� Master of Stillness: Jeffrey Smart paintings 1940 – 2011EducationResource
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� Master of Stillness: Jeffrey Smart paintings 1940 – 2011EducationResource
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
� Master of Stillness: Jeffrey Smart paintings 1940 – 2011EducationResource
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
4 Master of Stillness: Jeffrey Smart paintings 1940 – 2011EducationResource
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
4 Master of Stillness: Jeffrey Smart paintings 1940 – 2011EducationResource
5 Master of Stillness: Jeffrey Smart paintings 1940 – 2011EducationResource
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.
6 Master of Stillness: Jeffrey Smart paintings 1940 – 2011EducationResource
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�
7 Master of Stillness: Jeffrey Smart paintings 1940 – 2011EducationResource
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
8 Master of Stillness: Jeffrey Smart paintings 1940 – 2011EducationResource
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.
9 Master of Stillness: Jeffrey Smart paintings 1940 – 2011EducationResource
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?
�� Master of Stillness: Jeffrey Smart paintings 1940 – 2011EducationResource
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
�3 Master of Stillness: Jeffrey Smart paintings 1940 – 2011EducationResource
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.
�4 Master of Stillness: Jeffrey Smart paintings 1940 – 2011EducationResource
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
�5 Master of Stillness: Jeffrey Smart paintings 1940 – 2011EducationResource
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.��
�6 Master of Stillness: Jeffrey Smart paintings 1940 – 2011EducationResource
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
�7 Master of Stillness: Jeffrey Smart paintings 1940 – 2011EducationResource
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.
�8 Master of Stillness: Jeffrey Smart paintings 1940 – 2011EducationResource
Planning a successful group visit to Master of Stillness: Jeffrey Smart paintings 1940 –2011Ifplanningtobringagrouptothisexhibition–BOOKNOW.
Numbersarerestrictedinsomevideoprojectionareas.Bookedgroupswillhavepriority,scheduledentrytotheexhibition.
To book: T 08830�0870
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
�9 Master of Stillness: Jeffrey Smart paintings 1940 – 2011EducationResource
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
�0 Master of Stillness: Jeffrey Smart paintings 1940 – 2011EducationResource
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.
�� Master of Stillness: Jeffrey Smart paintings 1940 – 2011EducationResource
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.
�� Master of Stillness: Jeffrey Smart paintings 1940 – 2011EducationResource
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.
�3 Master of Stillness: Jeffrey Smart paintings 1940 – 2011EducationResource
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
�4 Master of Stillness: Jeffrey Smart paintings 1940 – 2011EducationResource
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
�5 Master of Stillness: Jeffrey Smart paintings 1940 – 2011EducationResource
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