Camille Pissarro (1830-1903) was the only member of the Impressionist group to exhibit in all eight of their exhibitions held in Paris between 1874 and 1886. He drafted the Impressionist convention and was the principal organizer of the first exhibition held in 1874. He was a bold and restless experimenter throughout his career, working in a variety of mediums and techniques, including painting, drawing, and printmaking. Pissarro was also regarded as an astute judge of young talent. Cézanne and Gauguin both acknowledged their profound debt to him, and Seurat, Signac and Matisse also benefited from Pissarro's generous encouragement and advice at the start of their careers. This beautiful book is the first to examine closely Pissarro’s innovative role in the Impressionist movement and his novel approach to pictorial composition. With 150 stunning color illustrations of many of Pissarro’s greatest works, this comprehensive and accessible book includes five essays written by distinguished scholars that analyze the artist’s exploration of composition and subject matter, his experiments with color and space, and his turn to Neo-Impressionism toward the end of his career. Camille Pissarro also describes his relationships to other contemporary artists, his reception by critics at the time, and his significant influence upon Impressionism and modern art.
Charles Pollock: A Retrospective is the definitive rediscovery and anointing of a significant figure in American art between the wars. As there are no recent monographs on Charles Pollock on the market, this volume fills a gap.
This exhibition chronicles the last two decades of Picasso's career demonstrating his powerful and inventive responses to the challenge of age towards the end of a prodigious life.
ANU Alumni and Canberra based artist Ham Darroch opened the Drill Hall's 2020 exhibition program with a dynamic ensemble of colour, geometry and object-based form. In his paintings and object based sculptures Darroch investigates the visual tradition of hard edge abstraction of the 1960's and 70's. His works evoke a strong carry over of the enigmatic conceptualism of Marcel Duchamp and he makes wide ranging references to other works of Australian and non-Australian modern and pre-modern artists. Darroch's sculptural work re-conceptualises retired everyday objects by over-painting them with two-dimensional coloured geometric configurations. The wall based sculptures co-inhabit a place of remembered functionality and abstract pictorial representation. In the sixth iteration of his recent site-specific, ephemeral wall paintings Darroch uses Uccello's historic triptych The Battle of San Romano as a compositional scaffold, painting directly onto the western wall of the gallery. Inhabiting the field of the painting his rhythmic geometries create a narrative of tensions between colour, edges and negative space.
Designed as a cogent and multifaceted insight into a complex and imaginative artist, the main body of this book maps her work across the decades, beginning with her days as a student in Sydney's lively mid-century abstract scene and spanning her prolific output as one of Australia's most potent and original contemporary artists.
Abstraction remains a vibrant facet of contemporary art and the Drill Hall Gallery is delighted to present an exhibition of the work of ten Australian artists for whom abstraction is central to their practice.
Catalogue, including essays, for an exhibition of paintings by Allan Mitelman, 20th September to 19th October 2002, VCA Gallery Victorian College of the Arts.
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