one of a number of stark, uncompromising paintings created out of this harrowing experience ". Author Nancy Underhill adds that the carcass paintings, "remain astounding in his oeuvre. [...] there is no setting, cattle carcasses fill the picture space. Their bodies are often monochromatic maps of dead Australia with a sculptural dimension in memory of Pompeii. [...] Their allusion is chilling".
Oil on hardboard - Art Gallery of NSW, Sydney, Australia
Leda and the Swan
Leda and the Swan is one of a series Nolan created based on the Greek myth (of Leda). In the myth, Zeus transforms himself into a swan to seduce the queen of Sparta, Leda. Among the children born of their union was the famed beauty, Helen of Troy. In this work, Nolan depicts a naked Leda stroking the head of the swan. Curator Andrew Gaynor writes, "1960 was a vibrant year for Australian artists in Britain with acclaimed exhibitions by Arthur Boyd, Albert Tucker and Sidney Nolan. Such was their presence that one critic advised 'when in London 'do as Melbourne does' looks like becoming the keynote of the British art world this summer'".
Although he was known hitherto for his Australia themed works, Nolan held a lifelong interest in Greek mythology. As Underhill writes, "in his youth, Nolan had drawn a circle around the illustration of Leda's myth in the children's encyclopaedia still owned by the family, and he did a small tentative painting of the subject in 1945 ". Here, both figures of Leda and the swan have a loosely rendered, somewhat abstract, form. Most notably the swirling lines of Leda's body echoes that of the swan, making it appear as if they are one continuous white form.
Gaynor says of the work, "Nolan had been experimenting for the previous eighteen months with the recently-developed polyvinyl acetate applied with squeegees, fingers and brush. His fluid handling of this cutting-edge material in the Leda paintings enhanced the perception that his figures were swimming within the paint, sometimes above, often through, the viscid surface, flowing in and out of visibility. In a famed quote from one of her books, Cynthia Nolan recorded the process: 'During the day he painted on the floor, first placing areas of colour on prepared board, next sweeping on polyvinyl acetate until the whole 4 x 5 feet area was thick with paint, then seizing a short-handled squeegee and slashing and wiping, cornering and circling like a skater, until another painting was completed ... Now over and over again, he was painting Leda and the Swan'".
Textile dye and crayon on coated paper - Art Gallery of NSW, Sydney, Australia
Chinese Landscape
Landscapes feature prominently in Nolan's oeuvre. In addition to his evocative images of the inhospitable terrain of the Australian outback, he painted many landscapes on, or following, his travels overseas. Chinese Landscape, one of a series entitled The Silk Road, was inspired by one of many return trips he made to China starting in 1965. According to historian, Dr. Janet McKenzie, his Chinese landscapes and abstractions "in some ways are an echo of how Nolan began his work as [an] emotionally charged young man without a formal training, but with a passion for ideas and art ". In their technical aspects, however, these mature pieces differ markedly from his outback paintings which were rendered using oil, acrylic and enamel paint. Here Nolan has opted to use spray paint (on canvas). The effect is both unique and lyrical.
Celia Perceval, daughter of Nolan's third wife, Mary, said of this work, "I like this painting as it is such a simple interpretation of the Karst mountain landscape in Southern China. I have travelled along the Li Jiang river and seen these beautiful mountains. I remember many occasions sitting, listening to Sid talking about his travel experiences and his thoughts on just about everything on earth! You could see how his work came from his ability to store a mine of information and visual memory from his travels. [...] Also, not accidentally, it seems to sympathise with Chinese ink paintings of similar subjects portraying a superb, peaceful landscape, with the same immediacy. [...] Mum and Sid loved everything about China".
Spray paint on canvas - Collection of the Sidney Nolan Trust
Biography of Sidney Nolan
Childhood
Sidney Nolan was the eldest of four children (two sisters and a brother) born to Dora and Sidney Nolan (Snr.), a cable car operator ("grip man") on Melbourne's tramway system. His family were fourth generation Australian citizens (his great-grandfather moved to Australia from Europe in 1853). Nolan was boastful of his distant Irish heritage, and especially the deeds of his great-great-grandfather who, he claimed, had been a constable in Ireland's police force.
Having overcome a pronounced stutter, Nolan developed into an active and genial child. As author Brian Adams writes, "[Nolan became known for] making daredevil leaps from the high diving tower at the baths, and the sheer enjoyment of an active life monopolised his thoughts and energies [...] He proved to be a good pupil at the Brighton Road State School, quietly rebellious and full of pranks ". Meanwhile, his father, a "no-nonsense" patriarch, supplemented his legitimate salary by working for an illegal gambling syndicate. When he reached teenage years, Nolan accompanied his father on nefarious weekend jaunts. Author Nancy Underhill suggests, in fact, that "[Nolan's] own job as a runner for the syndicate fostered that flirtation with authority that he would continue to find alluring [throughout his life]".
Early Training
With the encouragement of his mother, Nolan moved from Brighton Road State School to the Prahran Technical Art School where he was able to nurture his creative instincts by studying for a future career in design. In 1933, following a brief spell as a screen-printer at a commercial art agency, Nolan joined Fayrefield Hat Factory where he produced display stands with spray paints and dyes.
The Sidney Nolan Trust writes, "Initially unable to satisfy his desire to travel to Europe he achieved an emotional release from his situation through exhaustive reading in the State Library of Victoria and access to modern art magazines in the courtesy lounge of the hat factory. [...] During this period Nolan came under the spell of the Symbolist French poet Arthur Rimbaud whose poetry was built upon grand, illogical, intuitive associations. Rejecting naturalism and realism he believed that the purpose of art was not to represent reality but to access greater truths by the 'systematic derangement of the senses.' The ideas encapsulated in Rimbaud's poetry proved to be some of Nolan's most enduring and formative influences".
In 1938, after more than five years' service, Nolan was made redundant by Fayrefield. However, he saw this setback as a blessing since it gave him license to actively pursue his daydream of becoming a world-famous artist. Nolan's new career choice did not please his parents, however. Concerned about his ability to earn a living wage, their worries were only exacerbated when he married art student Elizabeth Paterson. In order to make ends meet, Nolan worked menial jobs, including flipping hamburgers at a local restaurant. But, late into 1938 Nolan's fortunes were about to change through a meeting with collectors John and Sunday Reed.
The Reed's supported Nolan financially and went to great lengths to promote his art. With their encouragement, Nolan joined the newly established Contemporary Art Society in Melbourne and began work on his first set of self-portraits. The Reeds also introduced Nolan to the Heide Circle of artists. As historian Maudie Palmer explains, "Soon after purchasing the fifteen-acre property [in 1934] the Reeds opened their home to like-minded individuals such as [Nolan], Albert Tucker, Joy Hester, John Perceval and Danila Vassilieff. They nurtured a circle of artists, writers and intellectuals who contributed to Heide becoming a place for the discussion, creation and promotion of modern art and literature".
While the Reeds' influence was vital to the advancement of Nolan's career, their impact on his private life created difficulties. Nolan spent long periods of time at Heide which put a strain on his marriage to Elizabeth. Indeed, Nolan and Sunday started an affair during Elizabeth's first pregnancy. The couple separated shortly after the birth of their only daughter, Amelda, in 1941, although they would not divorce for another four years (Nolan remained estranged from Amelda until she reached college age). For his part, John Reed was willing to overlook his wife's infidelity if it kept Sunday happy and Nolan "on their books". As Underhill writes, "Nolan became the artist/friend par excellence through whom [the Reeds] vicariously lived ".
Mature Period
In 1942, just as his art career was beginning to gain traction, and in the wake of the Japanese air raid on Darwin, Nolan was conscripted into the Australian Citizen Military Forces (CMF) where he was attached to the Supply Corps. Nolan did not let this dampen his artistic ambitions, however. While stationed in Wimmera, he took inspiration from the barren terrain to create a number of striking landscapes (art critic Emma John suggests that "Sunday had encouraged him to turn to landscape as a subject - a deeply unfashionable idea for the modern artist"). It was in Wimmera, too, that he started to take notice of Indigenous life and culture and began to incorporate select stylistic themes and elements into both his landscape and figurative paintings.
Nolan's role in the army did little to dampen his taste for confrontation and controversy. He made anti-war statements in his art which, despite Reed's efforts to intervene on his behalf, prevented Nolan from being given a position as an official war artist. He also caused upset through his cover design for Reed's newly published magazine, Angry Penguins, which featured nude figures and vaguely hidden allusions to Nolan's affair with Sunday. On July 12, 1944, and with the threat of deployment to the Philippines looming, Nolan was recorded as AWOL ("absent without leave") from the CMF.
His ability to evade the military authorities was due in no small part to Reed. He helped Nolan stay hidden and even supplied him with false identity papers (providing the alias, Robin Murray). Reed also helped promote the sale of Nolan's works during this period. When the truth about his desertion came to the attention of his family, Nolan claimed he absconded because doctors were planning to place him in a psychiatric hospital. That excuse didn't wash with his parents who were left devastated by the revelation that their son was a military deserter. His father's anger was intensified by the news that Nolan's brother, Raymond, had given his life to the service of his country (in 1945). (The National Archive of Australia records that Nolan was "discharged in absentia" from the CMF because of "illegal absence" on June 21, 1946. But without official discharge papers (they were finally issued in May 1949) he remained in hiding until the amnesty for deserters was declared in 1948.)
In 1946, and with Sunday Reed now acting as his assistant, Nolan commenced work on the first of his career-defining Ned Kelly series. The legendary 19th century Australian antihero (Kelly) was a vicious bushranger who spent the last years of his life as a fugitive before being captured by the police after a shootout. In fact, Nolan claimed a circuitous connection to Kelly. The artist maintained (without offering any evidence) that his grandfather (Bill Nolan) had been one of the policemen involved in the capture of Kelly following a shootout. Art critic Alistaire Sooke writes, "Nolan drew extensively upon records such as contemporary newspapers and JJ Kenneally's, The Complete Inner History of the Kelly Gang and Their Pursuers. But while his paintings occasionally resemble the storyboard for a film, switching between wide shots of the landscape and close-ups of the principal characters, and focusing on important dramatic moments such as Kelly's merciful killing of a mortally wounded police sergeant at Stringybark Creek, the cycle is also stranger and more ambitious than a straightforward illustration of real events".
Nolan stated that the first Kelly paintings were inspired by "Rousseau, and sunlight". He added, "really the Kelly paintings are secretly about myself. You would be surprised if I told you. From 1945 to 1947 there were emotional and complicated events in my own life. It's an inner history of my own emotions, but I am not going to tell you about them ". It was these "emotional complications" that saw Nolan attempt to untangle himself from the influence of the Reeds (his affair with Sunday had by now run its course). He arrived in Queensland in late 1947 at the start of a period of travel to different regions of Australia. He also set up a studio in Brisbane, free from the influence of the Heide setup. John Reed did continue to promote Nolan's art but became deeply perturbed when the artist began dating his sister, Cynthia. Nolan married Cynthia (ten years his senior) in March of 1948 and took on the role of stepfather to her young daughter, Jinx. Cynthia would play an important role in promoting Nolan's work (as did the Reeds after they had overcome their personal differences).
Later Period
In 1953, Nolan left Australia to take up permanent residence in England. From their base in Putney (Southwest London), he, Cynthia, and Jinx, undertook tours of the Australian outback and several locations throughout Europe, Asia, and America. While overseas Nolan continued to work feverishly, including several large scale landscapes of the Italian, Greek, and Chinese countryside, while Cynthia recorded their adventures in a travelogue. Back in London, around 1955, Nolan became absorbed with the theme of Ned Kelly once more. But, as curator Rebecca Daniels writes, "After he arrived in London [his version of Kelly] takes on far more complexity and is used as a Universal figure often representing suffering and loss". Daniels adds that the art critic, David Sylvester said that these more mature works had "acquired breadth and luminousness and complete conviction [and that Nolan] must be considered one of the most important six artists in the world under 40".
In 1962, some two decades after he painted the original work, Nolan revived his early career painting, Moonboy (1940). He recreated the abstract work, this time on a momentous scale, for one of his sets for Kenneth MacMillan's production of Stravinsky's one-time scandalous Rite of Spring ballet (staged at London's Royal Opera House). Curator Natalie Wilson writes "A spectacular feature of the ballet was Nolan's design for the backcloth to Act 2: The sacrifice. Rising from the stage on a background of deep indigo blue blazed a shimmering sphere - shifting hue from whitish-silver to ox-blood red - against which the dancers soared, the totemic form of Moonboy presiding over the final climax of the ballet".
In 1971, Nolan published a book of his poetry, Paradise Garden. In it, he represented the Reeds as predatory and caustic figures. It was confirmation (if needed) that there were lingering grievances between the two camps. As the Canberra Museum and Gallery explains, "[The first Kelly] paintings were left at Heide after an emotional exit from the farm after [Nolan and Sunday's] affair ended. He wrote to Sunday demanding all his Ned Kelly works back but she instead returned 284 other paintings and drawings and refused to give up the remaining Kellys, partly because she saw the works as fundamental to the proposed Heide Museum of Modern Art [which opened to the public in 1981]".
The last decades of Nolan's life were not without tragedy (and not a little controversy). Cynthia died by suicide in November of 1976, and, to the chagrin of many onlookers, Nolan immediately began a relationship with Mary Boyd Perceval, sister of fellow major Australian painter, Arthur Boyd. In 1977 Sunday tried to resolve her long running dispute with Nolan over ownership of the Kelly pictures. By way of a compromise, she gave up her stake on the works but donated them to the National Gallery of Australia rather than hand them back to the artist (it is unknown what Nolan thought of this arrangement). Nolan married Mary in January of 1978 and she assumed the role that Cynthia had provided: that of a fully committed champion and promoter of Nolan's work and reputation.
Later in 1978 Nolan, who had been forced to sell several prized paintings to cover a large tax debt to the British government, donated his Gallipoli series to the Australian War Memorial. Comprising a total of 252 drawings and paintings, and completed over a 20-year period, he offered the works in honor of the memory of his brother Raymond. At the same time, the Gallipoli series was intended to commemorate the "endurance and determination" of the Australian soldiers sent to one of the worst battle fronts of WW1. (The Gallipoli campaign cost 26,111 Australian casualties, including 8,141 deaths.)
Nolan received a knighthood in 1981 and was awarded the Order of Merit two years later. However, the artist was not in good health. He suffered with gastric ulcers, and was believed to have had a heart attack and/or a stroke in 1986 while working on set designs at the Sydney Opera House. Nolan continued to paint, but his art became increasingly introspective. As Underhill explains, "the haunting self-portraits that re-enter his work from the 1980s until his death [...] are more than age-induced reflection. Injection of the personal was then a core engagement with [Nolan's] progressive creative practice ". Nolan died on November 28, 1992, aged 75 from complications arising from pneumonia.
The Legacy of Sidney Nolan
Nolan was one of the first Australian artists to garner an international reputation. Steeped in the traditions of early 20th century modernism, his art was, nevertheless, uniquely antipodean. Nolan's works relating to the exploits of the notorious antihero, Ned Kelly, and his series of outback paintings that took inspiration from first generation culture, lent his art a pronounced Australian identity. Indeed, his long-term friend and supported, John Reed, said of Nolan that he painted "purely and simply out of his own unique reactions to the world he lives in", adding that, in Australia, "where practically without exception our art is derived almost exclusively from the works of European masters, work of this nature [is] of inestimable value ".
The Sidney Nolan Trust concludes, "Nolan became an artist for whom the expression of emotion and the emotional punch of his work was everything. [...] He speaks to the world of imagination, offering a different interpretation of life so that the viewer can engage with the subject emotionally. Emotions are laid out before you in a language that you can understand if you can slough off the skins of your own expectations". As a fitting footnote to his legacy, Nolan's iconic image of a heroic Kelly riding through the outback was used as a backdrop in the opening ceremony of the Sydney Olympics in 2000.
Influences and Connections
![No image available]()
Peter Bellew![No image available]()
John Cooper![No image available]()
John Reed![No image available]()
Sunday Reed![No image available]()
Sir Kenneth Clark
-
![Modernism and Modern Art]()
Modernism and Modern Art -
![Primitivism in Art]()
Primitivism in Art -
![Surrealism]()
Surrealism ![No image available]()
Abstraction
-
![Arthur Boyd]()
Arthur Boyd ![No image available]()
Albert Tucker
![No image available]()
Peter Bellew![No image available]()
John Cooper![No image available]()
John Reed![No image available]()
Sunday Reed![No image available]()
Sir Kenneth Clark
