Queensland Art Gallery Presscuttings Book 4 : Presscuttings, November 1967 - June 1972

A guide to some styles in The Sunday Mail Colo, Mogoune, June 18, 1972 AUSTRALIAN PAINTING HERE 'S WHAT THEY MEAN B." 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All lilt· pi101 ngr._1,)h:,; p11bl1sllt'd ur1 lllt•Sl' IWo paj,!t'S ;.11'(" nf p ;11111111~s 'iOll'll' ol Whlt'h h;.iv,. n u l hi1hl'r10 hl't'II t·xl11b1lt•1I pub\il'I~· 111 {J11t•1·nsl,1nd h\' :\uslrali;rn artist s and .ill arl' lrom 111~• nllll't'llon of lhl• Q11t•t•11slar11I (;:,llcry ·-- ~ , .. - I f i I Yugosla..,ion•born Ropotec co me to Australia in 1949 really come into 1he public eye until his winning of the Bloke Prize in 1961 with the controversial '' Mcdi!aling on Good Fridoy··-probably his mosl successful work c..,er. '' Alhene'" is typical o f his gene rally v1~orous work; this ti me with Egy ptian oveflones and striki ng color . The clossific-ation generally a ccorded him is Abstroct-Expre Hionist. Precise defm111or1 of many or ! l e' rrn s ,; d,ff,cult, ,f not impa111ble, bu t the fall awing or e gen erally accepted : Abstract Art: A lao1ely· used term implying the re– ducliori of natural appear• ance1 ta si mplifi ed farms or th e constructio n of art from non-r epre sentot1onol form s. Cubism: Painfin3 ,n gea– metrir.1 two · dim ensional planes, without th e repre- 1entat1an of light ar evaca · lion af at maspher e; same limes 1ncorporoting se..,er I different as p ects of the wbject s,multa neau; ly. Expressionism: An en– deavour ta mak e a point· ing the e xpre11i a n al a personal emotion 01 re· spanse rather th an a faith– ful representation of nature. Impressionism: The re· carding of imm ediate ex• perience of natural objects la avoid the appearance of formal composition, with re placement of hard au!· line and clearly defined Right: JOHN PERCEVAL, (b. 19231: W,lliom,town Jetty. Percevol 's work is characterised by its spontaneity and unin– h1b1led enthusiasm. The very degree of confusion that exists in this pointing odds greatly to 1h atmosphere Shall we coll ,t Latter-day Express1on1sm? t,ght a ncJ sloc,de by a ,pcC· ,olly sc l ect e calar ra nge t o g,v., th P notura l effecl o f I, Jht and tmasph e,e. Th-, open 0>1 ° pa,nl1ng1, f, n,.hc d o n thP spot, by the H e,delbery Gr aur illustrate t he te rm . Po~t-1 mpre.sionism: A sty le a l parnt,ng seek,ng 1101 to imi tate noturol form!– b u t to create for m; a reoc– , 1 o n fro m l rn pr e$sionisrn, fu lly util11,ng the canvas wi th in th e co nfines of the fram e. Primitivism: Generally, pa i n ting in a manner op– po sed ta accepl ed tradi– tion a l o r contemporary , tyles . It oft en cl aims o naive cha rm to offset lock o f te chn ical a btl,t y. Ap· pli e d ta p aint in31 ,n an a pp a rently si mple style. Surrealism: A movement al! e mpti1.g ta fuse reality with dr eams, or, in many cases, nightmares, result– ing in grotesque essays seemingly having some affinity with Freudian psychology.