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john brack pencil paintings

While Brack’s imagery was often interpreted as satirical social commentary, his primary motivation was quite different. DAVID THOMAS, Estimate: Sold in 2007 for $3.36 million, John Brack, Rudy Komon Art Gallery, Sydney, 10 – 28 November 1973, cat. 1920-1999 JOHN BRACK (1920-1999) Reclining Nude on Couch 1965 pencil on paper signed and dated 'John Brack 65' lower right 55 x 75cm PROVENANCE Purchased Bonython Galleries, Paddington, 1970 Private collection, Sydney, Estimate: In turn, these are echoed by the outlines of the chair, rug and cushion, as well as the model’s long angular limbs – making this drawing a study in texture and form. As Helen Brack has explained, ‘The margins here are very important, because they are about a dark past, other ages. The arrow head is completed and there is a new set of pencils that start around the table back edge, one red pencil leader, followed by one green pencil, and almost by its side there is a very warm yellow pencil – surely the colors for the continuation of life.

bears inscription verso: 2 o72, pp. 1. John used the device of configuration in the construction of his pictures, constantly, e.g. 195 (illus. JOHN BRACK 1, Deakin University Media Production, 1980, transcript, p. 3 4 John Brack, Georges Gallery, Melbourne, 5-17 October 1970, no. Obsessions about states of uneasy poise and about vulnerability: ideas about personal uses for very impersonal objects, about the physical and psychological make-believe, and about realities behind facades.

LITERATURE: Art Gallery Rd, The Domain 2000Sydney, AustraliaInfo line 1800 679 278, See opening hours and admission The Major Harold De Vahl Rubin Collection, Brisbane (label attached verso) Paintings - Cecil John (John) Brack - Page 4 - Australian Art Auction Records. In the early 1950s the reality of the Holocaust was felt here in Melbourne, it was past understanding or imagination, and John was compelled to comment because it had happened in our time … The pencils configure to a wild creature that has swished around to face us – assault us – whereas the front curve of the S shape, with its 3 cards that are flesh-colored, has warm colored pencils, including yellow and warm pink, that loosely configure into the shape of a 3 dimensional arrow – with a side wall and a flat level top surface – pointing away from the center where the cards are. See also for more detail regarding Brack’s process. Private collection, Melbourne

About the rituals of art and life … his definitive Dance of Life comes in a long line from Goya, Munch, Seurat, Degas and the Flemish Primitives … an amalgam of emotion and discipline’.6 ESSAY: DIMENSIONS:

We are observing strict physical distancing and hygiene measures to protect the health of visitors and staff and minimise the spread of COVID-19 (coronavirus). o206, p. 148

Sun, Sydney, 14 November 1973, quoted in Lindsay, R., Of And at times he adds an awkwardness of angles to give it further edge.

The machine almost completely fills the picture’s space but its placement is slightly off-centre, leading the eye towards a doorway to the right which appears as a dark and potentially menacing void. John Brack, exhibition catalogue, National Gallery of Victoria, Melbourne, 2009, p. 12 JOHN BRACK 1920-1999 Junior Latin American 1969 oil on canvas signed and dated 'John Brack 69' lower left frame: original, John Pandolfini, Melbourne 96.8 x 163.8 cm PROVENANCE Rudy Komon Art Gallery, Sydney Ray Hughes Gallery, Sydney Private Collection, Sydney, acquired from the above in May 1985 EXHIBITED John Brack, Rudy Komon Gallery, Sydney, 8-25 April 1970, no. AUD120,000 - AUD160,000, Description: o164, Estimate:

Lindsay, op. inscribed with title on artist’s label verso: RECLINING NUDE Legs on a Red Floor, 1969, (Private collection, Melbourne). DIMENSIONS: A Question of Balance: John Brack 1974 – 1994, Heide Museum of Modern Art, Melbourne, 1 April – 28 May 2000 JOHN BRACK

ESSAY: 4. The painting was later bought from Rudy Komon by Alan Geddes, General Manager and Director of Mercantile Mutual Life in Sydney, and it has remained in his collection and that of his family since that time. The configuration made by the pencils within the picture is a back-to-front S shape, the S lying down, (or a 2 made into an S) but looking at the whole, the S shape and the table make a figure of 8, an image for never ending, as is the horizontal 0 of the table.

Sasha Grishin, no. KIRSTY GRANT, Estimate: signed and dated lower right: John Brack 57 EXHIBITED:

JOHN BRACK (1920-1999) Nude on High Backed Chair 1973 conte on paper 70.0 x 49.5 cm signed and dated lower left: John Brack 1973, Estimate:

LITERATURE: All Rights Reserved. Your email address or password is incorrect. AUD150,000 - AUD250,000, Description: We acknowledge the traditional custodians of the Country on which the Gallery stands, the Gadigal of the Eora Nation, and recognise their continuing connection to land, waters and culture. I, p. 226; vol. The way the light falls and casts its shadows is merely … a hindrance unless it helps me to show these things.’ p312, p. 74 2, 0261, illustrated, Description: Estimate: In the oil painting, Standing nude, 1970, these suggestions are taken only as a starting point; the proportions, the compositional structure and the colour scheme, in short, the whole internal life of the painting is rethought, and worked out on the canvas itself.

Ursula Hoff, Robert Lindsay and Patrick McCaughey, 25 and 142ESSAY:'In the winter of 1970 Brack made eight conté drawings of the nude from the model and the following summer, working from these drawings, executed a series of eight oil paintings. Private collection, Melbourne Two group shows at the Australian Galleries, Melbourne in March and May of 1957 saw Carnations; Lavender and Sweet William; and Gerberas making their debuts. 'In general the setting is intended to reflect the present real world, i.e. The conceptual elements remain relatively constant. JOHN BRACK AUD1,000,000 - AUD1,400,000, Description: While the colour and movement of competitive ballroom dancing offered rich visual inspiration for Brack’s picture-making, as an artist who was primarily motivated by a desire to understand and illuminate the human condition, it was the way in which it reflected aspects of human behaviour and interactions that he found especially compelling.

AUD16,000 - AUD20,000, Description: JOHN BRACK 1920-1999 To the Water (1961) oil on composition board signed 'John Brack' lower right 98.7 x 76.1 cm PROVENANCE Mr Gordon Thomson, Melbourne Private Collection, Melbourne, by descent from the above EXHIBITED Paintings by John Brack, South Yarra Gallery, Melbourne, 26 February - 17 March 1961, no. As he explained, ‘What I paint most is what interests me most, that is, people; the Human Condition … A large part of the motive … is the desire to understand, and if possible, to illuminate … My material is what lies nearest to hand, the people and the things I know best’.1 Throughout a career that spanned more than five decades Brack’s work evolved both stylistically and technically, as well as witnessing distinct changes of subject matter, however this focus on the human condition remained a consistent and primary theme. conté on paper John Brack: A Retrospective Exhibition, National Gallery of Victoria, Melbourne, 1987, p. 127 8 121-122:'The series of gymnasts consists of ten oil paintings and eight conté drawings. Discover the value of your art. John Brack: Paintings and Drawings 1945 – 1977, Retrospective Exhibition, Australian National University, Melville Hall, Canberra, 21 September – 16 October 1977 (illus.

John Brack: Selected Paintings 1947 – 1977, RMIT Gallery, Melbourne, 15 March – 1 April 1977

117, 119 Grishin, S., I: p. 188, vol.

AUD120,000 - AUD140,000, Description: Brack's humorous depictions represent the life in Australia in the second half of the 20th century John Brack - Collins St. How better to depict the interdependence of individuals within any community? Upon staring at the whole, the 2 sections become very different. AUD250,000 - AUD350,000, Description:

The Block, 1954, is the first of these visual essays, followed by

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