john brack pencil paintings

The shelf they sit upon is otherwise bare, the wall behind pleasantly painterly. The painting, however, is much more than mere transcript, abounding with social comment and metaphor. Blue Chip IV: The Collectors' Exhibition, Niagara Galleries, Melbourne, 26 February - 30 March 2002, no. in exhibition catalogue, another example)Twentieth Century Australian Art: A Major Collectors’ Exhibition, Gould Galleries, Melbourne, 25 March – 30 April 2000, and Gould Galleries, Sydney, 13 May – 11 June 2000, cat. PROVENANCE: Up in the Air, 1973 John Brack captures his skaters in an eye-catching but risky move. 17 (illus. Lansell, 'Art', Nation, Sydney, 17 October 1970, p. 19 Robert Lindsay, Patrick McCaughey and Ursula Hoff, John Brack: A Retrospective Exhibition, National Gallery of Victoria, Melbourne, 1987, p. 124 Sasha Grishin, The Art of John Brack, Oxford University Press, Melbourne, 1990, Vol. Four Pairs and a Single read like angular calligraphic forms, the pale cream of their clothes and golden glow of their limbs set in contrast to the vast field of dark floorboards. )Millar, R., Brack, Lansdowne Press, Melbourne, 1971, p. 109 Lindsay, R., John Brack: A Retrospective Exhibition, National Gallery of Victoria, Melbourne, 1987, p. 124 RELATED WORK: Backs and Fronts, 1969, oil on canvas, 115.5 x 163.5 cm, private collection, in Grishin, vol. One of nine paintings and sixteen related drawings displayed in the exhibition, JOHN BRACK 1920-1999 Study for First Daughter (1955) ink on paper signed 'John Brack' upper right 20 x 16 cm PROVENANCE Private Collection Australian & European Paintings, Prints, Books & Tribal Art, Leonard Joel, Melbourne, 20 November, 2001, lot 1, 'First Daughter', illustrated Philip Bacon Galleries, Brisbane (label verso) Mr David Clarke AO, Sydney, acquired from the above on 25 November 2004 The Estate of the Late David Clarke AO, Sydney, Description: Description: When we look further into the picture, the 3 letters could be END, NEVER END. II, cat. Rudy Komon Art Gallery, Sydney Acknowledging his interest ‘in the man-woman relationship of the dancers’, the ever-straightforward Brack noted that ‘almost all professional dancing teams are married so it is not so much romantic love as a 50-50 business contract’.5 With this in mind, the images assume a different meaning: collaboration between each dancing couple transforms into competition, and the exaggerated, fixed smiles become masks that only thinly disguise the physical effort behind their elegance and grace. Herald, Melbourne, 13 May 1967, p. 25, quoted in Grishin, S., 21 LITERATURE: Grishin, S., The Art of John Brack, Oxford University Press, Melbourne, 1990, vol. Brack’s first sustained focus on the theme of the nude occurred in the mid-1950s when he hired a life model and realising that ‘there is absolutely nothing whatsoever erotic in an artist’s model unclothed in a suburban empty room’ See also for more detail regarding Brack’s process. AUD3,000 - AUD5,000, Description: I, p. 118 2. It is the striking colour palette – brilliant pinks, reds and ‘Tungsten yellow’ – however, which propels these paintings beyond the documentary and into the realm of fantasy, where gloss and artifice, and the notion of performance, prevail. Brack, H., ‘This Oeuvre – The Work Itself’, Grant, K., op. LITERATURE: JOHN BRACK, (1920 – 1999), THE DRAWING TABLE, 1970, conté on paperSIGNED: signed and dated lower right: John Brack 70DIMENSIONS: 71.0 x 38.0 cmPROVENANCE: Estate of the artist, Melbourne Helen Brack, MelbourneEastgate & Holst, MelbourneGould collection, Melbourne, purchased from the above in August 2013EXHIBITED: John Brack: Drawings and Paintings of the Nude, Rudy Komon Gallery, Sydney, 1 – 28 April 1971, cat. 2 Australian Paintings: Colonial/Contemporary, Deutscher Fine Art, Melbourne, 2-19 April 1984, no. Australian & International Fine Art, Deutscher-Menzies, Melbourne, 2 September 2003, lot 48, illustrated Men’s Wear, 1953 (National Gallery of Australia, Canberra) to the ordered domesticity of The single response Brack received to his newspaper advertisement was from a middle-aged woman whose appearance was so far removed from the fleshy subjects that typically graced such depictions that he had no choice but to challenge the expectations of the nude in art with the series that ensued. The Art of John Brack, Oxford University Press, Melbourne, 1990, vol. Most years, the number of paintings he made could be counted on one or two hands. Having attained for a brief moment a state of triumph, they hover as if frozen on the pinnacle of their success, precariously balancing, tottering on the brink of collapse without actually collapsing.'1. As he explained, ‘What I paint most is what interests me most, that is, people; the Human Condition … A large part of the motive … is the desire to understand, and if possible, to illuminate … My material is what lies nearest to hand, the people and the things I know best’.1 Throughout a career that spanned more than five decades Brack’s work evolved both stylistically and technically, as well as witnessing distinct changes of subject matter, however this focus on the human condition remained a consistent and primary theme. 1. 10, 101 (illus. Barry Humphries in the Character of Mrs Everage, 1969 (Art Gallery of New South Wales, Sydney) – embarked on his most ambitious series to date, twelve oil paintings, three smaller oil sketches, and a group of related watercolours and drawings on the theme of ballroom dancing. Their placement on a sheet of glass resting on wooden juggling pins introduces an unsettling note however, highlighting the precariousness of the situation and the critical role that each figure plays in maintaining balance and flow. The floor of the table, another creature-like shape as it oozes flatly around, identifies the animal shape of NEVER, and is in contrast with the semicircular cove of the other side of the table. DAVID THOMAS, Estimate: AUD16,000 - AUD20,000, Description: II, p. 78, 262, cat. II, cat. A talented draughtsman, Brack enjoyed the formal challenges of drawing from life and works such as this attest to his skills of observation and ability to describe the nuances and idiosyncrasies of his subject, as well as his mastery of pictorial composition. signed and dated 'John Brack 58' upper right JOHN BRACK, (1920 - 1999), SKETCH FOR BACKS AND FRONTS, 1969, conté on paper SIGNED: signed and dated lower left: John Brack 69 DIMENSIONS: 44.5 x 65.5 cm PROVENANCE: Rudy Komon Gallery, Sydney Paul and Gwen Frolich, SydneyThence by descentPrivate collection, Sydney EXHIBITED: John Brack, Rudy Komon Gallery, Sydney, 8 - 25 April 1970, cat. Reviewing Brack’s solo exhibition at Australian Galleries in November 1957, 96.5 x 130.5 cm Grishin, S., 4. Study for 'Up in the Air', 1973, conté, 50.0 x 68.0 cm, in the collection of the University of Western Australia, Perth and participating auction houses. Never were the result of a labour-intensive and complex working method. John Brack on John Brack, lecture, Canberra, 1977, quoted in Grishin, op. 22 (another example)John Brack: The Sport of Kings and Other Paintings, The Johnstone Gallery, Brisbane, 27 March – 8 April 1957, cat. The ensuing decades witnessed regular solo exhibitions, private commissions and the publication of the first monograph on his art. 5. Three Pairs, Robert Lindsay wrote, ‘Here an added social metaphor exists in the concept of balance, with the protagonists maintaining equilibrium within the contorting complexities of life.3 When 6 First International Art Exhibition, Saigon, 1962, no. Nude in an Armchair, 1957 directly from the exhibition and the striking Brack, J. interviewed in Australian Contemporary Art Archive, no. AUD60,000 - AUD80,000, Description: 21 and 132 ESSAY:According to John Brack's work records, the painting Nude in Red Room, 1965 was commissioned by Harold Mertz, the New York businessman who was advised by Kym Bonython. While Brack’s work evolved both stylistically and technically throughout a career that spanned more than five decades, as well as witnessing distinct changes of subject matter, this focus on the human condition remained a consistent and primary theme. DIMENSONS:

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