Wieneke Archive Book 4c : Queensland Art Gallery Presscuttings

Right: JOHN PERCEVAL, (b. 1923): Williamstown Jetty. Perceval's work is characterised by its spontaneity and unin- hibited enthusiasm. The very degree of confusion that exists in this painting adds greatly to its atmosphere. Shall we call it Latter-day Expressionism? Above: STANISLAUS RAPOTEC. (b. 1912) Athena. Yugoslavian born Rapotec come to Austrulia in 1949 but did not really come into the public eye until his winning of the Blake Prize in 1961 with the controversial "Meditating on Good Friday"-probably his most successful work ever. "Athene" is typical of his generally vigorous work; this time with Egyptian overtones and striking color. The classification generally accorded him is Abstract -Expressionist. Right: GEORGE LAMBERT, (1873.1934 Self Portrait. Lambert was born in Russia but came to Australia at the age of 14 to live and subsequently work thereby gaining an exper. ience of Australian country life that marks his first major pointing, "Across the Black Soil Plains," in 1889. He is noted more for tech- nical skill than for the exer- cise of color sense or imagination and, in his hands, the Impressionism of the Heidelberg Group was replaced by harder and more defined drawing. Above: FRED WILLIAMS, (b. 1927): Burnt Ferns. Williams' great skill as an etcher has not only directed his painting but is apparent in much of it. He has mastered the art of concentration of on idea until the figurative element of the subject is reduced to bare essentials, as in this example. With its hints of Oriental calligraphy, its logical classification, if it must be classified, might well be Post-post-Impressionism. Right: WILLIAM DOBELL, (1899.1970): Sketch for Wongi Boy. Robert Hughes rather bitingly classes Dobell with Streeton and Lambert as one of Australia's "culture heroes' - meaning he became a national figure in art. In fact, a court case over the award of the 1943 Archibald Prize to his "Joshua Smith- portrait did bring him moi notice than probably any other artist in Australia has received. He was a witty, satin(.,' painter with a versatile technique and an enviable ability to create atmosphere or define , character. What ;low( cation shall we give him') How about Personal -Impressionist') 8 the Sunday Mail Color Magazine, June 18. 1972 A guide to sot AUSTIR PAINT! By Frederic i Art is on the iipand-up in Brisbane. We boast at least ten well-equipped 1..,Ileries, Including one that ranks nnntg Australia's finest and must .1111mo:int tit the lesser ones that have prehleratts1 over the last years. few h.is 1, fallen by the wayside. Special exhibitions al the Queensland Art Gallery attract itiirt..1,triit attendances; art shows are 11, al method ol raising funds for liaritable or religious organisations; .11.1 competitions t rum professional Affairs carrying rich prizes to burban fence -painting contests of tering a few dollars' reward - are a leature of the times. Groups of amateurs consistently display the fruits of their labors of love. more than ever before. the /miniunity is seeking to adorn its homes with "originals" - which is one it the reasons for the marked financial ss of many of the fund-raising art Yet. among the [Innis:Inds 01 ot exhibitions and the hundreds it purchasers at lund-raising shows. there is a prevailing :tilde& of "I know what I like" rather than a conscious critical appreciation of what is viewed or bought Too often, "I know what I like" means "I like what I know" and many viewers, perhaps unconsciously. are chary of making more than the casual acquaintance err a passing glance with HERE'S WHA' Precise definition of many art terms is difficult, if not impossible, but the following are generally accepted: Abstract Art: A loosely - used term implying the re- duction of natural appear- ances to simplified forms or the construction of art from non-representational forms. Cubism: Painting in geo- metric, two - dimensional planes, without the repre- sentation of light or evoca- tion of atmosphere; some- times incorporating several different aspects of the subject simultaneously. Expressionism: An en- deavour to make a paint- ing the expression of a personal emotion or re- sponse rather than a faith- ful representation of nature. Impressionism: The re- cording of im nediate ex- perience of natural objects to avoid the appearance of formal composition, with replacement of hard out- line and clearly defined