Art Reviews

Tony Tuckson’s TP612 brims with instinctual colour, barely contained within the edges that outline the sitter. It is composed of unlikely contrasts: electric hues of blue and purple flatten the image, pushing the background forward; the yellow in turn illuminates and maintains her presence. The…

Emily Kame Kngwarreye’s oeuvre is a collective expression of the interconnectedness of her physical self and Country – her home Alalgura (Alhalkere), situated near Soakage Bore, Utopia, northeast of Alice Springs – as well as the metaphysical associations of awelye (women’s law…

The ambiguity of John Coburn’s abstract forms allows for limitless potential. His neatly constructed shapes are intuitive and ever evolving. This deliberate abstruseness serves as a gift of imaginative freedom to viewers, rather than an absence of meaning or emotional connection with his vision…

Two light-filled Hans Heysen watercolours with excellent provenance and an intriguing history are cause for celebration. Recently repatriated after ninety years from an American collection, these South Australian watercolours provide a new perspective on Heysen’s subject matter along with an…

Two light-filled Hans Heysen watercolours with excellent provenance and an intriguing history are cause for celebration. Recently repatriated after ninety years from an American collection, these South Australian watercolours provide a new perspective on Heysen’s subject matter along with an…

Margaret Olley painted Kilim Rug and Cornflowers II in 1997, the year after the Art Gallery of New South Wales mounted her acclaimed retrospective exhibition, and the same year that she was declared an Australian National Treasure. It is a time when her career was at its pinnacle and…

In January 1963, John and Mary Perceval sold their family home in Melbourne’s eastern suburbs and moved to London.

In the history of Australian art, there are few characters as compelling as the young Brett Whiteley. Combining charm, egotism and sheer talent, Whiteley appeared an unstoppable force when he won an Italian Government Travelling Art Scholarship in October 1959.

Margaret Olley’s Still Life with Pink Paper and Plums 1948 is a rare and significant work dating from the most formative stage of her career. In June 1948, Olley held her first solo exhibition at Macquarie Galleries, Sydney, having recently graduated with honours from East Sydney…

In 1945, Justin O’Brien concluded his military service and took up residence in ‘Merioola’, a grand Victorian-era mansion on Rosemont Avenue, Woollahra. Owned by Chica Edgeworth Lowe – a warm-hearted and eccentric woman with a keen interest in the visual arts – Merioola became home to many of…