Australia [INDEX 1ER MESSAGE]

Adrian Feint (1894 – 1971)


The Jetties, Palm Beach, 1942


plus d'infos sur lui

Jeffrey Smart (son fil est ici)


Holiday Resort, 1946

Lloyd Rees (1895 - 1988)


The Road to Berry, 1947


plus d'infos sur lui

Sir Russell Drysdale (1912 – 1981)


The Drover's Wife, 1945




Emus in the Landscape, 1950

plus d'infos sur lui

Sir Sidney Nolan (1917 – 1992)


Glenrowan, 1946


Ned Kelly, 1946


Quitting the Armour, 1947


Pretty Polly Mine, 1948


Inland Australia, 1950


plus d'infos sur lui

5ème partie: Elizabethan Post-Colonial 1950 - 2013


John Brack (1920 – 1999)


The car, 1955


plus d'infos sur lui

John Olson (1928)


Sydney Sun, 1965


plus d'infos sur lui

Tony Tuckson (1921 - 1973)


Watery, 1960




plus d'infos sur lui

Ian Fairweather (1891 – 1974)


Monsoon, 1961-1962


ce clip ne concerne pas l'image présentée dans le livre



plus d'infos sur lui

Fred Williams (son fil est ici)


Yellow Landscape, 1968-69

Constance s'est fait le travail de nous fournir un index pour ce fil, je l'ai ajouté dans le premier message de ce fil

Ken Whisson (né 1927)


Jane's Farm, 1972

plus d'infos sur lui

Citation :

Looking back, I find that for me the conscious methods I continually evolve are aimed at eliminating all kinds of cleverness and skill, for the reason that these signify and cause the blocking and petrification of the creative impulse.

The seeds – the beginnings – from which my approach is pretty clearly derived are first my teacher for 18 months, Danila Vassilieff, who told me to start at one side of the paper and just paint across to the other side – then stop. Once the other side of the paper is reached, the work is finished and one puts it aside and starts another. The other was a visit not long after to the studio of Albert Tucker. I picked up a book on Rodin and read that Rodin did the drawings on the accompanying pages with his eyes closed. I said to Tucker, ‘Why did he do these drawings with his eyes closed?’ And Tucker replied without hesitation: ‘So that the consciousness of the lines already made will not influence or delimit the work as it proceeds.’

More directly in relation to where art comes from, I have a distinct impression when working that the painting takes place at the point where the brush touches the canvas, and I believe that art is a result of a direct line of communication between the act of creation and a level of our being which is neither the conscious nor the famous subconscious, but which could be called the intuitive faculty, and which has to function without interference from the conscious thinking process. Our rational and conscious mind looks on and even criticises what is happening, but in the moment of creation at its fullest realisation, one’s own eyes and mind, one’s own self looking on is caught totally by surprise.

Ken Whisson, 1994

source

Brett Whiteley (1939 - 1992)


Big Orange (Sunset), 1974

plus d'infos sur lui

Arthur Boyd (1920 - 1999)


'Paintings in the studio: Figure supporting back legs and Interior with black rabbit', 1973-74

vidéo pour cette image


plus d'infos sur lui

Merci kenavo ! Tu veilles et tu nous envoies des merveilles ! J'aimerais bien voir une telle expo à Paris.