Queensland Art Gallery Presscuttings Book 3 : Presscuttings, Sept 1959 - Sept 1967

Melboume, Vic. Sydney, N.S.W. La Belle nude goesd ,~~1•~\!lr.!'!' I , I,, , ' I() fl-7, •• I r)f' Around the town ,ART TREASURE RECOVERED IN OWNER'S HOME LA HEI.U~ HOLLANUAISE, the $200,000 Pic11>1>10 w11R returned to lhe C}ueenNh111d Art Gnllery by police yesterdar. Chier of the Brlsbane lflcinl, from police henJ– C.I.B. tln•pector W. quarters to the gnliery Rael.1.l handed the pnlnL· "·hen they took La Belle Ing over to chairman or llollundalse "'home." 1 lie gnllerv u·uS1ees •~lr Thev nrc Detective Sen• Leon Trout, In his office ior sergean t J. McSpor• al 1.30 p.111. ran and Detective SPr• Sir Leon ol11Ticd a rrcelpL gcnnt M . Chalmers, who whlcl) guar~nteed that the have t,cen &s11igned to the palnlmg 11ould be re- Inquiry since the painling turned to police if 1t were disappeared rrom the 11 at• ~g~~idafri~,~nv aubsequenL ler~• on June 5. Inspector Raetz said the In Brisbane paintln!I had been exam- It was recovered Jn a lned by expert•. who con- house in a Bri•• !lnncd it wns the original bane auburb on Mon- A LTHOUGH she has lived In England since 1052, former Melbourne artist, Jo'lorence Martin, aays she stlll regards All.'i· tralla as "home." "I &lways come back every four or five yeus,.. she said fifs~~r· "I WIiii last here An exhibition of her P&lnUn1s was opened by Mrs. Dougl&s Carncile &t the South Yarr& G&llery )&St night. IRISIAHE, Wedne • day.-Police found the inining $200,000 Plca110 painting ot the home of Mrs Julie Rubin, Acting Police Cainininioner, Mr F. Palethorpe, • aid today. Picasso. day art.er Inspector Raetz Smudged ~~~~:~ri,nconfldentJal In• The exhibition comprised 35 oil p&lntJngs and 25 sketches or either Spanish or lrlsh subJecta, Mias M&r• Un St.Id. "! was In Mexico two years ago, &nd In Ire– land &bout one &tu! & half !';ir Leon 11111d the paint- He, with McSporran and mg was exantlned by Mr. ChaJmera, seized the J . Wieneke 1who hu been painting &ft.er & _,eh recommended by the warrant wu LMued, Mn Rubin i, 1he widow of Major Harolu De Vuhl Rubin, "ho donnk,1 1hr painting lo Q11orn,l11nJ Art Gallery. home on l'.t.,mlay founil the puinling. trustees for the poaltlon or The Premier <Mr. Nick• gallery director, and the linl aald lut night that acting director CMli;s police Billi were tnvestlfa• ye~~ ax~~ very little work during her travels, prefer– rln1 to m&ke sketches which she Interprets In oils when she returns to her 4tudlo In South Kensington, London. "I don't like the photo– graphic atyle," she said. l"hll follm•·~d confi, dtnHal ~nun11l inform&• Hon wbtkh ln.p.:clor R11tl1 oblaln~d. Robyn Hllll. tln11 the removal of he T11e painting I• un- palntln11 from the Gal- damaged apnrt from a lery. sllghL •mudge on one Police would Jay charllt!,I shoulder of the nude. If they obtained aufflclent The painlin~. I.a Helle Hollandai..,, ,lisapprared from Qurensland A r1 Ga1- lery on 1hr nigh I or l unc ~- Mr Pulelhorpc s:ii,1 Mr, Rubin told police she h:od no iuen of llll' idcn1 i1y of the mun. An art expert Mid It evidence, he uld, would not detract from the Mr. Nicklin, who la Act• value or the p&lntlng. Ing ~lnl&ter for Police, 1 Two leading det.eclives, said nllrm&l pollee lnvllltl• 11ccoml)Mled p.ller, of• 11"10111 were ~ Some of the sketehes she will take back with her after this trip will Include old gum &nd te&•trces, &nd Iron lace on old homt!8, which, she S&ld, h&S ,. fuclnatJon for her. She took •ketches of these sublecta In Tas• manta recent.Iv &nd on & motorln11 trio to New South Wales via the Hume Hlgh– wav. 'l'llt p,111111111( ,hen•·• a .... 0.lrh •lrl, Mr Palr1horJ1<' suid Mrs Rubin uralined to police lhnl a mystery man left lhe paln1in1 at hei home on Sunday night. She said the man insisted 1he take the painting. She said , he would nol know him acnin. Mr Pnlcthorpc sai,1 In– spector Rnclz und other de– tective~ were tryin1; to trm:c the mnn. I { 7 Brl11Nne, Q. Because she framl for the 1nfcty of the p:tinling, • he undertook In keep ii for a month before rclurn– ina it. The pointing had n slight smu,lgc mnrk on the Birl'• •houldcr when rc1111 nc.1 10 lhe Queensland Art Gallery. \ ' ,:~ I J , • - { •·"Fa;------------– _., ,,. She has held one-man shows In the U.S.A. and England u well &s Austra– lia. Her last exhibition was ''Good faith" Mr Pnlethorpe ,aid police had no doubt that M'" Rubin had acted in good faith, He uid police were sutis– flccl her muin concern was the '8fcty of the painting. Mr Palethorpc said the C::.I.B. Chid, Inspector W. H. Reetz, and other senior detectives, had ohlnined a aearch warrant on Sunday. They went to Mrs Rubin's J ( <' a_ I.,, J] {, /// . l'\ f I Experts sni,I the mark would nut damage the paint– ing's value. Sydney, N.S.W. ,; LA BELLE HOLLANDAISE IS BACK ON THE WALL Quecn1land'1 mast famous ladr-l• Belle Hol- i.ndai1e-i1 on show again a_t_ th~rt Gallerr, Pa1Ni s:1~~0 ,,a~~,!! 11 ~ r~~ I sh~ !Y/~ t~!" rl~~f~d cgl~ moved frnm the Gallery/ leclion at 9 ,1.m. today. on June ~- Almost lmmedlatelv the It was recovered ln a painting was remo\'rid ror mid led by Brisbane CIB an lntensh•e two-hour ex• chief. ln•peclor W. 11., amlnatlon by Acllnu Oul- ~~J;· Ol~nM.frtdat~burban ~~rr.. Director, ~u•• Roh,·n Melboume, - - - - - - - - i14JUN 196(A6-e. " ART MOTES / Patrick McCaughey Mori prints brigliten The stencil r,rtnts of Yoshttosht Mori (Crossley Gallery) make the most inter- eating exhilntton tn an off week. Nearly 70 now, Mori comea ''off'' week Judith Parkln,on•, glaa, collages and sculf>tur11 a/lare the opening e:.chl- bttlon with PhUllp Here one moves Into that amooth lln &nd tonic world ff :1;:i:; ~fJ :N~: N:c~,t ·- I I fill lil ,"\ lrJl\/11 rir /\.NI> 1111 /\.HTC , from that S&me pneratlon or J&paneae prlntm&kers u Munau.t& &nd SIIS&Jlm&. TheJ repreaent the contlnu• Canuzo•, motonaed ,culpturea, non-motor- or too broken to be made gl&morous, toothless and ch&l'Mterleaa. AROUND THE GALLERIES I Geryntinic style ROGER KEMP is Australia's most s•tc• ccssful abstract •·, . pressjonlst - a painter who firmly follows a sttict Germanic style. There is a bold fervour alllcd to on intellec11rnl con– alderation that 9ivc, Kemp hi, personal quality. As– surnnce of " the mind pcr– hap, commands 1he heart. But enouah of the mnn's spirit and , vigour invades the c1nv1ms on ,how nl th• Rudy Komon Gallery to assure Kcmr of his place in Auslrnlinn nrl. For once lhe catalogue titles ~ivc a precise covcr– •lt• of an arll,t', involve• ment • with •pecific prob– lems In pa,nllng,: the theme, define much of the pslnler's nullude to the or– asnlullon of his work1. Rhythm, Exprt.,,ion of Structural Sequence. Square, and Circle, in Ex– rreaslon, Direction in Srace, Unity of Form,, Or– cheatratcd Sequence nncl By WALLACE THORNTON Experience with Abstract are just some of 1hc titles lhnt describe these intcr– relnted pointing, . Kemp uses henvy som– bre colour. There is much block ,lo give densit y nnd squares nn~ circles in rigid compnrtments. Hut these works pive variety lo this exhibition. II will be open al 10 a.m. lodn)'. his form, nre defined with Macqua1·1·e a vigour lhat is almost aggressive. Al his hcst, thcrr. is a IN A WEEK where the sense or t1r1?cncy thnt rises new cxhihhion!!i feature above and beyond the caJ. :irtists making !ilntcmcnl~ culntions of orc1cr- thc dis- in lilron~ a!i:cicrlivc 1crrn~. ciplincs of nrchilec111ral Herhert Flugelman, show– struc111rc, rhythm•. direc- in~ paintings and drawinp, lions, spnt inl relntionships al the Macquarie Galleries, nnd so on. For, in fact, is no cxi:cplion. the titles only tell half the Flugelman is quite ,•io– story. II i• through the lent in his allempt, 10 rc– spinl of the mnn that his concile his nr1 in lern;s of cxprcsi;ion nchicvcs its much of -present contcm- grcalul reward. porary idiom, In pninlin~. Kemp Is pnrticularly Harsh hluck, oppose ~lr1r- s11cccs,ful in rclnlin~ figur• inf whiles; crude chromns alive subject• with ah- · o green, hlues, oranges slrncled fonm- nlthough nnd red, arc clashed in one n!'lices in thi• exhihi- fierce dis1urhnnccs, nnd lion that he is ~iving some stripes nre thrown in for nllenlipn 10 • more ~co- good measure. metric abm1 1.iion involving 1!111 Flu~elnrnn wont, the I. He pastes nudes nnd ~rrn<luctinn, of lt~lian nrl his e:1nv;1"C'"'; he pln)'S ·uh surrc:ilh,m: he c1111·1 °'i~I hnmn}?e to Nolan and i Ned 1'ell)•, Tl's nil 11rd nnd rough nnd not cnrly ~ootl cnm1gh. Many pns<ibililics arc in1cd nl. hut not fully ccomplishcd. The ntmos- tnr, repre1111ntt.tlon&1 t.nldl· lion In the J&p&nese print. In their work, the n&tlve tl'lldltJon of Image malclng phere is of lhe pot-pourri. not only survived but shows Indeed. it is in the main conllder&ble cre&tlve vitality. artistic looking, for no firm In these print& of folk viewpoint comes through heroes Mori ta very much from the mixed ingredients. &IIJ:· bunches the ~res to• In works such as "Study for Painting," "Brown and gether In the mid e of the Black Paintin•" and, to a print In ,. bravura dlsplay • of stencil cutUn1. His heroes, le,~cr ~,cgree "'Painting with like Bujln &nd KanJincho, S1npcs one sees some h&ve & compressed enel'll7 as more hopeful sensibility. thourh they were about to Also nt the Macqua rie I explode across the print. Galleries i, n collecti"n of Mort's stencil techniques English nnd American give the print& gre&t decora– rrint,. Alan Davie, David Uve qu&UIJes. In the re– Hockncy, Rauschenberg str&lnt of the monochrome and other< explore Op and print& these decorative qut.11- l'nn nrt in wh·,t arc now ties become t&utly dram&IJc. •·. : ' Imal(Q emerge from & pl&y fary11linr term,. . . . of black &nd white shapes. . rhcsc two c.xh1b111on• I But the Images really h&ve will open nl 10 n.m. todny. to force their W&Y through the decorative p&ttem to be El Dorado ~~""1t~r1 J 1 ~~~ n~•t~~ mo,•e all the time which Is a A. SIMKUNAS always central quality of decorative allcmpt, the brave (or RI art. least dcmon, trnlive) ges- The two dl•ppolntlng · h' ' prints of the exhibition are IUre in . ." nrl. the polvchromatle Prints - . He like, hold rm11crn- Shlbaraku and Town Jn in~-.bnghl . ,·nlours nnd Canal. l\'here movem•nt Is 111mp1ng dislurhnncc, or resisted and the eye hnlt.,. 1cx111rcs. Oenerally the exhibition In his exhibition of m11.kes an lntereatlng show, prints and drnwin~• at the &llowlng onP. to •ee the re– El Dorado Gallery he presentational tradition In convcyi. :-i ~·onfidcnt Cx1cr• Japanese prtntmaktng sur• m,I chullilion 1hnt '-Ccm, ,·tvtng Into t,h" J)r?!;ent R~ a '? cl:11111,ur . r_o_r a11enl1nn. l\~~nfn i~i,Jl1~J~~:~~~~ Even !he hl,,ck and_ w,h11c end refurbl1hea It• oreml..es pnnls have such ng11n11ons to produce aomething new. or shrirc~ :ind ICXlllrC'~– -.:11,:h tknrnnclc; fnr nnc·~ ncHicc-lhal the olhcrwi,c dr-.:orntivc rnllcrnin,::: i~ c11rhcd. And for thi~ reviewer it i~ :Ill to Sirnkunac;' arlvnn• iaµc thnt hi, ,hnwman– ship con\'ey, n •r•rk of vi111l life a~ well. Now on ,·icw. * lsea aculpture, and graphics. * Canlzzo's whlrlinll &nd tw1rl111r machines l!&ve & Oaller11 A'a photo– triena11 presence and per• graphic exhibition, The • lorm with boiateroua Jolllty, N11116 In AuatraUa, open, Motormo Vivo loudly aow1ds thl8 wuk and will be re– Its own trumpet, &s well &s viewed next week whcelmg and squealinll lllto I life. 'I'he best thlng &bout · theae &mlable Ttngucly toys Three other e:.chtbttlona la their sense of fun and thfll week all share tM Inventiveness. They &re such modern trlrtues and tM good performers &nd keep r llm'tat'on of ., one thoroughly am used. aeve e ' ' 8 ... When C&nluo &b&ndons luatratfve art. his wit &nd gaiety, _his y~'t':ndo~=Y <='! sculpture doesn't work th b t hi h ta hard nearly &S well. The deculng lye ,.es rl:i~riien~atlon oi flesh &nd crumpled he&d of virtue. Her travelo111er's t~alyt.Uc:fsB~~~fi off:.!° 1 ~;a l&ndscapes of Mexico &nd •1Y lrel&nd run to the an&J)lhot hammy ring. The obvious• view of l&ndac&pe &t the ness which &mused us In the drop or a camera's shutter. motorised sculptures lapses The:( are scarcely more than lnt.o a banal rhetoric. "typical scenes from places I The wall rellefs and ha,-e been." And th&t Is graphics do11't re&lly bear hardly sufficient to m&ke ::iu:ct~~e~&,rero::in~ ~'la~: them Interesting as p&lnt• aculpture, Motorlno Morto, lnf:er Irish scenes, conse• suggesta th&t C&ntzzo might quently, become terribly h&ve the stamln& needed to olrlsh &nd the Mexican view develop beyond the ftrst er- tastefully exotic. sun •· !uatons. For &11 the obvloua• like travelogues. yo ness of Its welded Junk metal thtse pictures. forms, It does strike th&t John Rol1'h (LcVl'ftll I.J ,11.al note of unpredlct&b!Uty painta best when he is least that dlllConcerts the affected. The baldness of watcher auch a p&lntln11 as The Judith P&rklnson's glasa Ll11hthouse, or the sensitive coll&ges t.lso shOW lnvenUve• but palely loitering White ness, but they run to the Flowers hav.. an unexpected merely decorative too directness. They"re harm1 08 q•~~~~yregular rect&ngle th&t ,u~~~nt. If you know wh&t contain~ the wads of git.II But. the purnoiw.lessnesa of stops the eye and robs them his dls•rrrt eKr.rclses in ero• or their force. We uslmlla 1 t.e Ura <10 l4l . or his r,,atador them too e&SIIY, After tie scen•s. ror the mlscellA.n"Ous hwenu"eness of thelll! col• l1u,di;cnn,s ~nd oortr11•~ Jages. one ts & little dis• 'rn•ke onr. blsneh. Jugt whv mayed by her pedt!8trl&n Mr. Rn••r• \\•ant, to share mural and ploddhll sculp• •nch I rlvlAllt,l•s wit.II us, ls tures. b th• nr,lv mystery or the eK- J\tore space t.nd fewer o • hlhltlnn. feet., would m&ke this & ,u,tt RJ,h,,....,.,. ITnn,..lcl better show, ar.1,1101lv call• "'• •how "&n exhibition of 111ustratlon.•