0 – Master of Stillness: Jeflrey Smart paintings 940 · 2018. 11. 8. · is a Samstag Museum of Art and Carrick Hill exhibition in partnership with TarraWarra Museum of Art Education

� Master of Stillness: Jeffrey Smart paintings 1940 – 2011EducationResource

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Acknowledgements Master of Stillness: Jeffrey Smart paintings 1940 – 2011 isaSamstagMuseumofArtandCarrickHillexhibitioninpartnershipwithTarraWarraMuseumofArt

EducationResourcewrittenbyJohnNeylon,artwriterandcurator

TheauthoracknowledgesthevaluedcontributionofSusanJenkinsandotherSamstagMuseumstaffinthedevelopmentofthisEducationResourceandisparticularlyindebtedtoinsightsprovidedbytheexhibitioncuratorBarryPearcewhoselongfriendshipandprofessionalassociationwithJeffreySmartinformsadeepappreciationoftheartist’swork,methodsandmotivations.

PublishedbytheAnne&GordonSamstagMuseumofArtUniversityofSouthAustraliaGPOBox�47�AdelaideSA500�T 08830�0870E [email protected]/samstagmuseum

Copyright©theauthor,artistsandUniversityofSouthAustralia

Allrightsreserved.ThepublishergrantspermissionforthisEducationResourcetobereproducedand/orstoredfortwelvemonthsinaretrievalsystem,transmittedbymeanselectronic,mechanical,photocopyingand/orrecordingonlyforeducationpurposesandstrictlyinrelationtotheexhibitionMaster of Stillness: Jeffrey Smart paintings 1940 – 2011.

ISBN978-0-985�370-3-8

SamstagMuseumofArtDirector:EricaGreenCurator:SpecialProjects:SusanJenkinsCurator:ExhibitionsandCollections:GillianBrownSamstagAdministrator:JaneWicksMuseumAssistants:ErinDavidsonandAshleighWhatling

GraphicDesign:SandraElmsDesign

Anne&GordonSamstagMuseumofArtwww.unisa.edu.au/samstagmuseum


Coverimage:Self portrait at Papini’s(detail),�984 –85oilandacryliconcanvas,85.0x��5.0cm,privatecollection,©JeffreySmart

3 Master of Stillness: Jeffrey Smart paintings 1940 – 2011EducationResource

About this Education Resource ThisEducationResourceispublishedtoaccompanytheexhibitionMaster of Stillness: Jeffrey Smart paintings 1940 – 2011

��October–�4December�0��Anne&GordonSamstagMuseumofArt,Adelaide

�0October�0��–�4February�0�3CarrickHill,Adelaide

��December�0��–3�March�0�3TarraWarraMuseumofArt,Healesville

ThisEducationResourceisdesignedtosupportlearningoutcomesandteachingprogramsassociatedwithviewingtheexhibitionMaster of StillnessattheSamstagMuseumby:

n Providinginformationabouttheartist

n Providinginformationaboutkeyworks

n Challengingstudentstoengagewiththeworksandtheexhibition’sthemes

n Identifyingwaysinwhichtheexhibitioncanbeusedasacurriculumresource

n Providingstrategiesforexhibitionviewing,aswellaspre-andpost-visitresearch

Itmaybeusedinconjunctionwithavisittotheexhibitionorasapre-visitorpost-visitresource.

Year level ThisEducationResourceisprimarilydesignedtobeusedbysecondarytoseniorsecondaryvisualartteachersandstudents.Componentscanbeadaptedforusebyupperprimaryandtertiarystudents.

Education briefing notes

Master of Stillness: Jeffrey Smart paintings 1940 – 2011


Contents 1 Background briefing 5

Abouttheartist 5

Keyinfluencesanddevelopment 5

Keyimagery 8

Meettheartist 9

Criticalinsights ��

2 Exploring the exhibition: Themes 12

Theme�:Thecity ��

Theme�:Contemporarylife �4

Theme3:Theartofstillness �5

3 For teachers 18

PlanningasuccessfulvisittoMaster of Stillness �8

4 Get started 19

5 Further research 21

6 List of works 22



1 Background briefing

InternationallyacclaimedexpatriateSouthAustralianartistJeffreySmartisoneofAustralia’smostimportantlivingpainters.SmartisregardedasAustralia’siconicmasteroftheurbanvision–hisworksfeatureindustrialwastelandsandconcretestreetscapeswithpreciseattentiontocleanlines,compositionandgeometry.

ThismajorexhibitiondrawsonalargerangeofworksfromSmart’soeuvre,toilluminatetheconsistentartisticandtechnicalqualitiesthatanimatehisart,andtorevealthesustainedvisionthathasdeservedlygrownhisreputationoverseveraldecades.

About the artist JeffreySmartwasborninAdelaidein�9��,studiedatAdelaideTeachersCollegeandSouthAustralianSchoolofArtsandCraftsfrom�939 –�94�andtookupateachingappointmentatGoodwoodBoysTechnicalSchoolin�94�.Healsotaughtpart-timeatSchoolofArtsandCrafts�945 – 47.SmarttravelledtoEuropein�948andstudiedinParisin�949withtheartistFernandLéger.HereturnedtoAustraliain�950,movedfromAdelaidetoSydneyin�95�andvariouslyworkedasanartcriticfortheDailyTelegraph,anartscomperefortheABCchildren’sradioprogramtheArgonautsCluband,from�96�,asalifedrawingteacheratEastSydneyTechnicalCollege.In�964herelocatedtoItalyandhaslivedandworkedthereasanartisttothepresentday.HehasheldnumeroussoloexhibitionsandhisworkshavebeenincludedininternationalexhibitionsinLondon.SmartisrepresentedinthecollectionsoftheNationalGalleryofAustralia,allstategalleries,severalregionalgalleriesandinternationallybytheMetropolitanMuseumofArtinNewYork.In�999theArtGalleryofNewSouthWalesheldamajorretrospectiveofhiswork.

Key influences and development

ModernismModernismisatermusedtodescribeagroupofvalues,philosophiesandart /design/architecturalpracticesassociatedwithmodernartandideasaboutchangeandprogress.TheoriginsofmodernismarelocatedinParisinthemid�9thcenturyandarelinkedtothepoetandwriterCharlesBaudelaire(�8��–�867)whoheldthatartmustchangebecausetheexperienceoflifeitselfchanges.ArthistorianstracealineofprogressioninmodernismfromImpressionismtothePostImpressionistartists(particularlyPaulCézanne,GeorgesSeurat,VincentvanGoghandPaulGauguin)andthen,intheearly�0thcentury,tomoreradicalartpracticeassociatedwiththeemergenceofCubismandexpressionistandconstructivistmovementsacrossEurope,priortotheFirstWorldWar.

Alaterunderstanding,andusageoftheterm‘modernart’isassociatedwiththeideasoftheAmericanvisualartcriticClementGreenberg(�909 –�994)whosawmodernismasacontinuousprocessortraditionofpictorialrefinement(whichcanbetracedbackthroughEuropeanart)thatdeniedart’straditionalrolesofnaturalisticrepresentation,narrativeandpoliticalcritique.OnthisbasisGreenbergwasapowerfuladvocateofAbstractExpressionistpainting.

Australiawaslargelyisolatedfromthedebatesandexperimentsassociatedwithmodernartuntilthe�930s.Bythistimetheartandwidercommunitiesofthecapitalcities(includingAdelaide)hadpolarisedintogroupswhicheithersupportedmodernismorregardeditas‘dangerous’,‘morallycorrupt’or‘politicallymotivated’.Generallyspeaking,whenyoungAustralianartistsofthe�930sand�940sbegantoexperimentwithmodernism,theyfavouredmodifiedformsofExpressionism,SurrealismandCubism.Cubismofferedtheadditionalreassuranceofbeinganchoredtotheworldofappearanceswhilecontinuingtoexploreconceptsof‘timelessform’and‘underlyingstructure’whichcouldbetracedtotheworkandideasofFrenchpainterPaulCézanne.


Smart and modernism

EarlyarttrainingintroducedSmarttomethodicalwaysofworkingandtostylesofCubistcomposition.TheFrench-trainedAustralianMarieTuck(�866 –�947)whotaughtattheSouthAustralianSchoolofArtsandCrafts,instructedSmartinamethodoflayingouthispaintingpalettesothatitcouldbeusedlikeaninstrument.AsignificantinfluenceonhisearlydevelopmentwastheAdelaide-bornartistDorritBlack(�89� –�95�)whointhe�9�0shadstudiedattheGrosvenorSchoolofModernArtinLondon,thenatAndréLhote’sacademyinParisandathissummerschool,andhadworkedbrieflywithanothermodernistartistAlbertGleizesin�9�9.AdiscipleofCubism,BlackreturnedtoSydneywheresheconductedtheModernArtCentrefrom�93� – 33.OnherreturntoAdelaideinthemid�930s,Blackcontinuedtoteach,becamedeeplyinvolvedinthelocalartsceneandwasakeyfigureintheformationoftheSouthAustralianbranchoftheContemporaryArtSocietyofAustralia.TheMaster of StillnessexhibitioncuratorBarryPearcehaspointedoutthatBlack’skeyphilosophywasthatapaintingwassomethingtobemadeordesignedratherthanberegardedasarepresentationofthethingseen(suchasalandscape,portraitorstilllife).SmartlaterrecalledthatBlacktaughtherstudentsto“examinethebarebonesofcomposition”.HewasalsoimpressedbyBlack’saccommodationwiththeartofthepastwhichincludedusingtheGoldenMeantoanalysecompositionsbyartistsincludingNicolasPoussin,LeonardodaVinciandothers.

Smart,throughhisactiveparticipationintheestablishmentoftheContemporaryArtSocietyinSouthAustraliawasexposedtoawidespectrumofideasandstylesassociatedwithEuropeanmodernism.AnearlyinfluenceonhisworkwouldappeartobethatoftheItalianartistGiorgiodeChiricowhoseworkSmartwouldhaveseeninthetouringexhibition,French and British Contemporary ArtattheArtGalleryofSouthAustraliain�939.AmoresignificantandlastinginfluencewastheworkofDorritBlackandPaulCézanne.

AdelaidearthistorianJaneHyltonhasobservedthat“SmartadaptedBlack’stechniqueofcompositionalconstructiontohisownstructuredpaintings,inwhichtherepresentationalelementshavetremendousvisualtension”.

J.Hylton,Adelaide Angries: South Australian painting of the 1940s,ArtGalleryBoardofSouthAustralia,�989,p.�8.

InadditiontoCézanne,SmartalsostudiedtheworkofFernandLéger,PabloPicassoandPietMondrian.TheartistwasalsofamiliarwiththeHaywardcollectionofartatCarrickHill,whichincludedpaintingsandsculpturesbymodernAustralian,BritishandFrenchartists.

TwomodernistrealistartistswhohavehadasignificantimpactonSmart’spaintingsareCanadianartistAlexColville(born�9�0)andtheAmericanEdwardHopper(�88� – �967).

Thefollowingaredescriptionsoftheseartists’workandstyle:

Painter,draughtsman,engraverandmuralist,AlexColvillehasalwaysremainedalooffromtheformaltrendsthatcharacterisedthe�0thcentury.Drawinghisinspirationfromtheworldaroundhim,fromthemostrepetitivegesturesofeverydaylife,heplaceshisunsettlingjuxtapositionsoffigures,objectsandanimalsinanambiguousatmosphereofdisquietingtranquility,asthoughtimeweresuspended.Hiscompositionsarerigorouslyconstructedaccordingtoaprecisegeometryandexecutedwithatechniquethatconsistsofminusculedabsofpaintappliedmeticulouslydotbydot.

NationalGalleryofCanada:www.gallery.ca/en/see/collections/artist.php?iartistid=�087

Hopperdepictedhisfavouredsubjects–cityscapes,landscapes,androominteriors–solemnly,incarefullycomposedcompositionsthatseemtimelessandfrozenbutareanimatedbytheeffectsofnaturalandman-madelight.AsfellowpainterCharlesBurchfieldwroteforthecatalogueoftheMuseumofModernArt’s�933Hopperretrospective:“Hopper’sviewpointisessentiallyclassic;hepresentshissubjectswithoutsentiment,propaganda,ortheatrics.Heisthepurepainter,interestedinhismaterialforitsownsake,andintheexploitationofhisideaofform,color,andspacedivision.”

TheMetropolitanMuseumofArt,NewYork,http://www.metmuseum.org/Collections/search-the-collections/��000949�


SmarthascontinuedtobeinspiredbytheworkoftheEarlyRenaissanceartistPierodellaFrancesca(�4�6/�7 –�49�)andinparticularbyhislatec.�455paintingThe Flagellation.DellaFrancesca’sfascinationwithgeometryandmathematicsinstilledinhisimageryasenseofcompositionaldetachmentfromthesubjectdepicted.This‘abstracted‘qualitywasadmiredbyvariousearly�0thcenturymodernistartists.

Literature

Poetryandliteratureingeneralinspiredgenerationsofmodernistartists.ArtistsoftheimmediatepostWorldWarTwoera,forexample,identifiedwiththeexistentialistwritingsofAlbertCamusandJean-PaulSartreasawayofcomingtotermswiththewar’slegacyofnihilismanddespair.SmartwasdrawntothepoetryofthewriterandplaywrightT.S.Eliot(�888 –�965)whosepoems,includingThe Love Song of J. Alfred Prufrock(�9�5)andThe Waste Land(�9��),spokeforthedisillusionmentofapost-wargeneration.SomeobserversseeastrongrelationshipbetweenEliot’sevocationofaworldwhichhaslostitshumanheartandSmart’slonelyfiguresadriftinurban‘wastelands’.PearcehasidentifiedaconnectionbetweenEliot’sevocationofwastelandsandvacantlotsandSmart’shometownofAdelaidewithitsgrid-layout,neatperspectivesandbuildingslitbystrong,clearlight.

ConsiderthefollowingexchangebetweentheartistandABCmediainterviewerPeterThompson:

Peter Thompson:T.S.Eliot.

Jeffrey Smart:Yes.Wonderfulman.

Peter Thompson:Withhispoetry,youreallyfoundafriend.

Jeffrey Smart:Yes,yes.Imean,Iwasinterestedinpoetryanyway.Andtheimageswerenotaboutdaffodilsandrosesinthespring,itwasaboutvacantlotsandsuburbanhouses,slummycorridors–ordinary,ordinarythings,madeintogreatpoetry.Hewasabrilliantman.

Peter Thompson:Whatlinesdoyourecallthatespeciallymovedyou?

Jeffrey Smart:Oh,oneofthelinesin...inthefourthone.“Wordsmove,musicmoves,butonlyintime.Thatwhichisonlylivingcanonlydie.WordsafterspeechreachintothesilenceasaChinesejarstillmovesperpetuallyinitsstillness.”Thenhegoesontocorrect,“notthestillnessoftheviolin,whilethenotelasts.”Andthenhetalksabout“thestillnessofaworkofart”.Andthat’ssocrucial.Andifyoufindthatinaworkofart,likeCézanne,it’sthatperfectstillness.AndIhopeIgetitsometimesinmyownwork.

ABCTalking Heads with Peter Thompson.ExtractfromtranscriptofinterviewwithJeffreySmart,screened

�3June�008,http://www.abc.net.au/tv/talkingheads/txt/s��7573�.htm


Key imagery

Early works: 1940 – 1951 Smartwantedtobeanarchitectandthroughouthislifehascontinuedtobeinspiredbythebuiltenvironment.Earlypaintingswerederivedfromobservationsofvariousstructuresandbuildings.Theyrevealtheinfluenceofhisteachers,particularlyAustralianartistIvorHele,inthebuildoftheimagefromthinwashesoverlaidbyimpastotouches.

EchoesofthepoetT.S.Eliot’s‘wastelands’canbefoundinanumberofSmart’searly�940sworksincludingPort Adelaide railway station(�944),Water towers(�944)andKeswick siding(�945).Thisstyleofinterpretationalsocharacterisedpaintingsbasedonruralandcoastalandminingtownsubjectsinwhichfeaturessuchasbuildings,headlandsandobelisksaresetinstarkcontrasttotheirsurrounds.Acomplementaryfeatureisthehandlingoflighttoconsolidatecompositionswithdramaticcontrastsbetweenbrighthighlightsanddeepshadows.

Sydney: 1951 – 1963

AsignificantaspectofpaintingsmadewhileSmartwasworkinginSydneyisthemoreobviouspresenceoffigureswithinarchitecturalsettings.Inadditiontheartistbegantoexplorecompositionaloptionscreatedbyselectiveviewpoints,whichcontrolledthewaytheviewer‘entered’andmovedwithintheimage.Thisincludescinematic-typetechniquesofcroppingobjectstocreateanimpressionofmovinginonthesubjectorscene.Addingtothismixareenigmatic(mysterious)cluestoapossiblestoryofferedbystrategicallyplacedfiguresandobjects.Smart’strademarkuseofsignageandroadmarkingtoinvitetheviewertoengageinsomekindofvisualgameemergesatthistime.Otherstylisticsignifiersincludetheuseofdarkskiestoprovideadramaticbackdroptotheaction.

Rome 1964 – 1971Attheendof�963SmartleftAustraliaforwhatprovedtobealifeofpermanentexpatriation.WhilehecontinuedtoreturntoAustralia,hisdomesticandworkinglifefromthispointonhasbeendefinedbyextensivetravellingandexhibiting.Thepared-downstyleofsubjectselectionandpictorialstrategieswhichSmarthaddevelopedwhileinAustraliacontinuedtobeappliedtosubjectsandsettingsastheartistfamiliarisedhimselfwithhisnewsurroundings.Livingforatimeinasemi-industrialareaontheoutskirtsofRomeofferedawealthofmaterialincludingtheautostradas,traffic,apartmentblocksand‘wastelands’createdbyurbanandindustrialsprawl.ManyofSmart’sbest-knownimages,thatoffiguresseeminglycastadriftinsoullessordreamlikeprecincts,emergeduringthisperiod.

Tuscany 1971 – 2012In�97�Smartpurchasedafarmhouse,PosticciaNuova,nearArezzoinTuscany,Italy.Thispropertybecamehishomeandstudioandistothepresentday.Smarthascontinuedtotravelandexhibitextensivelyandhisworkextendswellestablishedroutinestoexplorethecapacityofpaintingtocapturemomentsintimeasseenthroughafilterofcarefullycomposedurbanscenarios.Theseincludesubjectsdrawnfromlocalsettingsaswellas‘momentsseized’whiletravelling,byfoot,carorplane.FriendsandsomevisitorstoPosticciaNuova,includingactorBarryHumphriesandhiswifeLizzie,theartistMargaretOlley,thewritersGermaineGreer,CliveJamesandDavidMaloufandthefilmdirectorBruceBeresfordhavebeenportraitsubjectsorare‘extras’inoneofSmart’spaintings.Fromtheearly�970sthearchitectoniccharacterofSmart’simagerytookonanincreasinglybolderstyleasbuildings,industrialstructuresandsignagestretchedandswelledtodominatecompositions.Averyrecentwork,animagebasedonamazeinanEnglishgarden,encapsulatesinitspared-downrealismandinterlockinggeometrics,theessenceoftheartist’smaturestyleandpriorities.


Meet the artist

Working as an artist“TheywantedmetospeakmoreaboutmyselfandhowIworked.Thisisjustimpossible,itwouldbeliketellinganaudiencehowyoumakeloveandwhy.Ithinksomethingsareineffable,andthatisone.Ialsofeelthatifyoutalkabout‘inspiration’itwilloffendtheHolyGhost,orwhoeveritiswhohelpsus.”

JeffreySmartlettertoBarryPearce,8July�98�.

“Ilikelivinginthe�0thcentury–tometheworldhasneverbeenmorebeautiful.IamtryingtopainttherealworldIlivein,asbeautifulasIcan,withmyowneye.”

“Myattractiontourbanlife,factories,trucksandvacantlotscameinmyearly�0swhenIdecidedthatIhadpaintedmylastbillabongsceneforever.”

JeffreySmartquotedinHawley,Janet,’Abentforwriting’,Sydney Morning HeraldSpectrum,�7August�996.

“Itisnousewaitingaboutforinspiration.Anartisthastowork,work,workwhenhedoesnotwishtowork,andsometimespursueandflogadeadpainting,knowingallthetimethatitwillbediscarded.Butheknowsthatbytheactofpainting,heisplacinghimselfinapositionwheresomethingmayturnup.”

“ThereasonIpaintissimplybecauseIlovepainting.OtherpeoplelikemakingmoneyordrivingfastcarsbutifIhaven’tgotapicturetopaint,I’mmiserable.”

JeffreySmartquotedinCapon,Edmund,Pearce,BarryandQuartermaine,Peter,Jeffrey Smart Retrospective,Sydney:ArtGalleryofNewSouthWales�999,p.��0.

Sources of ideas and images“SometimesI’lldrivearoundformonths…despair,nothing,nothing,thensuddenlyIwillseesomethingthatseizesme:ashape,acombinationofshapes,aplayoflightorshadowsandIsendupaprayerbecauseIknowIhaveagermofapicture.”

JeffreySmartquotedinHawley,Janet,Encounters with Australian Artists,UniversityofQueenslandPress�993

“AndtheninaplaneonedaycomingfromIndia,Isawawomandoingembroidery–sometapestrywork.ShewasdoingallthesquaresandIthought‘OhwellthisiswhatIshouldbedoingallthetime’.Icouldn’twaittogethome.Igothomeandstartedputtingitalltogether.”

JeffreySmarttalkingaboutaneventwhichledtothepaintingTruck and trailer approaching a city(�973)quotedinPearce,Barry,Jeffrey Smart,Sydney:TheBeaglePress�005and�0��,p.��.

“Ipaintedawonderfulpileofdifferentcolouredoildrums(The oil drums,�99�)IsawinItaly,butdidn’thavetherightfiguretogowiththem.ThenIrememberedyearsagoinSydney,at5amonemorningbeingwokenbyamanplayingatrumpet–andwatchinghimoutthewindow,serenadingthedawnacrosstheharbourafteralateparty.”

JeffreySmartquotedinJeffrey Smart RetrospectiveEducationKit,ArtGalleryofNewSouthWales,�999.

Subject“Thesubjectmatterisonlythehingethatopensthedoor,thehookonwhichhangsmycoat.Myonlyconcernisputtingtherightshapesintherightcoloursintherightplaces.Itisalwaysthegeometry.”

JeffreySmarttoSandraMcGrath,‘JeffreySmart’,Art InternationalXX�/�,Zurich,Jan –Feb�977,p.�7.

�0 Master of Stillness: Jeffrey Smart paintings 1940 – 2011EducationResource

Composition“Mypicturesarecompletelysynthetic,inthatImovethingsaroundrestlessly,changetheheightsofbuildings,thecolours,togetthecompositionright.”

JeffreySmartquotedinCapon,Edmund,Pearce,BarryandQuartermaine,Peter,Jeffrey Smart Retrospective,Sydney:ArtGalleryofNewSouthWales�999,p.�78

OneofSmart’spaintings(notincludedinMaster of Stillnessexhibition),Truck and trailer approaching a city(�973),featurestherearviewofatruckmovingtowardssomedistantapartmentblocks.Theartist’scommentssuggestthatitwasthecompositionnotthescenethathadpriority:

“Thepaintingisintwosquares.IwantedtoseeifIcouldbringoffasatisfactorycompositionwhichhadalinedownthecentre,dividingitintotwoequalparts...ThisisthefirstpaintinginwhichtheapartmenthouseshavethatreallyimpersonalqualityIseeinthem...Ihavebeenabletogivethemthegridlook,amazinglysimilartothepatternofmemorycellsinacomputer.Theskyispaintedmainlywithrawumberandmauve–withsomuchred,aneutralareawasabsolutelynecessary.”

JeffreySmart,artistcommentsin�999onTruck and trailer approaching a city,�973,ArtGalleryofNewSouthWalescollectionnotes:http://www.artgallery.nsw.gov.au/work/�.�980/

“Youshouldbeabletoworkonapictureforamonth.Inasymphonyyouareorganisingthetimefrombeginningtoend.Thecomposerspendsalongtimecomposingit;artistsshouldspendalongtimecomposingtheirpicturesinthesameway.”

MichaelShmith,‘TakingpleasureinbeingSmart’,The Age,3October�987

Figures“Thetruthis,Iputfiguresinmainlyforscale…Youhavetobeverycarefulbecauseassoonasyouputafigureinapaintingtheviewer’seyegoesstraighttoit,likeamagnet.SoItrynottomakethemtoointeresting;theyareneverbeautifulorsexy.”

JeffreySmartquotedinCapon,Edmund,Pearce,BarryandQuartermaine,Peter,Jeffrey Smart Retrospective,

Sydney:ArtGalleryofNewSouthWales�999,p.9�

Reasons whyWhenaskedwhyhisskiesarealwayssogloomyandsmog-ladenorwhyhisfacesneverwearasmile,Smarthascommented,“Ineedadarkskyforthecomposition,becausethepaleblueatthetopoftheframelosesnothing…(and)becauseasmilingfaceistoohardtopaint.”

JeffreySmartquotedinMcDonald,John,Jeffrey Smart: Paintings of the ‘70s and ‘80s,Sydney:CraftsmanHouse,�990.

ConsiderthefollowingexchangebetweenJeffreySmartandABCmediainterviewerPeterThompson:

Peter Thompson:Oneoftheamusingthingsaboutyouisthatyou’refamedforyourart,butyou’refamouslyreluctanttotalkaboutit.

Jeffrey Smart:It’spainting.Imean,it’svisualthings,and...SometimesIleadpeopleastraybymakingupstories...aboutthepictures.

Peter Thompson:Well,let’stalkaboutthisoneforamoment.Now,whataboutthetruck?What’sthesignificanceoftheorangeonthetruck?

Jeffrey Smart:Ijustneededabitofcolouroverthere.Butsee,Iworkonthebasisthattheeye,becauseweread,we’reaccustomedtoreadingallthetime,oureyesgofromlefttoright,lefttoright,lefttoright,always.SoIalwayshavesomethingfortheeyetostartwithontheleftthere,bringitacross,andthensomethingtobringitbackagain.

ABC Talking Heads with Peter Thompson.ExtractfromtranscriptofinterviewwithJeffreySmart,screened�3June�008,http://www.abc.net.au/tv/talkingheads/txt/s��7573�.htm

�� Master of Stillness: Jeffrey Smart paintings 1940 – 2011EducationResource

“Sometimesthefeelingisnotsomuchvisual.Sometimesit’safeelingaboutacertainplaceorareaofRomeorFlorence,orthecountrywherethereisagarage;there’safeelingtherethatIlike.IstartthinkinganddoinglittledrawingsandwhatIassimilatecomesoutinpaint.”

JeffreySmartquotedinCapon,Edmund,Pearce,BarryandQuartermaine,Peter,Jeffrey Smart Retrospective,Sydney:ArtGalleryofNewSouthWales�999,p.�84

Critical insightsAreSmart’spaintingssocialcommentaries?Hereisoneopinionthatsuggestsotherwise:

“TheargumentthatJeffreySmart’spaintingsaresomehowcommentariesonsocietyalienatedbytechnology,oraworldimpoverishedbymass-producedarchitecture,isnotquitetothemark.Hispaintingsare,attheendoftheday,expressionsofhimself.Containertruckswhichpollutecities,highwayswhichhavedisplacedcommunities,andmodulisedbuildingswhichhaveabsolvedindividualsfromcaringabouteachother,arenotinthemselvesbeautiful.Theycannotbe,exceptthatfromthetranquilityofhiseighteenthcenturyfarminTuscanyhehasmadethembeautifulbyextractingtimeandnoiseandpain.”

BarryPearce,‘OutofAdelaide’,inCapon,Edmund,Pearce,BarryandQuartermaine,Peter,Jeffrey Smart

Retrospective,Sydney:ArtGalleryofNewSouthWales�999,p.3�

Doyouagreewiththisinterpretation?

IsSmartarealistartist?

ConsiderthefollowingopinionofartcriticChristopherAllen:“Theimmediatepointisthatthereisnothingsimpleorstraightforwardabouttheapparent‘realism’ofhis(Smart’s)pictures.Theyareallconceivedwiththegreatestcare,asabstractcompositionsofvolumesandlines,astwodimensionaldesigns.”

Allen,Christopher,Jeffrey Smart: Unpublished Paintings 1940 – 2007,Collingwood,Vic:AustralianGalleries,�008.

WiththeabovecommentinmindhowwouldyoudescribetherealisminSmart’swork?


Theme 1: The cityJeffreySmartstatesthatultimatelyhisartisaboutlookingattheworldaroundhimandfindinginpaintingawayofcapturingtheessenceofwhathefindsinteresting.Whilekeepingthisinmindmanywholookathispaintingsareattractedtoimageswhichappeartobemakingsomestatementaboutwhatitmeanstoliveincontemporaryubanisedenvironments.

Smartstatesthatthepeoplewhoheinsertsintohisimagesareessentiallypictorialdevicesusedtodefineasenseofscaleortoleadtheeyesomewhere.Whileallthismaybeuppermostintheartist’smindandintentionsitisinevitablethatviewerswillwanttospeculateabouttheplacesandhumandramaswhicharecapturedwithinhisimages.IndoingsomanychoosetoseeSmart’spaintingsasmakingsomecommentonthehumanconditionasdefinedbythecityandurbandevelopment.

ToexploreSmart’sworkthroughthethematicfilterof‘thecity’itisusefultoconsiderkeyelementsandstrategiesusedbytheartist.Theseinclude:

n asingle,isolatedfigurewithinanarchitecturalsetting

n figuresdwarfedbyemblemsoftechnology,buildingsandmachinery

n contemporarybuildings(suchasapartmentblocks)setontheedgeofruralcountryside

n creatingenvironmentsoverrunbysigns

n towerandcommunicationsstructuresimplyingsurveillance

n usingdarkskiesanddramaticlightingtobuildanatmosphereofmysteryandsuspense

n oddconjunctionsofobjectsandactivities

n contrastingthenewandold

2 Exploring the exhibition: Themes

Central Station I I,�974 –75,syntheticpolymerpaintoncanvas,86.0x�00.0cm,purchased�976,ArtGalleryofNewSouthWales,Sydney


Example: Central Station II, 1974 –75

Consider in this work:n theclocktowerrisinghighagainstadarkskytosuggestsomekindofoverviewofthewholescene

n theimplieddramaofafigurerunningaway

n signsimposingconditionsonentrytothesite

n verydramaticlowlightingcreatingforegroundshadowswhichmaycarryanoteofmenace

Exploring Central Station IIIf,astheartiststates,everythingisservingtheneedsoftheimage,analysethisworkintermsofitscomposition,particularlytheplacementofthekeyelements(suchasthefencingandbuildings)inrelationtoeachother.

n Analysetheartist’sapproachtousinghighlightsandshadows.

n Canyouidentifyanyplanorsystematworkintheuseofcolourwithinthispicture?

n Makeup/writeashortstorywhichinsomewayincludesthisscene.

StudioSmarthasstatedthathemakesartabouttheworldhelivesin.Considerthisasastartingpointforaseriesofworks.Youmayforexampledecidetokeepavisual,dailydiaryofthingsthatcatchyourattentionandusethismaterialasastartingpointforsomestudiowork.

Further research ThecityassubjecthasalongtraditioninWesternart.Anumberofwell-known‘city-subject’worksinclude:

n Canaletto,Piazza San Marco,late�7�0s

n CamillePissarro,The Boulevard Montmartre on a Winter Morning,�897

n TomRoberts,Allegro con brio: Bourke Street west,c.�886

n FernandLéger,The City,�9�9

n JohnBrack,Collins Street, 5pm,�955

n EdwardHopper,Office in a Small City,�953

n JonCattapan,The acid bath,�994

Researchtwoorthreeoftheseworks(orsimilarsubjectworks)bytheseartistsandconsiderhoweachhasrespondedtoandinterpretedcitysubjects.


Theme 2: Contemporary lifeDespitetheartiststatingthatthefigureswithinhispaintingareprimarilyincludedtoservetheneedsofthecompositionmanyviewerscontinuetointerprethisartashavingsomethingtosayaboutmodernsocietyandthehumanconditioningeneral.Thismeansthatthekindsofpeoplehedepictsandthecircumstancesinwhichtheyarecastbytheartisttriggerreadings,whichconfirmorinvitespeculationabouttheeffectofmodernisationonordinarypeople.WithSmart’s‘figuresinthelandscape’thereseemsalwaystobesomeambiguityorquestionmarkabouttheinnerthoughtsofindividualsorthefateofwholeclassesofpeople.

ThisabilitytosuggestwithouttellingisararetalentthatSmartshareswithanumberofotherartistsandissomethingyoumaycaretoexplore.

Approach to a city I I I,�968–69,oiloncanvas,66.0x80.0cm,privatecollection


Example: Approach to a city III, 1968–69

Considern Theinvitationtoguesswhythiscoupleiswalkingalongtheedgeofthehighway.

n Whyaretheywalkingandnotridinginabus,carortaxi?

n Havetheycomefromtheapartmentstotherightoftheoverpass?

n Ifso,istheresomecompellingreasonforthemtobewalkingaway?

n Woulditmakemuchofadifferencetothispictureifthefigureswereplacedelsewherewithinthecompositionorremovedaltogether?

n Howinotherworksthefiguresarestaringatsomething.Checkthisoutandconsiderwhateffectthishasonyourreadingoftheseworks.

StudioItislikelythatSmartsawsomething,whichledtothecreationofthisimage.Fromyourvisualdiary(see‘ExploringCentral Station I I ’)selectanimageandseeifyoucancreateastrongnarrativeelementbymanipulatingthevisualcomponentsofcomposition,colourandlightingthenaddingahumanelement.

Further researchSeeifyoucanfindotherexamplesofpaintingsinwhichastoryissuggestedbutinvitestheviewerto‘fillinthedetails’.

Youmayfindthefollowingselectionofartistsausefulstartingpointinyourresearch:JohannesVermeer,WalterSickert,AnneWallace,EdwardHopper,AlexColville,BillViola,JeffWall.

Theme 3: The art of stillnessCurator,BarryPearce,describeshowSmart’sdistinctivestyleandphilosophydeveloped.Earlytrainingopenedhiseyestothe‘hiddengeometry’ofartandawayoflookingattheworldanalyticallytoseethepatternsandstructuresthatunderlietheworldofappearances.Tothistrainingwasaddedencounterswithavarietyofartist’sworkincludingCézanneandLéger.TraveltoEuropeandItalyinparticularallowedhimtoexperienceandstudyworksatfirsthand.OnereasonforSmarttobuyapropertyandestablishastudionearArezzowasthattheChurchofSanFrancescointhatcitycontainedthegreatfrescocycleThe legend of the true crossbytheQuattrocentoartistPierodellaFrancesca,aworkwhichhascontinuedtoinspireSmartthroughouthislife.

ClosebywerealsootherworksbydellaFrancesca,The ResurrectioninSansepolcroandThe Flagellation of ChristinUrbinowhichisSmart’sfavouritepainting.Hecomments,“It’salmostperfectlydesigned”.DellaFrancesca,alongwithotherearlyRenaissanceartists,cametoberegardedas‘proto-moderns’inthemoderneraonaccountoftheprioritygivenintheirarttorationalandstructuredcompositions.Oneofthebest-knownworkstoemergefromthePostImpressionistperiod,GeorgesSeurat’sA Sunday Afternoon on the Island of La Grande Jatte(�884 –�886)incorporatestheinfluenceofdellaFrancescacourtesyofreproductionsoftheArezzofrescoesSeuratencounteredinParis.

StillnessforSmart,inPearce’sestimation,isthatmomentwhenthecalibrations,which“dependnotonlyonproportion,scale,shapeandcolour,butalsotheappropriateangleofthesun,areright”.

ConsiderthefollowingextractfromPearce’scatalogueessay:

“ThemomentofstillnessforSmarthasalwaysbeentosomeextentdeterminedbyacelestiallightwhich,throughthecycleofseasonsandtheturningoftheplanet,rearrangestheshapesofwhatweseebeyondourcontrol…thereisnodoubtSmartfoundthroughhislongandpersistentcareeranidealmeetingpointbetweencreatedandrevealed;astheAustralianpoetA.D.Hopeoncewrote,paraphrasingtheFrenchwriterAndréGide:‘Thereisalwaysingenuinepoetry…anelementoffinding,somethingthatcannotbeplannedorpredictedbuthastobewaitedforand“foundout”’.”

BarryPearce,‘Searchforthetimeless’,Master of Stillness: Jeffrey Smart paintings 1940 – 2011,Adelaide:WakefieldPress,�0��,p.��


Example: Portrait of David Malouf, 1980

ConsiderThisportraitimpliesthattheAustralianwriterDavidMaloufhasanalternativecareerasaworkman,feedingcableorpumpingoutdrainsandthelike.ThisisanamusingfictionbutwithSmart’ssenseofhumouritmightbeworthwonderingifheseesalinkbetweenwritingandpumpingorsiphoning–perhapsfillingpeople’sheadswithideas.Withthisinmindperhapsthetrucksinthebackgroundarereferencingbooksstackedinalibraryshelf.

Thehoseinsertedintotheholeisnotconnectedandmaybesuckinginair–ornothing?

LookatthewaySmarthasalignedthetopofMalouf’sheadwiththeverticallineofwindows.Onepossiblereadingisthatthewindowsresemblethoughtbubbles.Theword‘OVIDIO’onthesideofthebuildingreferencesabookbyMalouftitledAn Imaginary Life.Seewhatyourresearchcantellyouaboutthisconnection.

Nowconsiderthestyleofrepresentation.Allobjectswithinthissceneareclearlyidentifiedinastronglyillusionistmanner.Thestronglightcomingfromtheleftmodelstheformsthroughcontrolledtransitionsfromhighlightstoshadows.

Portrait of David Malouf,�980,oilandsyntheticpolymerpaintoncanvas,�00.0x�00.0cm,purchased�983,ArtGalleryofWesternAustralia,Perth


But,despitetherealismtheoverallscenelooksslightlyunreal–orassomeobserverssay–hyperreal.Thissenseofunreality,whichcanbefoundinmostofSmart’simages,isaresultoftheartistexercisingcontroloverallthevisualelements.Inthispaintingtheforegroundonwhichthefigureisstandingandthedarkskyinthebackgroundaredevoidofdistractingdetails.This‘blankness’allowsallotheritemssuchasthefigure,hose,tracksandbuildingstoreadintermsofhowtheyvisuallyrelatetooneanother.Viewedinthiswaythefigurecombineswiththebuildingtocreateaverticalelement,whichcrossesatrightanglesthehorizontalline,createdbytheneatlyparkedtrucks.Sowehaveacruciformcompositionwhichisgivenaddedinterestbytheloopingcurvatureofthehose,exercisingfreedomlikethethoughtsinawriter’shead.

Keepingthisinmind,nowfindimagesoftwoworks;dellaFrancesca’sThe FlagellationandSeurat’sA Sunday Afternoon.Whilelookingatandcomparingthesethreeimagesconsiderthisconceptof‘stillness’andhoweachartisthasbalancedobservingtheworldwhilecreatinganoriginalimage.

StudioFromyourvisualdiaryofeverydayeventsandscenesselectoneandthroughmanipulationofvisualelementsseeifyoucangiveitthe‘stillness’treatment.

Further researchLookattheworkofanumberofartistswhohaveexploredthisbalancebetweenobservingandcreating/imaginingasameansofrevealingsometruthaboutexistence.

SmartwasintroducedtotheGoldenMeanbyDorritBlack.SeewhatyoucanfindoutaboutthisandapplythisresearchtoananalysisofsomeofSmart’sworks.

Researching artists:DellaFrancescaandSeurataregoodstartingpoints.

Othersarementionedelsewhereinthisresourceincluding:JohannesVermeer,EdwardHopper,AlexColville,BillViola,JeffWall.

Seealsoworksby:RickAmor,ChristopherOrchard,PaulaRego,GiorgiodeChirico,VilhelmHammershøi.


Planning a successful group visit to Master of Stillness: Jeffrey Smart paintings 1940 –2011Ifplanningtobringagrouptothisexhibition–BOOKNOW.

Numbersarerestrictedinsomevideoprojectionareas.Bookedgroupswillhavepriority,scheduledentrytotheexhibition.

To book: T 08830�0870

E [email protected]

Wunisa.edu.au/samstagmuseum

Allbookingswillbeconfirmedbyemailwiththesupervisingteacher/ lecturer/grouporganiser.

Year LevelTheEducationResourceisdesignedtobeusedbysecondary,seniorsecondaryandtertiaryvisualartstudents.

Pre-exhibitionInformthestudentsabouttheoriginsandcontentoftheexhibition.

Refertothe‘BackgroundBriefing’notesforthisEducationResource.

AccesstheEducationResourcefromtheSamstagMuseumofArtwebsite.

In the exhibitionOnarrivalyourgroupwillbemetandwelcomedbyamemberoftheSamstagMuseumofArtstaff.

Considerorganisingtheclassassmaller,independentviewinggroupsandtaskthesegroupsbeforedispersingwithintheexhibition.Tofacilitatestructuredviewingconsiderusingthe‘GetStarted’researchactivitiesincludedinthisEducationResource.

Beforegroupsdisperseremindstudentsoftheusualgalleryviewingprotocols(suchasbeingawareofothersusingthespace)andtostressthenatureofviewingthiskindofexhibition,whichwillrequirestudentstospendreflectivetimewithworks.ThisisparticularlyrelevanttolookingatSmart’simageryinwhichsubtleandcomplexvisualrelationshipsareembedded.

Thissessionwilllikelyinvolvestudentsbeinginvolvedinsomegroupandindividualanalysisandresponse.Scribingisoptionalbutwillbeusefulforon-sitereportingandpost-visitresearch.

Asuggestionisthatstudentsinthissessiontryafewthings:engagewithafewworkswhichholdpersonalinterest,lookataselectionofworkstogetanideaofthediversityofSmart’spracticeandexploreoneoftheexhibition’sthemes.

ForthistohappenitwouldbeusefulifthestudentshadaccesstotheEducationResourcepriortovisitingtheexhibition.Thiscouldallowstudentstomakeathematicselectionbeforearrival.

Post-visitPost-visitoptionsprimarilyconsistofsharingandanalysingtheinformationgatheredduringtheexhibitionvisit.Thisinformationmightbe:

n Informationgatheredon-site

n Individualopinions(shared)

n Differenttaskorthemegroupsreportingfindings

3 For teachers


4 Get started

In-exhibition engagement activitiesThefollowingtasksaredesignedtosupport/initiatestructuredviewingandengagementforstudentsintheexhibition.Theycanbeundertakeninanyorderandaresuitableforindividualandsmallgroupwork.Implicitinsometasksistheideathatstudentsorgroupswillreportfindingsanddiscussworkswithothers.

Scribingisnotnecessarytoundertaketheseactivitiesbutsomeofthesetaskscouldinvolvescribingtosupporton-goingpost-visitwork.

First and last impressionsn Whatdidyouthinkaboutwhenyoufirstcameintotheexhibitionandlookedaround?

n Wasthereanyworkinparticularyouwantedtoreturntoandlookatagain?

n Arethereanyreasonsforthis?

n Isthereaworkinthisexhibitionthatyouthinkyouwillfindhardtoforget?Why?

n Isthereoneworkherethathaschallengedyouinanyway?Lookatitagainbeforeyouleaveandconsiderwhythisisso.

n Selectoneworkfromthisexhibitionthatmostresembles(orcontainsthings)fromyourworldorlocalarea.

n Beforeleavingcheckouttheexhibitiononemoretimetoseeifthere’sanideaortechniqueinaworkthatyoucouldtrywhenyougetbacktoschool.

EngagementChooseanyworkthatattractsyourattentionandapplyanyorallofthefollowingquestions:

n Couldthisideahavebeenbetterexpressedinadifferentway?

n Canyouseeanykindofconnectionbetweenthiskindofartandothersyouknowabout?

n Whatdoyouthinkthisworkisaboutormightbesaying?

Selectoneworkthatappealsinsomewayandseeifsomeoneelseinyourgroupcancorrectlyidentifythereasonsforyourselection.

Response (engaging with critical insights)Theartisthasstated:“Mypicturesarecompletelysynthetic,inthatImovethingsaroundrestlessly,changetheheightsofbuildings,thecolourstogetthecompositionright.”

JeffreySmartquotedinJeffrey Smart RetrospectiveEducationKit,ArtGalleryofNewSouthWales,�999

SelectandanalyseoneofSmart’sworkfromthisperspective.

WriterandcuratorTimothyMorrellhassaidthatSmarthas:“dedicatedalongcareertoperfectinghistechniqueofcapturingthemysteriouswiththemundane.”

WhatdoyouthinkMorrellmeansbythis?Canyoufindsomegoodexamplesofthisintheexhibition?

TimothyMorrell,catalogueessay,Jeffrey Smartexhibition,PhilipBaconGalleries�006,Brisbanehttp://www.artnomad.com.au/artists/artist.cfm?id=�065

BruceBeresford,filmdirectorandfriendofSmart,hassaid:“He(Smart)sawbeautyinhighways,buildings,roadsigns,factoriesandsoonjustastheHeidelbergschoolhadseenitintherusticAustraliaoftheirtime,ortheImpressionists,whopaintedtheFrancewhichwasapartoftheireverydaylives.”

Howisitpossibletoseebeautyinindustrialthingssuchasroads,signsandtraffic?Analyseanddiscussparticularwork/sfromthisperspective.

BruceBeresford,‘JeffreySmart–AustralianPainter’,http://bruceberesford.org/?page_id=�84


ArthistorianandcriticChristopherAllenhaswritten:“Onemayevendetectintheunquietskiesofsomeofthesepicturesasensethattheworldofnature,apparentlyalmostextinguished,isthreateningrevenge.ButitwouldbeamistaketomakeSmart’sworksoundangryorcensorious.Intheend,evenwhentheskyisdarkeningwithanapproachingstorm,JeffreySmart’sworkremainsbathedinacoollightofunfathomableironyandsilentdetachment.”

WhatdoyouthinkAllenmeansbythisstatement?IsitinanywayusefulininterpretingSmart’spaintings?

Extractfrom�005exhibitioncataloguePhilipBaconGallerieshttp://www.philipbacongalleries.com.au/artists_and_stockroom?id=45�5�9

TheexhibitionistitledMaster of Stillness: Jeffrey Smart paintings 1940 – 2011.Havingviewedtheexhibitioncanyouunderstandwhythistitlewaschosen?Canyouthinkofanalternative?

Extended writing/research tasksWriteareviewoftheexhibitionthatexploresthelinksorrelationshipsbetweentheworks.

Chooseoneofthethemes(‘Thecity’,‘Contemporarylife’,‘Theartofstillness’)suggestedinthisEducationResourceandreviewtheexhibitionfromthisperspective.

Comparetwoormoreworkswhichappeartobeexploringsimilarideasindifferentways.


5 Further research

Books and catalogues

Aland,JennyandDarby,Max,Australian Artlook,PortMelbourne:Heinemann�997,pp.�34–�35

Allen,Christopher,Art in Australia: From colonisation to postmodernism,London:Thames&Hudson�997,pp.�70–�7�

Allen,Christopher,Jeffrey Smart: Unpublished Paintings 1940 – 2007,Collingwood,Vic:AustralianGalleries�008

Beresford,Bruce,‘Smart’,inJeffrey Smart: Paintings and studies 2006 – 2010 and one drawing from 1946,Collingwood,Vic:AustralianGalleries�0�0(exhibitioncatalogue)

Capon,Edmund,Pearce,BarryandQuartermaine,Peter,Jeffrey Smart Retrospective,Sydney:ArtGalleryofNewSouthWales�999

Capon,EdmundandSmart,Jeffrey,Jeffrey Smart: Drawings and studies 1942 – 2001,Collingwood,Vic:AustralianGalleriesinassociationwithJeffreySmartandAustralianArtPublishing�00�

DeGroen,Geoffrey,Some Other Dream: The artist, the art world and the expatriate,Sydney:Hale&Iremonger�984(editedversionin‘Wherethelightmustrule’,Art & Australia,vol.�9,no.�,�98�)

Gray,Anne(ed.),Australian Art in the National Gallery of Australia,Canberra:NationalGalleryofAustralia�00�,pp.�6,�58,3��

Greer,Germaine,Jeffrey Smart,Brisbane:PhilipBaconGalleries�996(exhibitioncatalogue)

Grishin,Sasha,‘JeffreySmart’seternalorderoflightandbalance’,inJeffrey Smart: Paintings and studies 2002 – 2003,Melbourne:AustralianGalleries�003

Hughes,Robert,The Art of Australia,Harmondsworth:Penguin�970,pp.�03 –�04

McDonald,John,Jeffrey Smart: Paintings of the ’70s and ’80s,Sydney:CraftsmanHouse�990

Pearce,Barry,Jeffrey Smart,Sydney:TheBeaglePress�005

Pearce,Barry,Jeffrey Smart(rev.edn),Sydney:TheBeaglePress�0��

Smart,Jeffrey,Not Quite Straight: A memoir,Melbourne:WilliamHeinemannAustralia�996

Smith,BernardwithTerrySmithandChristopherHeathcote,Australian Painting, 1788 – 2000,Melbourne:OxfordUniversityPress,�00�,pp.�36,�93,405,4�5,585,587–8

Video interviews/articles

Sunday ArtsABCTVAustralia�008interviewwithJeffreySmarthttp://www.youtube.com/watch?v=AGzY9ESgIqA

NationalGalleryofAustraliaprofileofCorrugated Gioconda,�976http://www.youtube.com/watch?v=wQNlYCOgB9g

Seealso:YouTubevideosre:PierodellaFrancesca,GeorgesSeuratandotherartistsreferredtointhisEducationResource.


Carrick Hill – The early years

Adelaide

Laundry still life,�940oiloncanvas40.0x50.0cmPrivatecollection

Self portrait,�940oiloncanvas48.0x39.0cmPrivatecollection

Wet street I I,�94�oiloncanvas5�.5x40.0cmPrivatecollection

Angaston,�94�oiloncanvas45.0x36.0cmPrivatecollection

Wet street IV,�943oiloncanvas�8.5x35.0cmPrivatecollection(Smartappearstohavesignedthisworklater,inscribing�943withthesignature.)

Hindley Street at evening,�944oiloncanvasonboard58.5x49.5cmPrivatecollection

Water towers,�944oiloncanvas6�.7x63.5cmElderBequestFund�944ArtGalleryofSouthAustralia,Adelaide0.��74

Port Adelaide railway station,�944oiloncanvas50.4x6�.0cmElderBequestFund�945ArtGalleryofSouthAustralia,Adelaide0.��88

George O’Dea in the sun,�945oiloncanvas37.0x�9.0cmPrivatecollection

Sunday morning service,�945oiloncanvas5�.0x6�.0cmPrivatecollection

The wasteland II,�945oiloncanvas60.9x73.4cmArtGalleryofNewSouthWales,Sydney78�5

Scorched earth I,�945oilonboard44.5x53.0cmPrivatecollection

Keswick siding,�945oilonjutecanvas6�.0x7�.0cmGiftofCharlesB.Moses�98�ArtGalleryofNewSouthWales,Sydney�93.�98�

Kapunda mines,�946oiloncanvas6�.5x73.4cmPurchased,�947NationalGalleryofVictoria,Melbourne�7��-4

Holiday resort,�946oiloncanvas50.9x60.9cmGiftofDouglasandBarbaraMullinstocommemoratetheGallery’s��5thanniversary�006ArtGalleryofSouthAustralia,Adelaide�0063P�5

The salvagers,�946oiloncanvas5�.0x6�.0cmPrivatecollection

6 List of works

AllworksbyJeffreySmart,born�9��,Australia.Measurementsaregivenincms,heightprecedingwidth.Nos�–�4exhibitedatCarrickHill;nos�5–68atSamstagMuseumofArt.Withoneexception(�9),thepaintingsshownattheSamstagMuseumofArtarealsoexhibitedattheTarraWarraMuseumofArt,Victoria.


Robe,�947oilonplywood50.8x6�.3cmA.R.andA.M.RaglessBequestFund�975ArtGalleryofSouthAustralia,Adelaide757P9

Cape Dombey,�947oiloncanvas49.7x60.�cmAlanR.RenshawBequest�976UniversityofSydneyCollection,SydneyUA�976.54

The vacant allotment,�947oiloncanvas5�.0x6�.0cmNewEnglandRegionalArtMuseum,Armidale�979_�04

Portrait of Judith-Anne,�948oilonboard4�.0x3�.0cmPrivatecollection

Piazza Quirinale, Roma,�949gouacheonpaper3�.0x48.0cmPrivatecollection(Smartappearstohavesignedthisworklater,inscribingitwithaslightlydifferenttitletowhenitwasfirstexhibited.)

Net menders,�950oilonboard46.0x6�.0cmPrivatecollection

Paringa,�95�oiloncanvas5�.4x8�.6cmPrivatecollection

Wallaroo,�95�oilonplywood68.4x�07.0cmAcquired�959NationalGalleryofAustralia,CanberraNGA59.�7

Samstag Museum of Art – The later years

Sydney

Kurnell,�955oiloncanvas6�.6x76.5cmTheWesfarmersCollectionofAustralianArt,Perth083

Approaching storm by railway,�955oiloncanvas60.�x73.0cmPrivatecollection

The nuns’ picnic,�957oiloncanvas34.5x43.0cmPrivatecollection

The stilt race,c.�960oilonplywood56.3x9�.3cmPurchased�96�ArtGalleryofNewSouthWales,SydneyOA�6.�96�

Rushcutters Bay Baths,�96�oilonboard56.0x9�.0cmPrivatecollection

Coogee Baths, winter,�96�oiloncanvas9�.0x��.0cmDonatedthroughthe�976AlanRichardRenshawbequestUniversityofSydney,SydneyUA�976.57

On the roof, Taylor Square,�96�oiloncanvasmountedoncompositionboard6�.0x50.�cmPurchased�969NationalGalleryofAustralia,CanberraNGA69.�6�

Cahill Expressway,�96�oilonplywood8�.9x��.3cmPurchased�963NationalGalleryofVictoria,Melbourne�306-5

Harbour excavations, Port Kembla,�96�oilonmasonite65.3x��7.3cmA.M.RaglessBequestFund�963ArtGalleryofSouthAustralia,Adelaide0.�979


The gymnasium,�96�oiloncompositionboard63.0x77.�cmGiftofEvaandMarcBesen�00�TarraWarraMuseumofArtcollection,Healesville�00�.073

Rome

San Cataldo I,�964oilonmasonite63.5x80.0cmNationalTrustofAustralia(NSW)SH��4

The listeners,�965oiloncanvas90.5x70.0cmTheWilliam,ReneandBlairRitchieCollection.BequestofBlairRitchie�998BallaratFineArtGallery�998.�3

Madrid airport,�965oiloncanvas55.0x70.0cmOnloanfromprivatecollectiontoArtGalleryofSouthAustralia,Adelaide

Alma Mahler feeding the birds,c.�968oiloncanvas59.8x70.�cmBequestofProfessorEmeritusDouglasJosephAO�990ArtGalleryofNewSouthWales,Sydney�57.�990

The water tower,�968oiloncanvas76.0x9�.0cmPrivatecollection

Approach to a city I I I,�968 – 69oiloncanvas66.0x80.0cmPrivatecollection

Rooftops,�968 – 69oiloncanvas7�.6x�00.4cmTheJosephBrownCollection.PresentedthroughtheNGVFoundationbyDrJosephBrownAOOBE,HonoraryLifeBenefactor,�004NationalGalleryofVictoria,Melbourne�004.��9

Morning practice, Baia,�969oiloncanvas58.0x8�.0cmCollectionMrandMrsDickandBarbaraSenn,California,USA

Control tower,�969oiloncanvas9�.5x7�.5cmGiftoftheFriendsoftheArtGalleryofSouthAustralia�970ArtGalleryofSouthAustralia,Adelaide707P�3

Waiting for the train,�969 –70syntheticpolymerpaintoncanvas59.0x89.0cmGiftofAlcoaWorldAluminaAustralia�005NationalGalleryofAustralia,CanberraNGA�005.96

Holiday,�97�oiloncanvas�00.0x8�.0cmPrivatecollection

Tuscany

Factory staff, Erehwyna,�97�oiloncanvas�00.�x�00.4cmPurchased�97�NationalGalleryofVictoria,MelbourneA�6-�97�

Near Knossos,�973oilandacryliconcanvas8�.0x�00.0cmUniversityofSouthAustraliaArtCollection,Adelaide�976.�

The traveller,�973syntheticpolymerpaintandoiloncanvas�00.5x��6.0cmPurchased�975withtheassistanceofanAustralianGovernmentGrantthroughtheVisualArtsBoardoftheAustraliaCouncilQueenslandArtGallery,Brisbane�:�4�5

Central Station II,�974 –75syntheticpolymerpaintoncanvas86.0x�00.0cmPurchased�976ArtGalleryofNewSouthWales,Sydney�4�.�976

Corrugated Gioconda,�976oiloncanvas80.8x��6.6cmPurchased�976NationalGalleryofAustralia,CanberraNGA76.�065


The directors,�977oilonplywood46.5x�09.5cmAcquiredwithfundsfromtheUtahFoundation�978ArtGalleryofWesternAustralia�978/00P�

The dome,�977oilandacryliconcanvas74.5x74.4cmGiftofEvaandMarcBesenDonatedthroughtheAustralianGovernment’sCulturalGiftsProgram�008TarraWarraMuseumofArtcollection,Healesville�008.070

The construction fence,�978oilandacryliconcanvas88.5x��8.4cmGiftofEvaandMarcBesen�00�,TarraWarraMuseumofArtcollection,Healesville�00�.07�

Jacob descending,�979acryliconcanvas94.0x55.6cmGiftofEvaandMarcBesenDonatedthroughtheAustralianGovernment’sCulturalGiftsProgram�008TarraWarraMuseumofArtcollection,Healesville�008.069

Portrait of David Malouf,�980oilandsyntheticpolymerpaintoncanvas�00.0x�00.0cmPurchased�983ArtGalleryofWesternAustralia,Perth�983/0P�3

Morning, Yarragon siding,�983– 84oiloncanvas�00.0x�34.0cmPrivatecollection

Container train in landscape,�983– 84oilonfivehardboardpanels��3.5x985.0cmCommissionedin�983.GiftofEvaandMarcBesen,ArtsCentreMelbourne,MelbourneVAC�984-009.00�

Self portrait at Papini’s,�984 – 85oilandacryliconcanvas85.0x��5.0cmPrivatecollection

Art gallery in shopping arcade,�985oiloncanvas80.0x�00.0cmKerryStokesCollection,Perth�99�.044

Off Brindisi,�985oilandacryliconcanvas85.0x�04.0cmPrivatecollection

The underpass,�986 – 87acrylicandoiloncanvas��.�x75.8cmCourtesyoftheParliamentHouseArtCollection,DepartmentofParliamentaryServices,Canberra�987/0��

Portrait of Clive James,�99�–9�oiloncanvas�09.0x��0.0cmPurchasedwithfundsprovidedbytheArtGallerySocietyofNewSouthWales,�99�ArtGalleryofNewSouthWales,Sydney�76.�99�

Playground at Mondragone,�998oiloncanvas76.0x��.0cmGiftofAustralianGalleries�998ArtGalleryofNewSouthWales,Sydney347.�998

The red warehouse,�003oiloncanvas64.0x�65.0cmPrivatecollection

The cleaners,�004oiloncanvas80.0x��0.0cmPrivatecollection

The two-up game (Portrait of Ermes),�006oiloncanvas86.8x�58.4cmAcquired�006TarraWarraMuseumofArtcollection,Healesville�006.0��

The wooden fence, St Kilda,�009oiloncanvas73.0x70.0cmPrivatecollection

Labyrinth,�0��oiloncanvas�00.0x�00.0cmPrivatecollection

0 – Master of Stillness: Jeflrey Smart paintings 940 · 2018. 11. 8. · is a Samstag Museum of Art and Carrick Hill exhibition in partnership with TarraWarra Museum of Art Education

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