Эпизоды
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The Army slouch hat and the blue eyes give the game away: this portrait of Ern Malley is Nolan confronting his demons – or perhaps his critics.
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Sidney Nolan recounts the experiences that led him to create this series while Curator Barry Pearce argues why Riverbend may be seen as Nolan’s greatest masterpiece.
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Пропущенные эпизоды?
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African landscape, Rimbaud at Harar, Baboon, and Head of Rimbaud take us back to the awakening of Nolan’s inner eye during his youth, and forward to his last landscapes.
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In Kelly and armour we finally see Kelly freed from his armour. Here, curator Barry Pearce finds some parallels between Nolan’s preoccupation with Ned Kelly and the poet Arthur Rimbaud.
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Nolan painted some 75 versions of Leda and the Swan. Curator Barry Pearce offers some insights into the artist’s motivations for painting the series.
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Nolan’s second Kelly series shows a more intimate image of Kelly in which the mask has partially broken away to reveal a Christ-like expression of calm.
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Queensland was in the grip of a horrendous drought. Even so, Nolan drew inspiration from the trip, as Curator Barry Pearce recounts.
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Temptations of various saints have been a juicy subject for artists from the Middle Ages onwards but in Nolan’s painting, there is a suggestion that Saint Anthony’s will shall prevail.
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Little Dog Mine brought with it more than a little bit of luck for Sidney Nolan as its sale introduced his work to the world stage.
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In his paintings about these ill-fated heroes, Nolan reaffirmed the possibility of history painting at a time when rampant modernism had virtually stamped it out.
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Nolan’s painting Mrs Fraser, where treachery has reduced the woman to a beast, can be viewed as a metaphor for events in Nolan’s own life, as Curator Barry Pearce explains.
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Curator Barry Pearce discusses the Kelly Series paintings which Nolan has said “are secretly about myself ... it’s an inner history of my own emotions”.
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In 1946, Nolan was driving his father through Northern Victoria, when they saw a hare struggling in a trap, the inspiration for this painting that could be seen as a self-portrait.
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The Ern Malley hoax threw some of his modernist friends off balance, but Nolan’s self portrait expressed his reaction to controversy. When attacked with words, Nolan fought back with paint.
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Anyone who has experienced that creaking, nearer-my-god-to-thee roller coaster at Luna Park, St Kilda, will identify with this colourful, rickety painting by Sidney Nolan.
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The May 1944 edition of Angry Penguins trumpeted the discovery of a major Australian poetic talent – Ern Malley. Nolan painted the cover illustration, Arabian Tree, from one of the lines, and reflects here on his involvement.
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Curator Barry Pearce and Sidney Nolan discuss Nolan’s initial lack of interest in the Australian landscape as a subject for painting and the circumstances that led him to change his view.
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Curator Barry Pearce explains why Nolan’s Boy with the Moon, painted in 1940, was a controversial painting for the time and contained the seeds for Nolan’s future work.
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In 1939, Sidney Nolan showed his abstract Head of Rimbaud, executed with an inventive mixture of oil and Kiwi boot polish, and secured a commission as the designer for the ballet Icare.
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Barry Pearce, Head Curator of Australian Art from the Art Gallery of New South Wales, introduces the Sidney Nolan exhibition.
