brack john 1920 (4 Ergebnisse)

Sydney : Deutscher and Hackett, 2010. Octavo, illustrated wrappers, pp. 16, illustrated.

Sydney : Rex Irwin Art Dealer, 1995. Quarto, folded card, two colour reproductions and one black and white, essay by Alun Leach Jones, no list of works.

Text by Margaret Plant. Introduction by Gordon Thomson. Melbourne: Lyre Bird Press, 1982. Large folio (465 x 340mm) bound in gilt-titled half-leather over hessian covered boards decorated with Brack motif, housed in matching clamshell box with gilt decoration and lettering on front panel, bound by N. Doslov of Melbourne, with binder?s ticket on front pastedown. Illustrated with fifteen original large lithographs by Brack, each drawn on a single zinc lithographic plate, each unsigned and untitled as issued. Thirteen lithographs measure 430 x 300mm (approximate), two of the plates are double page images of double nudes, and measure 440 x 640mm (approximate). Light foxing to the cloth boards, slipcase, and preliminaries. Limited to 200 copies plus 50 hors d?commerce, but in reality only a quarter of this edition was produced. Signed by John Brack on the colophon. This stunning book, the brainchild of master private press publisher Tate Adams, is the only deluxe art book created by John Brack. Commenced in September 1981 and published in December 1982, the book was launched with a series of original conte drawings, on which the lithographs were based, at Realities Galleries, Melbourne. As such a high cost of production was involved in the binding of the book, only fifteen copies were originally bound for exhibition and sale at the show. Subsequent to this a further approximately thirty-five copies were bound, making a total finished edition of about fifty copies, far fewer than the anticipated 200. The fifty hors d?commerce series were issued unbound as lithographs for framing, and these were individually signed by the artist. This commercial aspect to the publication in part defeated John Brack?s creative vision in designing the graphics ? the images are composed with a specific perspective intended to be experienced as the book is angled flat before the viewer, which is lost once the images are framed. Rare. Collections: National Gallery of Australia, National Gallery of Victoria, National Library of Australia, State Library of Victoria, State Library of Queensland, State Library of New South Wales, University of Melbourne, Royal Melbourne Institute of Technology, Monash University. References: GRISHIN, Sasha. The Art of John Brack, pp 31-45; HOLLOWAY, Memory. ?Critics Choice?, The Age, Melbourne, 11 December 1982 LINDSAY, Robert. John Brack Retrospective exhibition. Melbourne: NGV, 1987 p. 134.

Conte on paper,73 x 52 cm,signed and dated lower right 'John Brack 1980', framed. Widely considered to be one of Australia's great intellectual painters of the twentieth century, John Brack completed a number of critically acclaimed series of the female nude, which 'remained his touchstone with one of the great traditions of art, a testing ground to which he could constantly return' - Grishin, The art of John Brack, vol. 1,p. 156. Standing Nude, 1980, is from a major series of female nudes executed in oil, conte and lithograph between 1979 - 1981, during a hiatus Brack took while working on his epic pencil Battle series. The works from this series of nudes are characterised by his models set against a stark, urban interior, and posed somewhat awkwardly, as if deliberately constructed to disconnect the subject against their environment. In 1981, Brack's large scale conte drawings would be reworked by the artist as lithographs for publication in the deluxe edition John Brack Nudes (Melbourne : Lyre Bird Press, 1981), drawn again on stone and printed for the book, whereStanding Nude would serve as the opening image for the series. When considered as a series, the meaning of Brack's uneasy forms become apparent. In his introduction to the series in John Brack Nudes(1981), Gordon Thomson writes '. these are all about how it is, the human predicament . There are always things of elating beauty, but they are always surrounded by restraints. The room is isolation. The space is ample, but not limitless. There are confining walls, at strange angles, and wiry restricting lines, rendezvous promised, but evaded .we feel some consolation for the harsh juxtaposition of the apparently simple human form with the apparently much more complex design of the mat, and all that such antinomies imply'. InStanding Nude, 1980, the exquisite, natural beauty of Brack's nude model is gracefully staged against a elaborate Chinese screen, and whereas each element stands alone as form of beauty, there is a subtle disconnect between the two. Neither the screen nor nude are revealed in their entirety, and like other works in his series, Brack constrains his subject against the imposing architectural elements of the room. The viewer is left to wonder at what the model's eye is resting on, and what is veiled behind the screen, extending the scene beyond the limits of the drawing. Clearly skilled as an artist in capturing beauty, Brack's works also contain an enigmatic subtext, which heightens the interest level in what could otherwise be a static piece. Standing Nude, 1980 is a finely drawn, large scale, finished work from the height of the artist's career. It is highly representational of the artist's own exploration of the nude, a work which is refined in both composition and execution. Provenance: Rex Irwin Art Dealer, Sydney Private collection, Sydney, acquired from the above in 1984, as Study for P4 Exhibited: John Brack : Drawings and Lithographs. Realities Gallery, Melbourne, 30 November - 18 December 1982 Works on Paper, Rex Irwin Art Dealer, Sydney, 21 April - 9 May 1992, illustrated on exhibition invitation (included) Reference: Sasha Grishin, The Art of John Brack. Volume II : Catalogue Raisonne.Oxford University Press, Melbourne, 1990, pp. 70, 237, p264 (illustrated) Related work: Standing Nude, 1982, lithograph, 48.0 x 37.5cm, in John Brack Nudes: Fifteen original lithographs, Lyre Bird Press, Melbourne, 1982, cat. 1.