russell drysdale influences

But no one except Drysdale gives the same authentic feeling of the resolute humanity that has managed to exist in that terrible continent. He not only changed how we see and perceive Australia’s rural interior landscapes, but also lived long enough to see his artistic themes and broad humanist convictions adopted by a later generation of artists and accepted by the Australian population at large. The most observable thing to note in this impressive painting is how closely the foreground male figure is linked to his surroundings. After a stay of three weeks in Darwin, Drysdale set out through the Kimberleys to Broome, Carnarvon, Perth, Kalgoorie, across the Nullarbor to Port Augusta and the Flinders Ranges to Adelaide before returning to Sydney. Nomads of the desert, roaming as their ancestors roamed in the dawn of history.

It is clear that Drysdale’s paintings are based upon the associations contained in his mental compendium and do not derive from any simple recording of a particular scene. The previous opportunity was a Drysdale retrospective at Sydney’s Art Gallery of New South Wales in 1960. Drysdale’s landscapes with their wasted trees, low horizon lines, scenes of desolation, arrangements of inhuman forms, upturned tree stumps and their wistful qualities are at the opposite end of the clear autumnal calm of a Streeton or McCubbin canvas. He is one of a group of Physical Geographers specialising in Quaternary climate and environmental change. Drysdale was fully cognizant of these effects and in his essay ‘Capricornia’, which accompanied the 1958 London exhibition in which the present painting was originally shown, he cogently adds the following lucid insights:© COPYRIGHT MENZIES ART BRANDS PTY LTD 2019 Located on Todman Avenue between South Dowling Street and Anzac Parade. Clark’s flattering and accurate remarks certainly underscore our initial observations. Isa, Tennant Creek, Alice Springs, the Musgrave Ranges, Ayers Rock, the Olgas and then headed north to Darwin. (Jock) Marshall -both of whom were committed ‘Austrophiles’.

As is so often the case in history, it is the visionary artist All these social elements and aesthetic associations converge in the present painting, Drysdale’s important canvas, Red Landscape, of 1958. Likewise, the low horizon line and its outcrop of mountainous rocks of indeterminate size suggest receding distance. As is so often the case in history, it is the visionary artist who, untrammelled by aesthetic convention and artistic precedence, instigates cultural change and enlarges perceptual horizons. Drysdale was obviously a very different sort of artist, with a very different point of view. The point of all these details is to show that Drysdale was unusually well informed. As such, his paintings uncover aspects of a largely hidden Australia. However, they are re-doubled when viewing Drysdale’s actual paintings. Buying & Selling Art Russell Drysdale, Sofala (1947) "Sofala' is regarded as one of Russell Drysdale’s finest paintings, representing the artist at the height of his powers. Russell Drysdale was an unusually significant artist. The figure’s white shirt and headband faintly hint at the incremental incursions of White Settlement and its sadder dimensions. The trip covered over 22,000 kilometres and went through country rarely seen by most of Australia’s city dwellers, who were then diverted by preparations for Australia’s first Olympic Games in Melbourne. Drysdale’s eyesight was monocular and he always had trouble rendering perspective and visual depth. Russell is a Quaternary scientist who studies Earth's past climate using geochemical proxies from cave deposits (speleothems).

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