Top 100 - Australian painting: 100 paintings from Heidelberg to modernism
Australian painting: 100 paintings from Heidelberg to modernism
From Roberts and Streeton to Nolan, Brack, Williams and Olsen: one hundred verified paintings, thirty-nine artists and five historical chapters
This classification only brings together paints: oil, tempera, enamel or synthetic polymer paint. When commercial reuse of an image is not clearly authorized, the button remains voluntarily directed to the museum rather than to a product sheet.
One hundred paintings, thirty-nine artists, five historical moments
From Heidelberg to Australian modernism
Around Melbourne, in the 1880s and 1890s, Tom Roberts, Arthur Streeton, Frederick McCubbin, Charles Conder, Jane Sutherland and Walter Withers made the outdoors a method of construction. Their painting is not limited to recording weather: cut frames, colored shadows, large formats and work scenes contribute to creating a new relationship with the territory.
Every image, every title and every technique has been checked on the official notice of the National Gallery of Victoria.Switch to images
Classification in images
Roberts, Streeton, McCubbin, Conder, Sutherland and Withers make the outdoors a laboratory of light and identity.
#1
Shearing the rams
"Shearing the rams" by Tom Roberts, dated 1890, is housed in the National Gallery of Victoria, Melbourne. The official notice indicates oil on canvas on fiberboard and a format of 122.4 × 183.3 cm. In the first chapter, the work shows how painters associated with Heidelberg transform outdoor observation into pictorial construction. Light, framing and distances do not only describe a site: they produce a new way of inhabiting the Australian landscape. Rank 1 here sets a historical and critical progression, not a list of values. The reference image here corresponds exactly to the painting and its status as a public domain is controlled on Wikimedia Commons; the NGV notice remains recorded as the source of the title, technique, format and collection.
Product reference image: public domain, Wikimedia Commons - work of Tom Roberts, died 1931 View product →
#2
The Sunny South
"The Sunny South" by Tom Roberts, dated c. 1887, is kept in the National Gallery of Victoria, Melbourne. The official notice indicates oil on canvas and a format of 30.8 × 61.4 cm. In the first chapter, the work shows how painters associated with Heidelberg transform outdoor observation into pictorial construction. Light, framing and distances not only describe a site: they produce a new way of inhabiting the Australian landscape. Rank 2 here sets a historical and critical progression, not a list of values. The reference image here corresponds exactly to the painting and its status as a public domain is controlled on Wikimedia Commons; the NGV notice remains recorded as the source of the title, technique, format and collection.
Product reference image: public domain, Wikimedia Commons - work of Tom Roberts, died 1931 View product →The artists' camp
Tom Roberts' "The artists' camp", dated 1886, is housed in the National Gallery of Victoria, Melbourne. The official notice indicates oil on canvas and a format of 46.0 × 60.9 cm. In the first chapter, the work shows how painters associated with Heidelberg transform outdoor observation into pictorial construction. Light, framing and distances do not only describe a site: they produce a new way of inhabiting the Australian landscape. Rank 3 here sets a historical and critical progression, not a list of values. The button directly opens the NGV notice in order to control the title, image, technique, dimensions, credit and, when available, location in the rooms.
Image and notice: National Gallery of Victoria, Melbourne See at the museum →
#4
Coming South
Tom Roberts' "Coming South", dated 1886, is kept in the National Gallery of Victoria, Melbourne. The official notice indicates oil on canvas and a format of 63.5 × 52.2 cm. In the first chapter, the work shows how painters associated with Heidelberg transform outdoor observation into pictorial construction. Light, framing and distances not only describe a site: they produce a new way of inhabiting the Australian landscape. Rank 4 here sets a historical and critical progression, not a list of values. The reference image here corresponds exactly to the painting, and its status as a public domain is controlled on Wikimedia Commons; the NGV notice remains recorded as the source of the title, technique, format and collection.
Product reference image: public domain, Wikimedia Commons - work of Tom Roberts, died 1931 View product →
#5
Slumbering sea, Mentone
"Slumbering sea, Mentone" by Tom Roberts, dated 1887, is kept at the National Gallery of Victoria, Melbourne. The official notice indicates oil on canvas and a format of 51.3 × 76.5 cm. In the first chapter, the work shows how painters associated with Heidelberg transform outdoor observation into pictorial construction. Light, framing and distances not only describe a site: they produce a new way of inhabiting the Australian landscape. Rank 5 here sets a historical and critical progression, not a list of values. The reference image here corresponds exactly to the painting, and its status as a public domain is controlled on Wikimedia Commons; the NGV notice remains recorded as the source of the title, technique, format and collection.
Product reference image: public domain, Wikimedia Commons - work of Tom Roberts, died 1931 View product →
#6
'The purple noon's transparent might'
"'The purple noon's transparent might'" by Arthur Streeton, dated 1896, is kept in the National Gallery of Victoria, Melbourne. The official notice indicates oil on canvas and a format of 123.0 × 123.0 cm. In the first chapter, the work shows how painters associated with Heidelberg transform outdoor observation into pictorial construction. Light, framing and distances do not only describe a site: they produce a new way of inhabiting the Australian landscape. Rank 6 here sets a historical and critical progression, not a list of values. The reference image here corresponds exactly to the painting and its status as a public domain is controlled on Wikimedia Commons; the NGV notice remains recorded as the source of the title, technique, format and collection.
Product reference image: public domain, Wikimedia Commons - work of Arthur Streeton, died 1943 View product →
#7
Near Heidelberg
Arthur Streeton's "Near Heidelberg", dated 1890, is kept in the National Gallery of Victoria, Melbourne. The official notice indicates oil on canvas and a format of 53.7 × 43.3 cm. In the first chapter, the work shows how painters associated with Heidelberg transform outdoor observation into pictorial construction. Light, framing and distances do not only describe a site: they produce a new way of inhabiting the Australian landscape. Rank 7 here sets a historical and critical progression, not a list of values. The reference image here corresponds exactly to the painting, and its status as a public domain is controlled on Wikimedia Commons; the NGV notice remains recorded as the source of the title, technique, format and collection.
Product reference image: public domain, Wikimedia Commons - work of Arthur Streeton, died 1943 View product →Point Piper
"Point Piper" by Arthur Streeton, dated 1907, is kept in the National Gallery of Victoria, Melbourne. The official notice indicates oil on wooden panel and a format of 17.9 × 66.3 cm. In the first chapter, the work shows how painters associated with Heidelberg transform outdoor observation into pictorial construction. Light, framing and distances do not only describe a site: they produce a new way of inhabiting the Australian landscape. Rank 8 here sets a historical and critical progression, not a list of values. The button directly opens the NGV notice in order to control the title, image, technique, dimensions, credit and, when available, location in the rooms.
Image and notice: National Gallery of Victoria, Melbourne See at the museum →Hawkesbury River, autumn
"Hawkesbury River, autumn" by Arthur Streeton, dated 1896, is kept in the National Gallery of Victoria, Melbourne. The official notice indicates oil on wooden panel and a format of 14.0 × 57.2 cm. In the first chapter, the work shows how painters associated with Heidelberg transform outdoor observation into pictorial construction. Light, framing and distances do not only describe a site: they produce a new way of inhabiting the Australian landscape. Rank 9 here sets a historical and critical progression, not a list of values. The button directly opens the NGV notice in order to control the title, image, technique, dimensions, credit and, when available, location in rooms.
Image and notice: National Gallery of Victoria, Melbourne See at the museum →
#10
Spring
"Spring" by Arthur Streeton, dated 1890, is kept in the National Gallery of Victoria, Melbourne. The official notice indicates oil on canvas on plywood and a format of 81.4 × 152.6 cm. In the first chapter, the work shows how painters associated with Heidelberg transform outdoor observation into pictorial construction. Light, framing and distances do not only describe a site: they produce a new way of inhabiting the Australian landscape. Rank 10 here sets a historical and critical progression, not a list of values. The reference image here sets a historical and critical progression, not a list of values. The reference image corresponds exactly to the painting and its status as a public domain is controlled on Wikimedia Commons; the NGV record remains recorded as the source of the title, technique, format and collection.
Product reference image: public domain, Wikimedia Commons - work of Arthur Streeton, died 1943 View product →
#11
The pioneer
"The pioneer" by Frederick McCubbin, dated 1904, is kept at the National Gallery of Victoria, Melbourne. The official notice indicates oil on canvas and a format of 225.0 × 295.7 cm. In the first chapter, the work shows how painters associated with Heidelberg transform outdoor observation into pictorial construction. Light, framing and distances not only describe a site: they produce a new way of inhabiting the Australian landscape. Rank 11 here sets a historical and critical progression, not a list of values. The reference image here corresponds exactly to the painting, and its status as a public domain is controlled on Wikimedia Commons; the NGV notice remains recorded as the source of the title, technique, format and collection.
Product reference image: public domain, Wikimedia Commons - work of Frederick McCubbin, died 1917 View product →
#12
Lost
"Lost" by Frederick McCubbin, dated 1886, is kept at the National Gallery of Victoria, Melbourne. The official notice indicates oil on canvas and a format of 115.8 × 73.9 cm. In the first chapter, the work shows how painters associated with Heidelberg transform outdoor observation into pictorial construction. Light, framing and distances not only describe a site: they produce a new way of inhabiting the Australian landscape. Rank 12 here sets a historical and critical progression, not a list of values. The reference image here corresponds exactly to the painting, and its status as a public domain is controlled on Wikimedia Commons; the NGV notice remains recorded as the source of the title, technique, format and collection.
Product reference image: public domain, Wikimedia Commons - work of Frederick McCubbin, died 1917 View product →Forest camp
Frederick McCubbin's "Forest Camp", dated 1914, is housed in the National Gallery of Victoria, Melbourne. The official notice indicates oil on canvas on fiberboard and a format of 25.3 × 35.6 cm. In the first chapter, the work shows how painters associated with Heidelberg transform outdoor observation into pictorial construction. Light, framing and distances do not only describe a site: they produce a new way of inhabiting the Australian landscape. Rank 13 here sets a historical and critical progression, not a list of values. The button directly opens the NGV notice in order to control the title, image, technique, dimensions, credit and, when available, location in the rooms.
Image and notice: National Gallery of Victoria, Melbourne See at the museum →
#14
The North wind
"The North wind" by Frederick McCubbin, dated c. 1888, is kept at the National Gallery of Victoria, Melbourne. The official notice indicates oil on canvas on plywood and a format of 91.9 × 152.3 cm. In the first chapter, the work shows how painters associated with Heidelberg transform outdoor observation into pictorial construction. Light, framing and distances do not only describe a site: they produce a new way of inhabiting the Australian landscape. Rank 14 here sets a historical and critical progression, not a list of values. The reference image here corresponds exactly to the painting and its status as a public domain is controlled on Wikimedia Commons; the NGV notice remains recorded as the source of the title, technique, format and collection.
Product reference image: public domain, Wikimedia Commons - work of Frederick McCubbin, died 1917 View product →Summer Idyll
Charles Conder's "Summer Idyll", dated 1889, is kept in the National Gallery of Victoria, Melbourne. The official notice indicates oil on canvas and a format of 30.6 × 45.6 cm. In the first chapter, the work shows how painters associated with Heidelberg transform outdoor observation into pictorial construction. Light, framing and distances do not only describe a site: they produce a new way of inhabiting the Australian landscape. Rank 15 here sets a historical and critical progression, not a list of values. The button directly opens the NGV notice in order to control the title, image, technique, dimensions, credit and, when available, location in rooms.
Image and notice: National Gallery of Victoria, Melbourne See at the museum →
#16
Rickett's Point
"Rickett's Point" by Charles Conder, dated 1890, is kept at the National Gallery of Victoria, Melbourne. The official notice indicates oil on canvas and a format of 31.0 × 77.2 cm. In the first chapter, the work shows how painters associated with Heidelberg transform outdoor observation into pictorial construction. Light, framing and distances not only describe a site: they produce a new way of inhabiting the Australian landscape. Rank 16 here sets a historical and critical progression, not a list of values. The reference image here corresponds exactly to the painting, not a list of values. The reference image here corresponds to a historical and critical progression, not a list of values. The reference image here sets a historical and critical progression, not a list of values. The reference image here sets a historical and critical progression, not a list of values. The reference image here sets a historical and critical progression, not a list of values. The reference image here sets a historical and critical progression, not a list of values. The reference image here sets a historical and critical progression, not a list of values. The reference image here sets a historical and critical progression, not a list of values. The reference image here sets a historical and critical progression, not a list of values. The reference image here sets a historical and critical progression, not a list of values. The reference image here sets a historical and critical progression, not a list of values
Product reference image: public domain, Wikimedia Commons - work of Charles Conder, died 1909 View product →The farm, Richmond, New South Wales
"The farm, Richmond, New South Wales" by Charles Conder, dated 1888, is kept in the National Gallery of Victoria, Melbourne. The official notice indicates oil on paper on canvas and a format of 45.0 × 50.7 cm irreg. (image) 45.4 × 51.3 cm (canvas). In the first chapter, the work shows how painters associated with Heidelberg transform outdoor observation into pictorial construction. Light, framing and distances do not only describe a site: they produce a new way of inhabiting the Australian landscape. Rank 17 here sets a historical and critical progression, not a list of values. The button directly opens the NGV notice in order to control the title, image, technique, dimensions, credit and, where available, location in rooms.
Image and notice: National Gallery of Victoria, Melbourne See at the museum →A midsummer day
"A midsummer day" by Jane Sutherland, dated c. 1893, is kept in the National Gallery of Victoria, Melbourne. The official notice indicates oil on canvas and a format of 53.5 × 117.1 cm. In the first chapter, the work shows how painters associated with Heidelberg transform outdoor observation into pictorial construction. Light, framing and distances do not only describe a site: they produce a new way of inhabiting the Australian landscape. Rank 18 here sets a historical and critical progression, not a list of values. The button directly opens the NGV notice in order to control the title, image, technique, dimensions, credit and, when available, location in rooms.
Image and notice: National Gallery of Victoria, Melbourne See at the museum →The mushroom gatherers
"The mushroom gatherers" by Jane Sutherland, dated c. 1895, is kept at the National Gallery of Victoria, Melbourne. The official notice indicates oil on canvas and a format of 41.8 × 99.3 cm. In the first chapter, the work shows how painters associated with Heidelberg transform outdoor observation into pictorial construction. Light, framing and distances do not only describe a site: they produce a new way of inhabiting the Australian landscape. Rank 19 here sets a historical and critical progression, not a list of values. The button directly opens the NGV notice in order to control the title, image, technique, dimensions, credit and, when available, location in rooms.
Image and notice: National Gallery of Victoria, Melbourne See at the museum →
#20
Nearing the township
"Nearing the township" by Walter Withers, dated 1897, is housed in the National Gallery of Victoria, Melbourne. The official notice indicates oil on canvas on fiberboard and a format of 31.0 × 56.0 cm. In the first chapter, the work shows how painters associated with Heidelberg transform outdoor observation into pictorial construction. Light, framing and distances do not only describe a site: they produce a new way of inhabiting the Australian landscape. Rank 20 here sets a historical and critical progression, not a list of values. The reference image corresponds exactly to the painting and its status as a public domain is controlled on Wikimedia Commons; the NGV notice remains recorded as the source of the title, technique, format and collection.
Product reference image: public domain, Wikimedia Commons - work of Walter Withers, died 1914 View product →Fox, Bunny, Carrick, Heysen and Grüner broaden Australian painting between cosmopolitanism, monumentality and local experience.
#21
Summer evening
"Summer evening" by Frederick McCubbin, dated 1908, is kept at the National Gallery of Victoria, Melbourne. The official notice indicates oil on prepared cardboard and a format of 30.5 × 22.7 cm. In the second chapter, the work expands this early modernity. The landscape, the city, leisure and exchanges with Europe compose a painting of the Federation which is both local and cosmopolitan, intimate and sometimes monumental. Rank 21 here sets a historical and critical progression, not a list of value. Rank 21 sets here a historical and critical progression, not a list of value. Rank 21 sets here a historical and critical progression, not a list of value. Rank 21 sets here a historical and critical progression, not a list of value. Rank 21 sets here a historical and critical progression, not a list of value. Rank 21 sets here a historical and critical progression, not a list of value. Rank 21 sets here a historical and critical progression, not a list of value. Rank 21 sets here a historical and critical progression, not a list of value. Rank 21 sets here a historical and critical progression, not a list of value. Rank 21 sets a historical and critical progression, not a list of value. Rank 21 sets a historical and critical progression, not a list of value. Rank 21 sets a historical and critical progression, not a list of value. Rank 21 sets a historical and critical progression,
Product reference image: public domain, Wikimedia Commons - work of Frederick McCubbin, died 1917 View product →The wattle glade (The boundary of Mr MacGregor's garden, Mount Macedon)
"The wattle glade (The boundary of Mr MacGregor's garden, Mount Macedon)" by Frederick McCubbin, dated 1905, is kept at the National Gallery of Victoria, Melbourne. The official notice indicates oil on canvas and a format of 57.6 × 38.3 cm. In the second chapter, the work expands this first modernity. The landscape, the city, leisure and exchanges with Europe compose a painting of the Federation which is both local and cosmopolitan, intimate and sometimes monumental. Rank 22 here sets a historical and critical progression, not a list of values. The row 22 sets here a historical and critical progression, not a list of values. The button directly opens the NGV notice in order to control the title, image, technique, dimensions, credit and, when available, location in the rooms.
Image and notice: National Gallery of Victoria, Melbourne See at the museum →Home again
"Home again" by Frederick McCubbin, dated 1884, is kept at the National Gallery of Victoria, Melbourne. The official notice indicates oil on canvas and a format of 85.0 × 123.0 cm. In the second chapter, the work expands this early modernity. The landscape, the city, leisure and exchanges with Europe compose a painting of the Federation which is both local and cosmopolitan, intimate and sometimes monumental. Rank 23 here sets a historical and critical progression, not a list of values. Rank 23 sets here a historical and critical progression, not a list of values. Rank 23 sets here a historical and critical progression, not a list of values. The button opens the NGV notice directly in order to control the title, image, technique, dimensions, credit and, when available, location in the rooms.
Image and notice: National Gallery of Victoria, Melbourne See at the museum →
#24
Ti-tree glade
"Ti-tree glade" by Frederick McCubbin, dated 1910, is kept at the National Gallery of Victoria, Melbourne. The official notice indicates oil on wooden panel and a format of 24.8 × 35.1 cm irreg. (image) 24.8 × 35.7 cm (panel). In the second chapter, the work expands this early modernity. The landscape, the city, leisure and exchanges with Europe compose a painting of the Federation which is both local and cosmopolitan, intimate and sometimes monumental. Rank 24 here sets a historical and critical progression, not a list of value. The reference image here corresponds exactly to the painting and its status as a public domain is controlled on Wikimedia Commons; the NGV notice remains recorded as the source of the title, technique, format and collection.
Product reference image: public domain, Wikimedia Commons - work of Frederick McCubbin, died 1917 View product →The arbor
"The arbor" by E. Phillips Fox, dated 1910, is kept at the National Gallery of Victoria, Melbourne. The official notice indicates oil on canvas and a format of 190.5 × 230.7 cm. In the second chapter, the work expands this early modernity. The landscape, the city, leisure and exchanges with Europe compose a painting of the Federation which is both local and cosmopolitan, intimate and sometimes monumental. Rank 25 here sets a historical and critical progression, not a list of values. Rank 25 sets here a historical and critical progression, not a list of values. The row 25 sets here a historical and critical progression, not a list of values. The button opens the NGV notice directly in order to control the title, image, technique, dimensions, credit and, when available, location in the rooms.
Image and notice: National Gallery of Victoria, Melbourne See at the museum →Green wave, Manly
"Green wave, Manly" by E. Phillips Fox, dated 1914, is kept at the National Gallery of Victoria, Melbourne. The official notice indicates oil on canvas and a format of 46.2 × 61.3 cm. In the second chapter, the work expands this first modernity. The landscape, the city, leisure and exchanges with Europe compose a painting of the Federation which is both local and cosmopolitan, intimate and sometimes monumental. Rank 26 here sets a historical and critical progression, not a list of values. Rank 26 sets here a historical and critical progression, not a list of values. Rank 26 sets here a historical and critical progression, not a list of values. Rank 26 sets here a historical and critical progression, not a list of values. Rank 26 sets here a historical and critical progression, not a list of values. The button opens the NGV notice directly in order to control the title, image, technique, dimensions, credit and, when available, location in the rooms.
Image and notice: National Gallery of Victoria, Melbourne See at the museum →Landing of Captain Cook at Botany Bay, 1770
"Landing of Captain Cook at Botany Bay, 1770" by E. Phillips Fox, dated 1902, is kept in the National Gallery of Victoria, Melbourne. The official notice indicates oil on canvas and a format of 192.2 × 265.4 cm. In the second chapter, the work expands this early modernity. The landscape, the city, leisure and exchanges with Europe compose a painting of the Federation which is both local and cosmopolitan, intimate and sometimes monumental. Rank 27 here sets a historical and critical progression, not a list of values. The row 27 sets here a historical and critical progression, not a list of values. The row 27 sets here a historical and critical progression, not a list of values. The button opens the NGV notice directly in order to control the title, image, technique, dimensions, credit and, when available, location in the rooms.
Image and notice: National Gallery of Victoria, Melbourne See at the museum →The muslin dress
"The muslin dress" by E. Phillips Fox, dated 1912, is kept at the National Gallery of Victoria, Melbourne. The official notice indicates oil on canvas and a format of 180.2 × 112.5 cm. In the second chapter, the work expands this early modernity. The landscape, the city, leisure and exchanges with Europe compose a painting of the Federation which is both local and cosmopolitan, intimate and sometimes monumental. Rank 28 here sets a historical and critical progression, not a list of values. Rank 28 sets here a historical and critical progression, not a list of values. The row 28 sets here a historical and critical progression, not a list of values. The button opens the NGV notice directly in order to control the title, image, technique, dimensions, credit and, when available, location in the rooms.
Image and notice: National Gallery of Victoria, Melbourne See at the museum →
#29
Sea idyll
"Sea idyll" by Rupert Bunny, dated c. 1891, is kept at the National Gallery of Victoria, Melbourne. The official notice indicates oil on canvas and a format of 100.5 × 161.5 cm. In the second chapter, the work expands this early modernity. The landscape, the city, leisure and exchanges with Europe compose a painting of the Federation which is both local and cosmopolitan, intimate and sometimes monumental. Rank 29 here sets a historical and critical progression, not a list of value. Rank 29 sets here a historical and critical progression, not a list of value. Rank 29 sets here a historical and critical progression, not a list of value. Rank 29 sets here a historical and critical progression, not a list of value. Rank 29 sets here a historical and critical progression, not a list of value. Rank 29 sets here a historical and critical progression, not a list of value. Rank 29 sets here a historical and critical progression, not a list of value. Rank 29 sets here a historical and critical progression, not a list of value. Rank 29 sets here a historical and critical progression, not a list of value. Rank 29 sets here a historical and critical progression, not a list of value. Rank 29 sets here a historical and critical progression, not a list of value. Rank 29 sets here a historical and critical progression, not a list of value. Rank 29
Product reference image: public domain, Wikimedia Commons - work of Rupert Bunny, died 1947 View product →The stragglers
"The stragglers" by Rupert Bunny, dated c. 1909, is kept at the National Gallery of Victoria, Melbourne. The official notice indicates oil on canvas and a format of 65.4 × 81.2 cm. In the second chapter, the work expands this first modernity. The landscape, the city, leisure and exchanges with Europe compose a painting of the Federation which is both local and cosmopolitan, intimate and sometimes monumental. Rank 30 here sets a historical and critical progression, not a list of values. Rank 30 sets here a historical and critical progression, not a list of values. The rank 30 sets here a historical and critical progression, not a list of values. The rank 30 sets here a historical and critical progression, not a list of values. The button opens the NGV notice directly in order to control the title, image, technique, dimensions, credit and, when available, location in the rooms.
Image and notice: National Gallery of Victoria, Melbourne See at the museum →Psyche and Zephyr
"Psyche and Zephyr" by Rupert Bunny, dated c. 1921, is kept at the National Gallery of Victoria, Melbourne. The official notice indicates oil on canvas and a format of 81.1 × 54.2 cm. In the second chapter, the work expands this early modernity. The landscape, the city, leisure and exchanges with Europe compose a painting of the Federation which is both local and cosmopolitan, intimate and sometimes monumental. Rank 31 here sets a historical and critical progression, not a list of values. Rank 31 sets here a historical and critical progression, not a list of values. Rank 31 sets here a historical and critical progression, not a list of values. Rank 31 sets here a historical and critical progression, not a list of values. The button opens the NGV notice directly in order to control the title, image, technique, dimensions, credit and, when available, location in the rooms.
Image and notice: National Gallery of Victoria, Melbourne See at the museum →Chattering
"Chattering" by Rupert Bunny, dated c. 1908, is kept at the National Gallery of Victoria, Melbourne. The official notice indicates oil on canvas and a format of 60.5 × 73.3 cm. In the second chapter, the work expands this first modernity. The landscape, the city, leisure and exchanges with Europe compose a painting of the Federation which is both local and cosmopolitan, intimate and sometimes monumental. Rank 32 here sets a historical and critical progression, not a list of values. Rank 32 sets here a historical and critical progression, not a list of values. Rank 32 sets here a historical and critical progression, not a list of values. The row 32 sets here a historical and critical progression, not a list of values. The button opens the NGV notice directly in order to control the title, image, technique, dimensions, credit and, when available, location in the rooms.
Image and notice: National Gallery of Victoria, Melbourne See at the museum →
#33
Flower market
"Flower market" by Ethel Carrick, dated 1907, is kept at the National Gallery of Victoria, Melbourne. The official notice indicates oil on wooden panel and a format of 26.4 × 35.0 cm. In the second chapter, the work expands this early modernity. The landscape, the city, leisure and exchanges with Europe compose a painting of the Federation which is both local and cosmopolitan, intimate and sometimes monumental. Rank 33 here sets a historical and critical progression, not a list of value. Rank 33 sets here a historical and critical progression, not a list of value. Rank 33 sets here a historical and critical progression, not a list of value. Rank 33 sets here a historical and critical progression, not a list of value. Rank 33 sets here a historical and critical progression, not a list of value. Rank 33 sets here a historical and critical progression, not a list of value. Rank 33 sets here a historical and critical progression, not a list of value. Rank 33 sets a historical and critical progression, not a list of value. Rank 33 sets a historical and critical progression, not a list of value. Rank 33 sets a historical and critical progression, not a list of value. Rank 33 sets a historical and critical progression, not a list of value. Rank 33 sets a historical and critical progression, not a list of value. R
Product reference image: public domain, Wikimedia Commons - work of Ethel Carrick, died 1952 View product →On the beach
"On the beach" by Ethel Carrick, dated c. 1911, is kept at the National Gallery of Victoria, Melbourne. The official notice indicates oil on canvas and a format of 37.8 × 45.6 cm. In the second chapter, the work expands this first modernity. The landscape, the city, leisure and exchanges with Europe compose a painting of the Federation which is both local and cosmopolitan, intimate and sometimes monumental. Rank 34 here sets a historical and critical progression, not a list of values. Rank 34 sets here a historical and critical progression, not a list of values. Rank 34 sets here a historical and critical progression, not a list of values. The button opens the NGV notice directly in order to control the title, image, technique, dimensions, credit and, when available, location in the rooms.
Image and notice: National Gallery of Victoria, Melbourne See at the museum →The quay at Dinard
"The quay at Dinard" by Ethel Carrick, dated c. 1911-1912, is kept at the National Gallery of Victoria, Melbourne. The official notice indicates oil on canvas on plywood and a format of 70.9 × 91.1 cm. In the second chapter, the work expands this first modernity. The landscape, the city, leisure and exchanges with Europe compose a painting of the Federation which is both local and cosmopolitan, intimate and sometimes monumental. Rank 35 here sets a historical and critical progression, not a list of values. Rank 35 sets here a historical and critical progression, not a list of values. Rank 35 sets here a historical and critical progression, not a list of values. The row 35 sets a historical and critical progression, not a list of values. The button opens the NGV notice directly in order to control the title, image, technique, dimensions, credit and, when available, location in the rooms.
Image and notice: National Gallery of Victoria, Melbourne - additional rights indicated on the notice See at the museum →A lord of the bush
"A lord of the bush" by Hans Heysen, dated 1908, is kept in the National Gallery of Victoria, Melbourne. The official notice indicates oil on canvas and a format of 135.4 × 105.3 cm. In the second chapter, the work expands this early modernity. The landscape, the city, leisure and exchanges with Europe compose a painting of the Federation which is both local and cosmopolitan, intimate and sometimes monumental. Rank 36 here sets a historical and critical progression, not a list of values. Rank 36 sets here a historical and critical progression, not a list of values. Rank 36 sets here a historical and critical progression, not a list of values. Rank 36 sets here a historical and critical progression, not a list of values. Rank 36 sets here a historical and critical progression, not a list of values. The button opens the NGV notice directly in order to control the title, image, technique, dimensions, credit and, when available, location in the rooms.
Image and notice: National Gallery of Victoria, Melbourne - additional rights indicated on the notice See at the museum →Edge of the clearing
"Edge of the clearing" by Hans Heysen, dated 1926, is kept at the National Gallery of Victoria, Melbourne. The official notice indicates oil on canvas and a format of 71.4 × 92.2 cm. In the second chapter, the work expands this early modernity. The landscape, the city, leisure and exchanges with Europe compose a painting of the Federation which is both local and cosmopolitan, intimate and sometimes monumental. Rank 37 here sets a historical and critical progression, not a list of values. Rank 37 sets here a historical and critical progression, not a list of values. The row 37 sets here a historical and critical progression, not a list of values. The button opens the NGV notice directly in order to control the title, image, technique, dimensions, credit and, when available, location in the rooms.
Image and notice: National Gallery of Victoria, Melbourne - additional rights indicated on the notice See at the museum →
#38
Pastoral Bellinger
Elioth Grüner's "Pastoral Bellinger", dated 1937, is kept at the National Gallery of Victoria, Melbourne. The official notice indicates oil on canvas and a format of 64.0 × 76.2 cm. In the second chapter, the work expands this early modernity. The landscape, the city, leisure and exchanges with Europe compose a painting of the Federation which is both local and cosmopolitan, intimate and sometimes monumental. Rank 38 here sets a historical and critical progression, not a list of value. Rank 38 sets here a historical and critical progression, not a list of value. Rank 38 sets here a historical and critical progression, not a list of value. Rank 38 sets here a historical and critical progression, not a list of value. Rank 38 sets here a historical and critical progression, not a list of value. Rank 38 sets here a historical and critical progression, not a list of value. Rank 38 sets here a historical and critical progression, not a list of value. Rank 38 sets a historical and critical progression, not a list of value. Rank 38 sets a historical and critical progression, not a list of value. Rank 38 sets a historical and critical progression, not a list of value. Rank 38 sets a historical and critical progression, not a list of value. Rank 38 sets a historical and critical progression, not a list of value
Product reference image: public domain, Wikimedia Commons - work of Elioth Grüner, died in 1939 View product →Werribee Gorge
"Werribee Gorge" by Elioth Grüner, dated 1930, is kept at the National Gallery of Victoria, Melbourne. The official notice indicates oil on canvas on cardboard and a format of 30.0 × 40.7 cm (canvas) 30.6 × 40.9 cm (cardboard). In the second chapter, the work expands this early modernity. The landscape, the city, leisure and exchanges with Europe compose a painting of the Federation which is both local and cosmopolitan, intimate and sometimes monumental. Rank 39 here sets a historical and critical progression, not a list of values. The rank 39 sets here a historical and critical progression, not a list of values. The rank 39 sets here a historical and critical progression, not a list of values. The rank 39 sets here a historical and critical progression, not a list of values. The button opens the NGV notice directly in order to control the title, image, technique, dimensions, credit and, when available, location in the rooms.
Image and notice: National Gallery of Victoria, Melbourne See at the museum →Numb fingers working while the eye of morn is yet bedimmed with tears
"Numb fingers working while the eye of morn is yet bedimmed with tears" by Jane Sutherland, dated 1888, is kept at the National Gallery of Victoria, Melbourne. The official notice indicates oil on canvas and a format of 46.0 × 66.2 cm. In the second chapter, the work expands this first modernity. The landscape, the city, leisure and exchanges with Europe compose a painting of the Federation which is both local and cosmopolitan, intimate and sometimes monumental. Rank 40 here sets a historical and critical progression, not a list of values. The rank 40 sets here a historical and critical progression, not a list of values. The rank 40 sets here a historical and critical progression, not a list of values. The rank 40 sets here a historical and critical progression, not a list of values. The button opens the NGV notice directly in order to control the title, image, technique, dimensions, credit and, when available, location in the rooms.
Image and notice: National Gallery of Victoria, Melbourne See at the museum →Preston, Cossington Smith, Beckett, Black, Crowley and de Maistre move the color, space and construction of the painting.
Strelitzia
"Strelitzia" by Margaret Preston, dated 1925, is kept at the National Gallery of Victoria, Melbourne. The official notice indicates oil on canvas and a format of 45.7 × 53.9 cm. In the third chapter, the work shifts impressionist achievements towards a more constructed modernity. Flatness, simplification, the rhythm of forms or the urban atmosphere become tools for thinking differently about color and space. Rank 41 sets here a historical and critical progression, not a list of values. The row 41 sets here a historical and critical progression, not a list of values. The button opens the NGV notice directly in order to control the title, image, technique, dimensions, credit and, when available, location in the rooms.
Image and notice: National Gallery of Victoria, Melbourne - additional rights indicated on the notice See at the museum →Banksia and Flannel Flowers
"Banksia and Flannel Flowers" by Margaret Preston, dated 1938, is kept in the National Gallery of Victoria, Melbourne. The official notice indicates oil on canvas and a format of 61.0 × 46.1 cm. In the third chapter, the work shifts impressionist achievements towards a more constructed modernity. Flatness, simplification, the rhythm of forms or the urban atmosphere become tools for thinking differently about color and space. Rank 42 sets here a historical and critical progression, not a list of values. The row 42 sets here a historical and critical progression, not a list of values. The button opens the NGV notice directly in order to control the title, image, technique, dimensions, credit and, when available, location in the rooms.
Image and notice: National Gallery of Victoria, Melbourne - additional rights indicated on the notice See at the museum →Corner of Mosman Bay
"Corner of Mosman Bay" by Margaret Preston, dated 1929, is kept at the National Gallery of Victoria, Melbourne. The official notice indicates oil on canvas and a format of 52.5 × 45.8 cm. In the third chapter, the work shifts impressionist achievements towards a more constructed modernity. Flatness, simplification, the rhythm of forms or the urban atmosphere become tools for thinking differently about color and space. Rank 43 sets here a historical and critical progression, not a list of values. The row 43 sets here a historical and critical progression, not a list of values. The button opens the NGV notice directly in order to control the title, image, technique, dimensions, credit and, when available, location in the rooms.
Image and notice: National Gallery of Victoria, Melbourne - additional rights indicated on the notice See at the museum →The Bridge in-curve
"The Bridge in-curve" by Grace Cossington Smith, dated 1930, is kept at the National Gallery of Victoria, Melbourne. The official notice indicates tempera on cardboard and a format of 83.6 × 111.8 cm. In the third chapter, the work shifts impressionist achievements towards a more constructed modernity. Flatness, simplification, the rhythm of shapes or the urban atmosphere become tools for thinking differently about color and space. Rank 44 sets here a historical and critical progression, not a list of values. The row 44 sets here a historical and critical progression, not a list of values. The button opens the NGV notice directly in order to control the title, image, technique, dimensions, credit and, when available, location in the rooms.
Image and notice: National Gallery of Victoria, Melbourne - additional rights indicated on the notice See at the museum →Crowd
"Crowd" by Grace Cossington Smith, dated c. 1922, is kept at the National Gallery of Victoria, Melbourne. The official notice indicates oil on cardboard and a format of 66.7 × 87.5 cm. In the third chapter, the work shifts impressionist achievements towards a more constructed modernity. Flatness, simplification, the rhythm of shapes or the urban atmosphere become tools for thinking differently about color and space. Rank 45 here sets a historical and critical progression, not a list of values. The row 45 sets here a historical and critical progression, not a list of values. The button opens the NGV notice directly in order to control the title, image, technique, dimensions, credit and, when available, location in the rooms.
Image and notice: National Gallery of Victoria, Melbourne - additional rights indicated on the notice See at the museum →Interior with blue painting
"Interior with blue painting" by Grace Cossington Smith, dated 1956, is kept at the National Gallery of Victoria, Melbourne. The official notice indicates oil on fiberboard and a format of 90.7 × 122.2 cm. In the third chapter, the work shifts impressionist achievements towards a more constructed modernity. Flatness, simplification, the rhythm of shapes or the urban atmosphere become tools for thinking differently about color and space. Rank 46 sets here a historical and critical progression, not a list of values. The row 46 sets here a historical and critical progression, not a list of values. The button opens the NGV notice directly in order to control the title, image, technique, dimensions, credit and, when available, location in the rooms.
Image and notice: National Gallery of Victoria, Melbourne - additional rights indicated on the notice See at the museum →Evening light, Beaumaris
"Evening light, Beaumaris" by Clarice Beckett, dated c. 1925, is kept at the National Gallery of Victoria, Melbourne. The official notice indicates oil on canvas on cardboard and a format of 30.3 × 40.2 cm. In the third chapter, the work shifts impressionist achievements towards a more constructed modernity. Flatness, simplification, the rhythm of shapes or the urban atmosphere become tools for thinking differently about color and space. Rank 47 sets here a historical and critical progression, not a list of values. The row 47 sets here a historical and critical progression, not a list of values. The button opens the NGV notice directly in order to control the title, image, technique, dimensions, credit and, when available, location in the rooms.
Image and notice: National Gallery of Victoria, Melbourne See at the museum →Beach Road after the rain (Street scene)
"Beach Road after the rain (Street scene)" by Clarice Beckett, dated c. 1927, is kept at the National Gallery of Victoria, Melbourne. The official notice indicates oil on cardboard and a format of 35.7 × 25.5 cm. In the third chapter, the work shifts impressionist achievements towards a more constructed modernity. Flatness, simplification, the rhythm of shapes or the urban atmosphere become tools for thinking differently about color and space. Rank 48 sets here a historical and critical progression, not a list of values. The row 48 sets here a historical and critical progression, not a list of values. The button opens the NGV notice directly in order to control the title, image, technique, dimensions, credit and, when available, location in rooms.
Image and notice: National Gallery of Victoria, Melbourne See at the museum →
#49
Gum trees
"Gum trees" by Dorrit Black, dated 1933-1935, is kept at the National Gallery of Victoria, Melbourne. The official notice indicates oil on canvas on canvas and a format of 38.0 × 55.1 cm (image) 42.0 × 59.8 cm irreg. (canvas). In the third chapter, the work shifts impressionist achievements towards a more constructed modernity. Flatness, simplification, the rhythm of forms or the urban atmosphere become tools for thinking differently about color and space. Rank 49 here sets a historical and critical progression, not a list of values. The flatness, simplification, rhythm of forms or urban atmosphere become tools for thinking differently about color and space. Rank 49 sets here a historical and critical progression, not a list of values. The reference image corresponds exactly to the painting and its status as a public domain is controlled on Wikimedia Commons; the NGV notice remains recorded as the source of the title, technique, format and collection.
Product reference image: public domain, Wikimedia Commons - work of Dorrit Black, died 1951 View product →Abstract painting
"Abstract painting" by Grace Crowley, dated 1952, is kept at the National Gallery of Victoria, Melbourne. The official notice indicates oil on fiberboard and a format of 61.2 × 90.8 cm. In the third chapter, the work shifts impressionist achievements towards a more constructed modernity. Flatness, simplification, the rhythm of shapes or the urban atmosphere become tools for thinking differently about color and space. Rank 50 here sets a historical and critical progression, not a list of values. The row 50 sets here a historical and critical progression, not a list of values. The button opens the NGV notice directly in order to control the title, image, technique, dimensions, credit and, when available, location in the rooms.
Image and notice: National Gallery of Victoria, Melbourne - additional rights indicated on the notice See at the museum →Girl with tastes
"Girl with Goats" by Grace Crowley, dated 1928, is kept in the National Gallery of Victoria, Melbourne. The official notice indicates oil on canvas and a format of 54.4 × 73.4 cm. In the third chapter, the work shifts impressionist achievements towards a more constructed modernity. Flatness, simplification, the rhythm of shapes or the urban atmosphere become tools for thinking differently about color and space. Rank 51 sets here a historical and critical progression, not a list of values. The row 51 sets here a historical and critical progression, not a list of values. The button opens the NGV notice directly in order to control the title, image, technique, dimensions, credit and, when available, location in the rooms.
Image and notice: National Gallery of Victoria, Melbourne - additional rights indicated on the notice See at the museum →Syncromy, Berry's Bay
Roy de Maistre's "Syncromy, Berry's Bay", dated 1919, is kept at the National Gallery of Victoria, Melbourne. The official notice indicates oil on plywood and a format of 25.4 × 35.2 cm. In the third chapter, the work shifts impressionist achievements towards a more constructed modernity. Flatness, simplification, the rhythm of shapes or the urban atmosphere become tools for thinking differently about color and space. Rank 52 sets here a historical and critical progression, not a list of values. The button directly opens the NGV notice in order to control the title, image, technique, dimensions, credit and, when available, location in the rooms.
Image and notice: National Gallery of Victoria, Melbourne - additional rights indicated on the notice See at the museum →Still life Zinnias
"Still life Zinnias" by Roy de Maistre, dated 1925-1930, is kept at the National Gallery of Victoria, Melbourne. The official notice indicates oil on plywood and a format of 72.4 × 59.8 cm. In the third chapter, the work shifts impressionist achievements towards a more constructed modernity. Flatness, simplification, the rhythm of shapes or the urban atmosphere become tools for thinking differently about color and space. Rank 53 sets here a historical and critical progression, not a list of values. The row 53 sets here a historical and critical progression, not a list of values. The button opens the NGV notice directly in order to control the title, image, technique, dimensions, credit and, when available, location in the rooms.
Image and notice: National Gallery of Victoria, Melbourne - additional rights indicated on the notice See at the museum →The bridge under construction
"The bridge under construction" by Roland Wakelin, dated 1928-1929, is kept at the National Gallery of Victoria, Melbourne. The official notice indicates oil on canvas on (panel) and a format of (100.0 × 120.0 cm). In the third chapter, the work shifts impressionist achievements towards a more constructed modernity. Flatness, simplification, the rhythm of shapes or the urban atmosphere become tools for thinking differently about color and space. Rank 54 sets here a historical and critical progression, not a list of values. The button directly opens the NGV notice in order to control the title, image, technique, dimensions, credit and, when available, location in the rooms.
Image and notice: National Gallery of Victoria, Melbourne - additional rights indicated on the notice See at the museum →Picherit's farm
"Picherit's farm" by Max Meldrum, dated c. 1910, is kept at the National Gallery of Victoria, Melbourne. The official notice indicates oil on canvas and a format of (85.0 × 103.0 cm). In the third chapter, the work shifts impressionist achievements towards a more constructed modernity. Flatness, simplification, the rhythm of shapes or the urban atmosphere become tools for thinking differently about color and space. Rank 55 here sets a historical and critical progression, not a list of values. The row 55 sets here a historical and critical progression, not a list of values. The button directly opens the NGV notice in order to control the title, image, technique, dimensions, credit and, when available, location in the rooms.
Image and notice: National Gallery of Victoria, Melbourne - additional rights indicated on the notice See at the museum →Australian landscape
"Australian landscape" by William Frater, dated not specified by the NGV, is kept at the National Gallery of Victoria, Melbourne. The official notice indicates oil on canvas on cardboard and a format of 50.9 × 60.8 cm. In the third chapter, the work shifts impressionist achievements towards a more constructed modernity. Flatness, simplification, the rhythm of shapes or the urban atmosphere become tools for thinking differently about color and space. Rank 56 here sets a historical and critical progression, not a list of values. The row 56 sets here a historical and critical progression, not a list of values. The button opens the NGV notice directly in order to control the title, image, technique, dimensions, credit and, when available, location in the rooms.
Image and notice: National Gallery of Victoria, Melbourne - additional rights indicated on the notice See at the museum →The blue nude
"The blue nude" by William Frater, dated c. 1934, is kept at the National Gallery of Victoria, Melbourne. The official notice indicates oil on canvas on cardboard and a format of 62.4 × 75.4 cm. In the third chapter, the work shifts impressionist achievements towards a more constructed modernity. Flatness, simplification, the rhythm of forms or the urban atmosphere become tools for thinking differently about color and space. Rank 57 here sets a historical and critical progression, not a list of values. The row 57 sets here a historical and critical progression, not a list of values. The button opens the NGV notice directly in order to control the title, image, technique, dimensions, credit and, when available, location in the rooms.
Image and notice: National Gallery of Victoria, Melbourne - additional rights indicated on the notice See at the museum →Surrealist landscape
"Surrealist landscape" by Peter Purves Smith, dated 1938, is kept at the National Gallery of Victoria, Melbourne. The official notice indicates oil on canvas and a format of 61.4 × 46.2 cm. In the third chapter, the work shifts impressionist achievements towards a more constructed modernity. Flatness, simplification, the rhythm of forms or the urban atmosphere become tools for thinking differently about color and space. Rank 58 sets here a historical and critical progression, not a list of values. The row 58 sets here a historical and critical progression, not a list of values. The button opens the NGV notice directly in order to control the title, image, technique, dimensions, credit and, when available, location in the rooms.
Image and notice: National Gallery of Victoria, Melbourne See at the museum →Greenwich Observatory
"Greenwich Observatory" by Peter Purves Smith, dated 1939, is housed in the National Gallery of Victoria, Melbourne. The official notice indicates oil on canvas and a format of 26.8 × 35.2 cm. In the third chapter, the work shifts impressionist achievements towards a more constructed modernity. Flatness, simplification, the rhythm of forms or the urban atmosphere become tools for thinking differently about color and space. Rank 59 here sets a historical and critical progression, not a list of values. The row 59 sets here a historical and critical progression, not a list of values. The button opens the NGV notice directly in order to control the title, image, technique, dimensions, credit and, when available, location in the rooms.
Image and notice: National Gallery of Victoria, Melbourne See at the museum →Acacia
"Acacia" by Lina Bryans, dated 1960, is kept at the National Gallery of Victoria, Melbourne. The official notice indicates oil on fiberboard and a format of 60.8 × 50.8 cm. In the third chapter, the work shifts impressionist achievements towards a more constructed modernity. Flatness, simplification, the rhythm of shapes or the urban atmosphere become tools for thinking differently about color and space. Rank 60 here sets a historical and critical progression, not a list of values. The rank 60 sets here a historical and critical progression, not a list of values. The button opens the NGV notice directly in order to control the title, image, technique, dimensions, credit and, when available, location in the rooms.
Image and notice: National Gallery of Victoria, Melbourne - additional rights indicated on the notice See at the museum →Nolan, Boyd, Tucker, Perceval, Drysdale and Dobell transform the national narrative, violence and the human figure.
Constable Fitzpatrick and Kate Kelly
"Constable Fitzpatrick and Kate Kelly" by Sidney Nolan, dated 1945-1946, is kept in the National Gallery of Victoria, Melbourne. The official notice indicates enamel painting on cardboard and a format of 63.3 × 76.0 cm. In the fourth chapter, the work belongs to a generation confronted with war, national myth and the fragility of the human figure. The painting does not simply illustrate a story: it makes it unstable by its material, its framing and its tensions. Rank 61 sets here a historical and critical progression, not a list of values. The button directly opens the NGV notice in order to control the title, image, technique, dimensions, credit and, when available, location in the rooms.
Image and notice: National Gallery of Victoria, Melbourne - additional rights indicated on the notice See at the museum →Kelly with horse
"Kelly with horse" by Sidney Nolan, dated 1955, is kept in the National Gallery of Victoria, Melbourne. The official notice indicates oil on fiberboard and a format of 122.0 × 91.3 cm. In the fourth chapter, the work belongs to a generation confronted with war, national myth and the fragility of the human figure. The painting does not simply illustrate a story: it makes it unstable by its material, its framing and its tensions. Rank 62 sets here a historical and critical progression, not a list of values. The button directly opens the NGV notice in order to control the title, image, technique, dimensions, credit and, when available, location in the rooms.
Image and notice: National Gallery of Victoria, Melbourne - additional rights indicated on the notice See at the museum →Burke and Wills at the Gulf
"Burke and Wills at the Gulf" by Sidney Nolan, dated 1961, is kept at the National Gallery of Victoria, Melbourne. The official notice indicates synthetic polymer paint on fiberboard and a format of 122.2 × 152.6 cm. In the fourth chapter, the work belongs to a generation confronted with war, national myth and the fragility of the human figure. The painting does not simply illustrate a story: it makes it unstable by its material, its framing and its tensions. Rank 63 sets here a historical and critical progression, not a list of values. The button directly opens the NGV notice in order to control the title, image, technique, dimensions, credit and, when available, location in the rooms.
Image and notice: National Gallery of Victoria, Melbourne - additional rights indicated on the notice See at the museum →Central Australia
"Central Australia" by Sidney Nolan, dated 1949, is kept at the National Gallery of Victoria, Melbourne. The official notice indicates oil and enamel paint on fiberboard and a format of 92.1 × 121.9 cm. In the fourth chapter, the work belongs to a generation confronted with war, national myth and the fragility of the human figure. The painting does not simply illustrate a story: it makes it unstable by its material, its framing and its tensions. Rank 64 sets here a historical and critical progression, not a list of values. The button directly opens the NGV notice in order to control the title, image, technique, dimensions, credit and, when available, location in the rooms.
Image and notice: National Gallery of Victoria, Melbourne - additional rights indicated on the notice See at the museum →Luna Park in the moonlight
"Luna Park in the moonlight" by Sidney Nolan, dated 1945, is kept at the National Gallery of Victoria, Melbourne. The official notice indicates enamel painting on cardboard and a format of 63.5 × 76.0 cm. In the fourth chapter, the work belongs to a generation confronted with war, national myth and the fragility of the human figure. The painting does not simply illustrate a story: it makes it unstable by its material, its framing and its tensions. Rank 65 sets here a historical and critical progression, not a list of values. The button directly opens the NGV notice in order to control the title, image, technique, dimensions, credit and, when available, location in the rooms.
Image and notice: National Gallery of Victoria, Melbourne - additional rights indicated on the notice See at the museum →Burning off
"Burning off" by Arthur Boyd, dated 1958, is kept at the National Gallery of Victoria, Melbourne. The official notice indicates oil on fiberboard and a format of 91.0 × 121.8 cm. In the fourth chapter, the work belongs to a generation confronted with war, national myth and the fragility of the human figure. The painting does not simply illustrate a story: it makes it unstable by its material, its framing and its tensions. Rank 66 sets here a historical and critical progression, not a list of values. The button directly opens the NGV notice in order to control the title, image, technique, dimensions, credit and, when available, location in the rooms.
Image and notice: National Gallery of Victoria, Melbourne - additional rights indicated on the notice See at the museum →Wimmera landscape
"Wimmera landscape" by Arthur Boyd, dated 1950-1952, is kept at the National Gallery of Victoria, Melbourne. The official notice indicates tempera on fiberboard and a format of 91.4 × 121.6cm. In the fourth chapter, the work belongs to a generation confronted with war, national myth and the fragility of the human figure. The painting does not simply illustrate a story: it makes it unstable by its material, its framing and its tensions. Rank 67 sets here a historical and critical progression, not a list of values. The button directly opens the NGV notice in order to control the title, image, technique, dimensions, credit and, when available, location in the rooms.
Image and notice: National Gallery of Victoria, Melbourne - additional rights indicated on the notice See at the museum →Bride and groom by a creek
"Bride and groom by a creek" by Arthur Boyd, dated c. 1960, is kept at the National Gallery of Victoria, Melbourne. The official notice indicates oil on fiberboard and a format of 106.6 × 137.1 cm. In the fourth chapter, the work belongs to a generation confronted with war, national myth and the fragility of the human figure. The painting does not simply illustrate a story: it makes it unstable by its material, its framing and its tensions. Rank 68 sets here a historical and critical progression, not a list of values. The button directly opens the NGV notice in order to control the title, image, technique, dimensions, credit and, when available, location in the rooms.
Image and notice: National Gallery of Victoria, Melbourne - additional rights indicated on the notice See at the museum →The denial of St Peter
"The denial of St Peter" by Arthur Boyd, dated 1946-1947, is kept at the National Gallery of Victoria, Melbourne. The official notice indicates oil on canvas on fiberboard and a format of 117.4 × 91.0 cm irreg.. In the fourth chapter, the work belongs to a generation confronted with war, national myth and the fragility of the human figure. The painting does not simply illustrate a story: it makes it unstable by its material, its framing and its tensions. Rank 69 sets here a historical and critical progression, not a list of values. The button directly opens the NGV notice in order to control the title, image, technique, dimensions, credit and, when available, location in rooms.
Image and notice: National Gallery of Victoria, Melbourne - additional rights indicated on the notice See at the museum →Image of Modern Evil: Nightmare no.28
"Image of Modern Evil: Nightmare no.28" by Albert Tucker, dated 1946, is kept in the National Gallery of Victoria, Melbourne. The official notice indicates oil on cardboard and a format of 60.8 × 50.9 cm. In the fourth chapter, the work belongs to a generation confronted with war, national myth and the fragility of the human figure. The painting does not simply illustrate a story: it makes it unstable by its material, its framing and its tensions. Rank 70 sets here a historical and critical progression, not a list of values. The button directly opens the NGV notice in order to control the title, image, technique, dimensions, credit and, when available, location in rooms.
Image and notice: National Gallery of Victoria, Melbourne - additional rights indicated on the notice See at the museum →Army breakfast
Albert Tucker's "Army Breakfast", dated 1942, is housed in the National Gallery of Victoria, Melbourne. The official notice indicates enamel paint on plywood and a format of 27.1 × 30.5 cm. In the fourth chapter, the work belongs to a generation confronted with war, national myth and the fragility of the human figure. The painting does not simply illustrate a story: it makes it unstable by its material, its framing and its tensions. Rank 71 sets here a historical and critical progression, not a list of values. The button directly opens the NGV notice in order to control the title, image, technique, dimensions, credit and, when available, location in the rooms.
Image and notice: National Gallery of Victoria, Melbourne - additional rights indicated on the notice See at the museum →Memory of Leonski
"Memory of Leonski" by Albert Tucker, dated 1943, is kept in the National Gallery of Victoria, Melbourne. The official notice indicates oil on fiberboard and a format of 61.0 × 78.6 cm. In the fourth chapter, the work belongs to a generation confronted with war, national myth and the fragility of the human figure. The painting does not simply illustrate a story: it makes it unstable by its material, its framing and its tensions. Rank 72 sets here a historical and critical progression, not a list of values. The button directly opens the NGV notice in order to control the title, image, technique, dimensions, credit and, when available, location in the rooms.
Image and notice: National Gallery of Victoria, Melbourne - additional rights indicated on the notice See at the museum →Exodus from a bombed city
"Exodus from a bombed city" by John Perceval, dated 1942, is kept in the National Gallery of Victoria, Melbourne. The official notice indicates oil on (fiberboard) and a format of (82.6 × 109.2 cm). In the fourth chapter, the work belongs to a generation confronted with war, national myth and the fragility of the human figure. The painting does not simply illustrate a story: it makes it unstable by its material, its framing and its tensions. Rank 73 sets here a historical and critical progression, not a list of values. The button directly opens the NGV notice in order to control the title, image, technique, dimensions, credit and, when available, location in rooms.
Image and notice: National Gallery of Victoria, Melbourne - additional rights indicated on the notice See at the museum →Boy with broken pot
"Boy with broken pot" by John Perceval, dated 1943, is kept in the National Gallery of Victoria, Melbourne. The official notice indicates oil on muslin on fiberboard and a format of (63.5 × 38.0 cm). In the fourth chapter, the work belongs to a generation confronted with war, national myth and the fragility of the human figure. The painting does not simply illustrate a story: it makes it unstable by its material, its framing and its tensions. Rank 74 sets here a historical and critical progression, not a list of values. The button directly opens the NGV notice in order to control the title, image, technique, dimensions, credit and, when available, location in the rooms.
Image and notice: National Gallery of Victoria, Melbourne - additional rights indicated on the notice See at the museum →Ocean beach, Sorrento
"Ocean beach, Sorrento" by John Perceval, dated 1957, is kept at the National Gallery of Victoria, Melbourne. The official notice indicates enamel and tempera painting on canvas on fiberboard and a format of 83.8 × 111.8 cm. In the fourth chapter, the work belongs to a generation confronted with war, national myth and the fragility of the human figure. The painting does not simply illustrate a story: it makes it unstable by its material, its framing and its tensions. Rank 75 sets here a historical and critical progression, not a list of values. The button directly opens the NGV notice in order to control the title, image, technique, dimensions, credit and, when available, location in the rooms.
Image and notice: National Gallery of Victoria, Melbourne - additional rights indicated on the notice See at the museum →Moody's pub
Russell Drysdale's "Moody's pub", dated 1941, is kept in the National Gallery of Victoria, Melbourne. The official notice indicates oil on plywood and a format of 50.9 × 61.4 cm. In the fourth chapter, the work belongs to a generation confronted with war, national myth and the fragility of the human figure. The painting does not simply illustrate a story: it makes it unstable by its material, its framing and its tensions. Rank 76 sets here a historical and critical progression, not a list of values. The button directly opens the NGV notice in order to control the title, image, technique, dimensions, credit and, when available, location in the rooms.
Image and notice: National Gallery of Victoria, Melbourne - additional rights indicated on the notice See at the museum →The rabbiters
Russell Drysdale's "The Rabbiters", dated 1947, is kept in the National Gallery of Victoria, Melbourne. The official notice indicates oil on canvas and a format of 76.6 × 102.5 cm. In the fourth chapter, the work belongs to a generation confronted with war, national myth and the fragility of the human figure. The painting does not simply illustrate a story: it makes it unstable through its material, its framing and its tensions. Rank 77 sets here a historical and critical progression, not a list of values. The button directly opens the NGV notice in order to control the title, image, technique, dimensions, credit and, when available, location in the rooms.
Image and notice: National Gallery of Victoria, Melbourne - additional rights indicated on the notice See at the museum →Evensong, Hill End
Russell Drysdale's "Evensong, Hill End", dated 1948, is kept in the National Gallery of Victoria, Melbourne. The official notice indicates oil on canvas and a format of 76.5 × 61.5 cm. In the fourth chapter, the work belongs to a generation confronted with war, national myth and the fragility of the human figure. The painting does not simply illustrate a story: it makes it unstable through its material, its framing and its tensions. Rank 78 sets here a historical and critical progression, not a list of values. The button directly opens the NGV notice in order to control the title, image, technique, dimensions, credit and, when available, location in the rooms.
Image and notice: National Gallery of Victoria, Melbourne - additional rights indicated on the notice See at the museum →Kensington Gardens
"Kensington Gardens" by William Dobell, dated 1935, is housed in the National Gallery of Victoria, Melbourne. The official notice indicates oil on fiberboard and a format of 17.1 × 21.1 cm. In the fourth chapter, the work belongs to a generation confronted with war, national myth and the fragility of the human figure. The painting does not simply illustrate a story: it makes it unstable by its material, its framing and its tensions. Rank 79 sets here a historical and critical progression, not a list of values. The button directly opens the NGV notice in order to control the title, image, technique, dimensions, credit and, when available, location in the rooms.
Image and notice: National Gallery of Victoria, Melbourne - additional rights indicated on the notice See at the museum →Young girl (Shirley)
"Young girl (Shirley)" by Danila Vassilieff, dated 1937, is kept at the National Gallery of Victoria, Melbourne. The official notice indicates oil on canvas on fiberboard and a format of 80.7 × 71.2 cm. In the fourth chapter, the work belongs to a generation confronted with war, national myth and the fragility of the human figure. The painting does not simply illustrate a story: it makes it unstable by its material, its framing and its tensions. Rank 80 here sets a historical and critical progression, not a list of values. The button directly opens the NGV notice in order to control the title, image, technique, dimensions, credit and, when available, location in the rooms.
Image and notice: National Gallery of Victoria, Melbourne - additional rights indicated on the notice See at the museum →Brack, Williams, Olsen, Balson, Tuckson, Fairweather and Audette gave Australian modernism incompatible and fruitful paths.
Collins St, 5pm.
"Collins St, 5p.m." by John Brack, dated 1955, is kept at the National Gallery of Victoria, Melbourne. The official notice indicates oil on canvas and a format of 114.8 × 162.8 cm. In the fifth chapter, the work shows that the Australian post-war period does not follow any single formula. Social representation, abstraction, landscape-sign and gestural painting coexist and transform the territory into rhythm, surface or mental space. Rank 81 sets here a historical and critical progression, not a list of values. The button opens the NGV notice directly in order to control the title, image, technique, dimensions, credit and, when available, location in the rooms.
Image and notice: National Gallery of Victoria, Melbourne - additional rights indicated on the notice See at the museum →The barber's shop
"The barber's shop" by John Brack, dated 1952, is housed in the National Gallery of Victoria, Melbourne. The official notice indicates oil on canvas and a format of 63.7 × 76.3 cm. In the fifth chapter, the work shows that the Australian post-war period does not follow any single formula. Social representation, abstraction, landscape-sign and gestural painting coexist and transform the territory into rhythm, surface or mental space. Rank 82 sets here a historical and critical progression, not a list of values. The button opens the NGV notice directly in order to control the title, image, technique, dimensions, credit and, when available, location in the rooms.
Image and notice: National Gallery of Victoria, Melbourne - additional rights indicated on the notice See at the museum →The bar
"The bar" by John Brack, dated 1954, is housed in the National Gallery of Victoria, Melbourne. The official notice indicates oil on canvas and a format of 97.0 × 130.3 cm irreg.. In the fifth chapter, the work shows that the Australian post-war period does not follow any single formula. Social representation, abstraction, landscape-sign and gestural painting coexist and transform the territory into rhythm, surface or mental space. Rank 83 sets here a historical and critical progression, not a list of values. The row 83 sets here a historical and critical progression, not a list of values. The button opens the NGV notice directly in order to control the title, image, technique, dimensions, credit and, when available, location in the rooms.
Image and notice: National Gallery of Victoria, Melbourne - additional rights indicated on the notice See at the museum →Two typists
"Two typists" by John Brack, dated 1955, is kept at the National Gallery of Victoria, Melbourne. The official notice indicates oil on canvas and a format of 51.0 × 61.5 cm. In the fifth chapter, the work shows that the Australian post-war period does not follow any single formula. Social representation, abstraction, landscape-sign and gestural painting coexist and transform the territory into rhythm, surface or mental space. Rank 84 sets here a historical and critical progression, not a list of values. The button opens the NGV notice directly in order to control the title, image, technique, dimensions, credit and, when available, location in the rooms.
Image and notice: National Gallery of Victoria, Melbourne - additional rights indicated on the notice See at the museum →You Yangs landscape
"You Yangs landscape" by Fred Williams, dated 1967, is kept at the National Gallery of Victoria, Melbourne. The official notice indicates oil on canvas and a format of 183.0 × 152.6 cm. In the fifth chapter, the work shows that the Australian post-war period does not follow any single formula. Social representation, abstraction, landscape-sign and gestural painting coexist and transform the territory into rhythm, surface or mental space. Rank 85 here sets a historical and critical progression, not a list of values. The 85 rank sets here a historical and critical progression, not a list of values. The button opens the NGV notice directly in order to control the title, image, technique, dimensions, credit and, when available, location in the rooms.
Image and notice: National Gallery of Victoria, Melbourne - additional rights indicated on the notice See at the museum →Sapling Forest
"Sapling Forest" by Fred Williams, dated 1961, is housed in the National Gallery of Victoria, Melbourne. The official notice indicates oil and tempera on fiberboard and a format of 152.5 × 119.8 cm. In the fifth chapter, the work shows that the Australian post-war period does not follow any single formula. Social representation, abstraction, landscape-sign and gestural painting coexist and transform the territory into rhythm, surface or mental space. Rank 86 here sets a historical and critical progression, not a list of values. The row 86 sets here a historical and critical progression, not a list of values. The button directly opens the NGV notice in order to control the title, image, technique, dimensions, credit and, when available, location in the rooms.
Image and notice: National Gallery of Victoria, Melbourne - additional rights indicated on the notice See at the museum →Pilbara landscape
"Pilbara landscape" by Fred Williams, dated 1981, is kept at the National Gallery of Victoria, Melbourne. The official notice indicates oil on canvas and a format of 152.3 × 182.6 cm. In the fifth chapter, the work shows that the Australian post-war period does not follow any single formula. Social representation, abstraction, landscape-sign and gestural painting coexist and transform the territory into rhythm, surface or mental space. Rank 87 here sets a historical and critical progression, not a list of values. The row 87 sets here a historical and critical progression, not a list of values. The button opens the NGV notice directly in order to control the title, image, technique, dimensions, credit and, when available, location in the rooms.
Image and notice: National Gallery of Victoria, Melbourne - additional rights indicated on the notice See at the museum →Treescape
"Treescape" by Fred Williams, dated 1958, is housed in the National Gallery of Victoria, Melbourne. The official notice indicates oil on fiberboard and a format of 86.7 × 81.0 cm. In the fifth chapter, the work shows that the Australian post-war period does not follow any single formula. Social representation, abstraction, landscape-sign and gestural painting coexist and transform the territory into rhythm, surface or mental space. Rank 88 sets here a historical and critical progression, not a list of values. The row 88 sets here a historical and critical progression, not a list of values. The button opens the NGV notice directly in order to control the title, image, technique, dimensions, credit and, when available, location in the rooms.
Image and notice: National Gallery of Victoria, Melbourne - additional rights indicated on the notice See at the museum →Summer in the you beauty country
"Summer in the you beauty country" by John Olsen, dated 1962, is kept at the National Gallery of Victoria, Melbourne. The official notice indicates oil on fiberboard and a format of (ag) 393.4 × 431.0 cm (overall). In the fifth chapter, the work shows that the Australian post-war period does not follow any single formula. Social representation, abstraction, landscape-sign and gestural painting coexist and transform the territory into rhythm, surface or mental space. Rank 89 here sets a historical and critical progression, not a list of values. The button directly opens the NGV notice in order to control the title, image, technique, dimensions, credit and, when available, location in rooms.
Image and notice: National Gallery of Victoria, Melbourne - additional rights indicated on the notice See at the museum →River passing through a plain
"River passing through a plain" by John Olsen, dated 1982, is kept at the National Gallery of Victoria, Melbourne. The official notice indicates oil on canvas and a format of 136.6 × 152.4 cm. In the fifth chapter, the work shows that the Australian post-war period does not follow any single formula. Social representation, abstraction, landscape-sign and gestural painting coexist and transform the territory into rhythm, surface or mental space. Rank 90 here sets a historical and critical progression, not a list of values. The button directly opens the NGV notice in order to control the title, image, technique, dimensions, credit and, when available, location in the rooms.
Image and notice: National Gallery of Victoria, Melbourne - additional rights indicated on the notice See at the museum →Constructive painting
"Constructive painting" by Ralph Balson, dated 1948, is kept at the National Gallery of Victoria, Melbourne. The official notice indicates oil on cardboard and a format of 106.8 × 71.0 cm. In the fifth chapter, the work shows that the Australian post-war period does not follow any single formula. Social representation, abstraction, landscape-sign and gestural painting coexist and transform the territory into rhythm, surface or mental space. Rank 91 here sets a historical and critical progression, not a list of values. The 91 rank sets here a historical and critical progression, not a list of values. The button opens the NGV notice directly in order to control the title, image, technique, dimensions, credit and, when available, location in the rooms.
Image and notice: National Gallery of Victoria, Melbourne - additional rights indicated on the notice See at the museum →Non-objective painting
"Non-objective painting" by Ralph Balson, dated 1958, is kept at the National Gallery of Victoria, Melbourne. The official notice indicates oil on (fiberboard) and a format of (135.8 × 151.0 cm). In the fifth chapter, the work shows that the Australian post-war period does not follow any single formula. Social representation, abstraction, landscape-sign and gestural painting coexist and transform the territory into rhythm, surface or mental space. Rank 92 here sets a historical and critical progression, not a list of values. The button directly opens the NGV notice in order to control the title, image, technique, dimensions, credit and, when available, location in the rooms.
Image and notice: National Gallery of Victoria, Melbourne - additional rights indicated on the notice See at the museum →Painting
Grace Crowley's "Painting", dated 1950, is kept at the National Gallery of Victoria, Melbourne. The official notice indicates oil on fiberboard and a format of 63.7 × 75.2 cm. In the fifth chapter, the work shows that the Australian post-war period does not follow any single formula. Social representation, abstraction, landscape-sign and gestural painting coexist and transform the territory into rhythm, surface or mental space. Rank 93 sets here a historical and critical progression, not a list of values. The button opens the NGV notice directly in order to control the title, image, technique, dimensions, credit and, when available, location in the rooms.
Image and notice: National Gallery of Victoria, Melbourne - additional rights indicated on the notice See at the museum →White lines (horizontal) on red
"White lines (horizontal) on red" by Tony Tuckson, dated 1970-1973, is kept at the National Gallery of Victoria, Melbourne. The official notice indicates synthetic polymer paint on fiberboard and a format of 182.8 × 137.4 cm. In the fifth chapter, the work shows that the Australian post-war period does not follow any single formula. Social representation, abstraction, landscape-sign and gestural painting coexist and transform the territory into rhythm, surface or mental space. Rank 94 sets here a historical and critical progression, not a list of values. The button opens the NGV notice directly in order to control the title, image, technique, dimensions, credit and, when available, location in the rooms.
Image and notice: National Gallery of Victoria, Melbourne - additional rights indicated on the notice See at the museum →Yellow
Tony Tuckson's "Yellow", dated 1970-1973, is kept at the National Gallery of Victoria, Melbourne. The official notice indicates synthetic polymer paint on fiberboard and a format of (ab) 213.5 × 244.0 cm (overall). In the fifth chapter, the work shows that the Australian post-war period does not follow any single formula. Social representation, abstraction, landscape-sign and gestural painting coexist and transform the territory into rhythm, surface or mental space. Rank 95 here sets a historical and critical progression, not a list of values. The button directly opens the NGV notice in order to control the title, image, technique, dimensions, credit and, when available, location in the rooms.
Image and notice: National Gallery of Victoria, Melbourne - additional rights indicated on the notice See at the museum →Alliluja
"Alliluja" by Ian Fairweather, dated 1958, is housed in the National Gallery of Victoria, Melbourne. The official notice indicates synthetic polymer paint on cardboard on fiberboard and a format of (140.6 × 151.8 cm). In the fifth chapter, the work shows that the Australian post-war period does not follow any single formula. Social representation, abstraction, landscape-sign and gestural painting coexist and transform the territory into rhythm, surface or mental space. Rank 96 here sets a historical and critical progression, not a list of values. The button directly opens the NGV notice in order to control the title, image, technique, dimensions, credit and, when available, location in the rooms.
Image and notice: National Gallery of Victoria, Melbourne - additional rights indicated on the notice See at the museum →Journey into light
"Journey into light" by Yvonne Audette, dated 1967, is kept at the National Gallery of Victoria, Melbourne. The official notice indicates oil on plywood, wood and a format of (ab) 154.0 × 232.0 cm (overall). In the fifth chapter, the work shows that the Australian post-war period does not follow any single formula. Social representation, abstraction, landscape-sign and gestural painting coexist and transform the territory into rhythm, surface or mental space. Rank 97 here sets a historical and critical progression, not a list of values. The button directly opens the NGV notice in order to control the title, image, technique, dimensions, credit and, when available, location in the rooms.
Image and notice: National Gallery of Victoria, Melbourne - additional rights indicated on the notice See at the museum →Cahill Expressway
Jeffrey Smart's "Cahill Expressway", dated 1962, is housed in the National Gallery of Victoria, Melbourne. The official notice indicates oil on plywood and a format of 81.9 × 111.3 cm. In the fifth chapter, the work shows that the Australian post-war period does not follow any single formula. Social representation, abstraction, landscape-sign and gestural painting coexist and transform the territory into rhythm, surface or mental space. Rank 98 here sets a historical and critical progression, not a list of values. The 98 rank sets here a historical and critical progression, not a list of values. The button opens the NGV notice directly in order to control the title, image, technique, dimensions, credit and, when available, location in the rooms.
Image and notice: National Gallery of Victoria, Melbourne - additional rights indicated on the notice See at the museum →Into the beautiful garden
"Into the beautiful garden" by Charles Blackman, dated 1956, is kept at the National Gallery of Victoria, Melbourne. The official notice indicates tempera and oil on fiberboard and a format of 76.0 × 122.0 cm. In the fifth chapter, the work shows that the Australian post-war period does not follow any single formula. Social representation, abstraction, landscape-sign and gestural painting coexist and transform the territory into rhythm, surface or mental space. Rank 99 here sets a historical and critical progression, not a list of values. The button directly opens the NGV notice in order to control the title, image, technique, dimensions, credit and, when available, location in the rooms.
Image and notice: National Gallery of Victoria, Melbourne - additional rights indicated on the notice See at the museum →Black boys
"Black boys" by Clifton Pugh, dated 1955, is kept at the National Gallery of Victoria, Melbourne. The official notice indicates oil on (hard panel) and a format of 61.3 × 76.8 cm. In the fifth chapter, the work shows that the Australian post-war period does not follow any single formula. Social representation, abstraction, landscape-sign and gestural painting coexist and transform the territory into rhythm, surface or mental space. Rank 100 here sets a historical and critical progression, not a list of values. The rank 100 sets here a historical and critical progression, not a list of values. The button directly opens the NGV notice in order to control the title, image, technique, dimensions, credit and, when available, location in the rooms.
Image and notice: National Gallery of Victoria, Melbourne - additional rights indicated on the notice See at the museum →What the journey reveals
One hundred paintings, three decisive movements
The journey does not tell of a quiet walk towards abstraction. Rather, it shows how Australian painters constantly return to landscape, city and figure to modify the rules.
Light builds the territory
The Heidelberg outdoors transforms the atmosphere into a pictorial structure and experience of the place.
Modernity circulates
Paris, London, Sydney and Melbourne fuel exchanges that artists adapt to specific Australian subjects.
The landscape resists
In Nolan, Drysdale, Williams or Olsen, the territory becomes myth, sign, rhythm or abstract field without ceasing to be recognizable.
An Australian timeline
Five benchmarks to follow the transformation
Roberts, Streeton, McCubbin and Conder installed a painting around Melbourne that paid attention to the moment and the light.
Roberts gives a work scene a monumental scale and participates in the creation of a national imagination.
Preston, Cossington Smith and Beckett invented distinct paths between construction, decorative synthesis and atmosphere.
Nolan, Boyd, Tucker and their contemporaries use painting to question violence, history and identity.
With Williams, Olsen and post-war abstraction, territory reads like rhythm, matter and mental space.
Australian painting in depth
How Heidelberg opens up several Australian modernisms
Around Melbourne, in the 1880s and 1890s, Tom Roberts, Arthur Streeton, Frederick McCubbin, Charles Conder, Jane Sutherland and Walter Withers made the outdoors a method of construction. Their painting is not limited to recording weather: cut frames, colored shadows, large formats and work scenes contribute to creating a new relationship with the territory.
At the turn of the century, Australian painting circulated between Europe and Australia. E. Phillips Fox, Rupert Bunny and Ethel Carrick worked in Paris or on European coasts, while Hans Heysen, Elioth Grüner and McCubbin gave the tree, the clearing and the landscape a monumental presence. This opening corrects the idea of an isolated national school.
Between the wars, Margaret Preston, Grace Cossington Smith, Clarice Beckett, Dorrit Black, Grace Crowley, Roy de Maistre and Roland Wakelin moved the impressionist lesson. The paths diverge: structured color, decorative synthesis, tonality, cubism, abstraction and urban vision. Modernism becomes a set of problems rather than a single style.
The Second World War and its aftermath transformed the stories. Sidney Nolan, Arthur Boyd, Albert Tucker, John Perceval, Russell Drysdale, William Dobell and Danila Vassilieff deal with violence, history, myth and the human figure without producing a pacified national narrative. The landscape itself becomes disturbing, mental or theatrical.
After 1945, John Brack observed the city and its social rituals; Fred Williams and John Olsen transform the landscape into a network of signs; Ralph Balson, Tony Tuckson, Ian Fairweather and Yvonne Audette develop very different abstractions. This classification follows these movements chronologically: the number organizes the reading, it does not measure the absolute value of the works.
Four reading keys
Look at returns rather than linear progression
Light, territory, matter and story connect very different works without erasing their conflicts or their gaps.
Observe the atmosphere
Colorful shadows, mist, warmth and reflections structure the scenes far beyond the simple natural effect.
Measure distance
The point of view reveals a physical, social or symbolic relationship between the painter and the landscape.
Follow the surface
Oil, tempera, enamel and synthetic polymer produce different densities, speeds and resistances.
Question the myth
Work, colonization, war and national identity appear as much in the subjects as in the way of framing them.
Collections and official notices
Continue directly into the collections
The hundred images come from NGV's Australian Painting collection; each button opens the exact notice of the work.
Frequently asked questions
Australian painting without shortcuts
The essential benchmarks for understanding Heidelberg, the interwar period, the Angry Penguins, abstraction and the selection method.
Why start with Heidelberg School?
Because the group gathered around Roberts, Streeton, McCubbin, Conder, Sutherland and Withers constitutes a decisive starting point for modern painting in Australia. The outdoors, framing and light become pictorial as well as national issues.
Does the classification only contain paintings?
Yes. The 100 notices indicate a pictorial technique: mainly oil, but also tempera, enamel and synthetic polymer paint in some modern artists. No photographs, prints, sculptures or stand-alone graphic works are included.
How were the works classified?
The journey is first chronological and critical. Five chapters of twenty works connect Heidelberg, the Federation generation, the interwar period, the war period and post-war modernisms. The number is used to build this progression, not to designate a winner.
Why is the National Gallery of Victoria the primary source?
Its Australian Painting collection allows you to seamlessly combine an official image, technique, format, credit and individual notice. This consistency avoids broken images, exposure photos and uncertain title-image associations.
Which artists represent Australian modernism?
The course includes Preston, Cossington Smith, Beckett, Crowley, Nolan, Boyd, Tucker, Drysdale, Brack, Williams, Olsen, Balson, Tuckson, Fairweather and Audette. Their differences are as important as their commonalities.
Why aren't some of Sidney Nolan's works in oil?
Nolan notably uses enamel, a decisive pictorial material for his modern language. The title announces paintings, not just oils; preserving these paintings allows us to correctly recount the period without introducing photography or prints.
How were the images controlled?
The hundred image URLs and the hundred official notices are audited before publication, duplicates are prohibited and public rendering is verified in the browser. A replacement image, logo, or response other than an image blocks publication.
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