Sidney Nolan (1917-1992) Original Watercolour Painting On Paper 39.5cm x 28cm

Sidney Nolan (1917-1992) An original 'untitled' watercolour painting on paper of a church scene with the date '1819'. This appears to be a Venetian scene and possibly the 'Church of San Pietro di Castello', Venice. Nolan served as Australian Commissioner to the Venice Biennale in 1954, exhibiting ten paintings. Similar images were painted by Edward Alfred Angelo Goodall, R.W.S. (1819-1908).  The artwork is signed with initial lower right: N. This also matches his 1954 signature. Beautifully framed in its original frame, the artwork is in excellent condition. We have opened the back and photographed the backing card (please see all images). Provenance: Coral Gable Auctions Florida USA. © The Sidney Nolan Trust. All rights reserved. 

Dimensions

Image Size: 39.5cm x 28cm
Image Size: 58.5cm x 47.5cm

Bio

Sidney Nolan was born on April 22, 1917 in Melbourne, Australia. His father was a tram driver. In his youth he was a racing cyclist and athlete. He turned to art after attending night classes. John Reed was his patron and Nolan married Reed's sister, Cynthia, who was a novelist. Nolan worked as a commercial artist in Melbourne in the 1930s. He served in the Australian army in 1941 through 1945. After the army, he joined the publishing firm of Reed and Harris. He based himself in London by 1954, and lived in New York City for two brief periods in the 1950s and 1960s. He was knighted in 1981 and is Australia's most literary painter, past or present. Narrative painting was thought to have vanished from Australian art in the 1890s, but it made a startling reappearance in the series of twenty-five episodes from "the Life of Ned Kelly" that Nolan painted between 1946 and 1948. Nolan's subject matter may be rugged, but his paintings almost always turn out to have an unusual delicacy - the happy result of a technique that Nolan developed by using his wife's discarded nylons. "It is a process of putting on layers of color and then burnishing them off with the stocking until I get the translucent quality I want.

Sir Sidney Nolan was one of Australia’s most significant modernist artists, best known for his depictions of the history and mythology of bush life in Australia. His paintings, often rich in colour, striking in composition and deliberately awkward in technique, represent Australian stories of loss, failure and capture, featuring figures such as the bushranging Kelly Gang, shipwreck victim Eliza Fraser and the explorers Burke and Wills. Nolan’s iconic paintings of the Kelly Gang contributed to the development of the image of Ned Kelly as a symbol for Australian history and identity.

Nolan studied at the National Gallery of Victoria’s School of Art in 1934 and 1936 but educated himself primarily through books on Pablo Picasso, Paul Klee, Henri Matisse and the surrealists. From 1938 he was encouraged and supported by art patrons Sunday and John Reed. Their house, ‘Heide’, in the outer Melbourne suburb of Heidelberg (now Heide Museum of Modern Art), was a meeting place for the avant-garde group known as the Angry Penguins, named after the radical cultural journal. The group included the artists Albert Tucker, Joy Hester, John Perceval and Arthur Boyd. The Angry Penguins sought to modernise Australian art and poetry by adopting spontaneous and visionary processes influenced by surrealism.

In 1940 Nolan held his first solo exhibition in Melbourne, designed sets and costumes for the Ballets Russes production of Icare, and became a founding member of the Contemporary Art Society. Conscripted into the army in 1942, he spent two years in northwestern Victoria, where he painted the local landscape and figures in a powerfully simplified style of intense colour and bold brushwork Dimboola 1942. Deserting the army in 1944, Nolan lived under the assumed name of Robert Murray, and the following year began his iconic series of the bushranger Ned Kelly that portrayed events leading to the much-mythologised outlaw’s demise. In these paintings, Kelly is represented by the forms of his solid black armour. It was Nolan’s most inventive pictorial device, which he superimposes against the Australian landscape in First class marksman 1946 to suggest how stories and myths shape our meanings of place. Leaving Melbourne in 1947 Nolan trekked across far north Queensland and Fraser Island (Fraser Island 1947) and painted a second historical series on the shipwreck victim Mrs Eliza Fraser. He visited the ravaged landscape of a Mt Isa mine in 1948, painting Pretty Polly Mine. He then travelled to central Australia, where he developed a deep interest in the ill-fated Australian explorers Burke and Wills, who died attempting to cross Australia from south to north, and depicted them in Burke and Wills expedition, ‘Gray sick’ 1949.

In 1948, Kenneth Clark, Slade Professor at Oxford, was visiting Australia and urged Nolan to travel in Europe. Nolan left for London in 1951 and spent extended periods in Greece and the USA. He continued to work on his early subject matter throughout his career, returning almost obsessively to the Kelly Gang, Eliza Fraser and Burke and Wills, for example in Burke 1962. He also worked often as a designer for theatre and opera productions, including Samon et Dalila and The abduction from the Seraglio in 1987 at Covent Garden, London and Il trovatore for the Australian Opera in 1983. Nolan was knighted in 1981 and made an associate member of the Royal Academy of Arts (UK) in 1987 and a companion of the Order of Australia in 1988.