Tim Storrier works in a grand romantic tradition, against the flow of his artistic contemporaries. The individuality and consistency of his voice has established him as a major figure in Australian art. We see immediately the towering influence of the British Romantic painter, JMW Turner (17

‘Essentially my work deals with the infinite; it has got to do with the elements, stars, landscape, fire, water, air.’¹

One could go further and suggest that Storrier’s work specifically addresses how humans interact with what is sublime in nature, and our humility in th

Flame Trees, Horse’s Skull, Black River is one of Boyd’s most powerful, symbolic landscapes from his Shoalhaven period, which commenced in the early 1970s.¹ The work forms a part of a masterful series Boyd produced from 1981-83 that deal with the same subject matter: a ho

Charles Blackman’s work is infused with an imaginative quality that while inspired by the world around him, often reflects a deeply personal and poignant response to it.

The present work depicts the artist’s first wife Barbara Blackman, who suffered from a degenerative eye conditio

John Perceval made an immediate impression when he and his family moved from Melbourne to London in early 1963. Settling first with their friends, Arthur and Yvonne Boyd in leafy Hampstead Heath, the Percevals soon found their own house close by in Highgate. Once there, Perceval quickly sett

When Queen Elizabeth II visited Australia in February 1954, she was the first reigning monarch to set foot on Australian soil. Following the death of her father in 1952, the newly crowned Queen had taken over duties originally planned for King George VI. It is estimated that the monarch trav

The special psychological flavour of Jeffrey Smart’s painting is singular. Much has been said about the formal sources of his work in art: he is a documented fan of the Old Masters and often refers in his own work to artists as diverse as Piero della Francesca (c1415-1492) and Paul Cézanne (

As a society we happily consign individuals to their broad generational cohort, assuming we all will more or less fit the tag of Baby-Boomer, Gen X, Y or Millennial – and, to a great extent, such generalisations hold true. Our opinions and behaviours are shaped and moulded by the broad sweep

On the road with Ben Quilty, we come face to face with a country on edge. The cars in his paintings – the Torana, the Landcruiser, even the mini-van – carry the weight of a certain culture, a certain sense of being in the world. They tell a story about masculinity and freedom, mortality and