Menzies Art Brands
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32. JEFFREY SMART

Jeffrey Smart was never a spontaneous and unrestrained artist.  Certainly, some of his ideas came unexpectedly like mental snapshots, but the rendering and resolution of these snapshots into pictorial form was always painstaking and meticulous.  Smart explains it himself in the fol

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33. BRETT WHITELEY

Brett Whiteley may be thought of as Australia’s Rudolf Nureyev (1939-1993, Russian) of the canvas – the two were born one year apart and died one year apart. The bravura, flair, airy grace and breath-taking suspension of the ballet dancer were, for many, mirrored by the young Whiteley in the

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34. SIDNEY NOLAN

Sidney Nolan’s ongoing fascination with Ned Kelly presents us with a unique opportunity to measure the artist’s progress over the period from 1944, when this engagement began, until the end of his life in 1992. Three main series are recognized: 1946-47, 1955, and 1964. In addition, individua

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35. GARRY SHEAD

Garry Shead brings the divine into our Antipodean everyday. Shead translates religious and cultural legends from the Renaissance onwards into an Australian idiom, breathing new life into old ideas. He paints himself into these compositions, either as a bystander or as the protagonist, explor

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36. ROBERT DICKERSON

Robert Dickerson developed a visual language and ascetic style that is instantly identifiable, forging a successful career as an artist without any formal art school education. Gifted with an original vision plus a dogged determination to paint, Dickerson became a highly recognised and admir

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37. BEN QUILTY

The Australian War Memorial has a proud tradition of commissioning artists to examine and depict the Australian experience of war – Arthur Streeton (1873-1930) and George Lambert (1873-1930) were both official war artists during the First World War; Nora Heysen (1911-2003) and William Dargie

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38. DEL KATHRYN BARTON

Untitled Girl 2005 dates from a critical phase of Del Kathryn Barton’s career, when her creative practice and unparalleled style was consolidated, laying the groundwork for the much-coveted, large-scale paintings that would follow.
 
Although Untitled Girl

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39. JEFFREY SMART

1969, and Jeffrey Smart is at the height of his powers as an artist and fully in possession of a style of painting that is both instantly recognisable and the perfect vehicle for his highly individualistic Weltanschauung. The city and its geometries, both ancient and modern, grand a

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40. CHARLES BLACKMAN

In the first decades of the twentieth century, up until the time of the Second World War, images involving children were few and far between in Australian art. A beach scene might have a small knot of figures in the distance, or a cityscape could include a small figure for scale, but rarely

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41. JEFFREY SMART

The subject of Jeffrey Smart’s Study for The Discussion is typically ambiguous: a discussion may be a dispute, argument, conversation or conference. The painting can be several things too: is it a figure group, a contemporary landscape, or a commentary on contemporary art?  Is

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