The Archibald Prize was the first major prize for portraiture in Australian art. It was first awarded in 1921 after the receipt of a bequest from J. F. Archibald, the editor of The Bulletin who died in 1919, it is now administered by the trustees of the Art Gallery of New South Wales and awarded for "the best portrait, preferentially of some man or woman distinguished in Art, Science or Politics, painted by an artist resident in Australia during the twelve months preceding the date fixed by the trustees for sending in the pictures." The Archibald Prize has been awarded annually since 1921 and since July 2015 the prize has been AU$100,000. List of Archibald Prize winners 1921 – £400 1941 – £443 / 13 / 4 1942 – £441 / 11 / 11 1951 – £500 1956 – £1,364 2006 – $35,000 2008 – $50,000 2012 – $75,000 2015 – $100,000 Since 1988 two other prizes have been added to the Archibald prize event; the People's Choice Award, in which votes from the public viewing the finalists are collected to find a winner was first awarded in 1988.
The award comes with a monetary prize of A$3,500. In 1992 the Packing Room Prize was established, in which the staff who receive the portraits and install them in the gallery vote for their choice of winner; the prize-winner is not always an Archibald finalist. Although the prize is said to be awarded by the staff, the gallery's head storeman – since 2011 Steve Peters – holds 51% of the vote; the Packing Room Prize is awarded annually and since June 2014, the prize has been A$1,500. To date there has never been an Archibald Prize winner, a Packing Room Prize winner.. For this reason winning the Packing Room Prize is known as "the kiss of death award". There has twice been a matching Packing Room Prize and People's Choice Award winner – although neither won the main prize – to Paul Newton's portrait of Roy Slaven and HG Nelson in 2001, to Jan Williamson's portrait of singer/songwriter Jenny Morris in 2002. Danelle Bergstrom has won the Packing Room Prize twice, first in 1995 with a portrait of singer/songwriter Jon English, again in 2007 with a portrait of actor Jack Thompson, with the work entitled Take Two.
Category:Archibald Prize finalists Lists of Archibald Prize finalists Since 1992, a selection of entrants not included amongst the finalists has been included in the Salon des Refusés. Since 1999, Sydney based law firm Holding Redlich have sponsored a Salon des Refusés People's Choice Award; the Archibald Prize is held at the same time as the Sir John Sulman Prize, the Wynne Prize, the Mortimore Prize for Realism, the Australian Photographic Portrait Prize, the Young Archie competition and the Dobell Prize. The Archibald is the next richest portrait prize in Australia after the Doug Moran National Portrait Prize. In 1978 Brett Whiteley won the Archibald and Sulman Prizes all in the same year, the only time this has happened, it was his second win for the other prizes as well. Some works which do not make the Archibald Prize finalists are shown at the S. H. Ervin Gallery in the Archibald Salon des Refusés exhibition which began in 1992; the satirical Bald Archy Prize judged by a cockatoo, was started in 1994 at the Coolac Festival of Fun as a parody of the Archibald Prize.
The prize has attracted a good deal of controversy and several court cases. Max Meldrum criticised the 1938 Archibald Prize winner, Nora Heysen, saying that women could not be expected to paint as well as men. Heysen was the first woman to win the Archibald Prize, with a portrait of Madame Elink Schuurman, the wife of the Consul General for the Netherlands. In 1953 several art students including John Olsen protested William Dargie's winning portrait, the seventh time he had been awarded the prize. One protester tied a sign around her dog which said "Winner Archibald Prize – William Doggie". Dargie went on to win the prize again in 1956. On becoming Prime Minister in 1972, Gough Whitlam commissioned his friend Clifton Pugh to paint the official portrait; the Australian Parliament Historical Memorial Committee would have commissioned a portrait. Pugh's portrait of Whitlam won the 1972 Archibald Prize. In 1975, John Bloomfield's portrait of Tim Burstall was disqualified on the grounds that it had been painted from a blown up photograph, rather than from life.
The prize was awarded to Kevin Connor. In 1983 John Bloomfield sued for the return of the 1975 prize, unsuccessful; the application form of the Archibald Prize was modified based on this to make clear that the subject must be painted from life. In 1985, administration of the trust was transferred to the Art Gallery of New South Wales, after a court case where the Perpetual Trustee Company took the Australian Journalists Association Benevolent Fund to court. In 1997 the painting of the Bananas in Pyjamas television characters by Evert Ploeg was deemed ineligible by the trustees because it was not a painting of a person. Another controversy involved the 2000 Archibald winner, when artist Adam Cullen lodged a complaint with the Australian Broadcasting Corporation who had used his painting, Portrait of David Wenham, in a television commercial. In 2002, head packer Steve Peters singled out a painting of himself by Dave Machin as a possible winner for the Packing Room Prize, it did not win. Following this, portraits of the head packer were no longer allowed.
In 2004 Craig
Sir Ivor Henry Thomas Hele, CBE was an Australian artist noted for portraiture. He was Australia's longest serving war artist and completed more commissioned works than any other in the history of Australian art. Hele was born in Edwardstown, South Australia, the youngest of four children of Arthur Hele and his wife Ethel May Hele, née Thomas moving to 13 Brown Street, Adelaide, he attended Westbourne Park Primary School for a short time Prince Alfred College, where at age eight he began art classes under James Ashton, the drawing master. In 1923 his painting "The Bedouin" was a prize winner at a London exhibition. In 1924 he started studies at the South Australian School of Arts and Crafts under Miss M. Kelly and completed his first year with honours, he was awarded three first class certificates at the Royal Drawing Society's Art Exhibition in 1924, Princess Louise's Prize at their exhibition the following year. In 1926 he was admitted to the South Australian Society of their youngest member.
Apart from his art studies, he had a normal boy's interest in sport, satisfactory academic results. In 1927, encouraged by his tutor Marie Tuck, the 15-year-old Ivor sailed to Europe, where he studied drawing and painting for six months at the academy run by Louis-François Biloul in Paris, another six months at the summer school run by Moritz Heymann at Reichersbeuern, Bad Tölz-Wolfratshausen in the Bavaria Alps, he returned to Australia early in 1930. He was to return to Paris and Bavaria three years as a married man. At age 20 Hele married a prominent women's basketball player and official, they renovated the isolated and rambling Hotel Aldinga on the Old Coach Road, abandoned after construction of the Main South Road and the population centre of Aldinga moving to the seaside. In 1936 his painting The Proclamation won first prize in a competition to mark the Centenary of South Australia. In 1938 a major work, Sturt's Reluctant Decision to Return won the Commonwealth sesquicentenary prize of 250 guineas.
The picture was purchased by the Government for the future National Gallery of Australia, but is rather to be found at the Art Gallery of South Australia. Encouraged by Thomas Blamey, impressed by the Sturt painting and with a promise of support for his artistic career, Hele enlisted as a private soldier in the 2nd AIF and in June 1940 sailed for the Middle East with the 2/48th Battalion, 9th Australian Division. On 9 January 1941 Blamey met him personally. Around June 1941 he joined the Military History and Information Section of the AIF, under John Treloar, which had a studio in Heliopolis, which he shared with Lyndon Dadswell and John Dowie, he was appointed an official War Artist on 11 October 1941 with the rank of Captain. He returned to Australia with the 6th and 7th Divisions and by April was back at Aldinga, started on his ambitious series of paintings based on his extensive portfolio of sketches and paintings, many of which had in transit been accidentally ruined. Treloar, impatient with Hele's progress called on Louis McCubbin, director of the Art Gallery of South Australia, to investigate.
He remained with the 9th Division, transferred to New Guinea. After the war he returned to Aldinga, where from his extensive portfolio of sketches, he executed many of the paintings which are held by the Australian War Memorial. In 1952 he was appointed as a war artist to the Australian forces in Korea. Apart from the figure studies and war scenes held by the Australian War Memorial for which he is best known, the many portraits, Ivor Hele painted many landscapes of the rugged South Australian coast, a great number of erotic drawings; the National Gallery of Australia holds around 130 of his works minor pieces, the Art Gallery of South Australia a few dozen. His work was seen at The Advertiser's open-air art exhibitions, few one-man shows: in 1943, 1945, 1954 and 1970 at the John Martin's auditorium during the Festival of Arts. Hele had an older brother, Harold A. Hele, twin sisters, who married Alf Head on 4 October 1930, Phyllis Hele, who married Jack Dew Laurenti on 3 March 1937. A niece, sculptor Marcia Rankin, inherited Hele's sketchbooks, which she presented to the Australian War Memorial.
In 24 March 1932 Hele married Millicent Mary Jean Berry, a school teacher, at the Manse, Germein Street, South Australia. They divorced in 1957 and he married June Weatherly. Hele was self-critical and only held two exhibitions of his work, in 1931 and 1958, he was a perfectionist who burned paintings he was dissatisfied with. Hele was cremated, he was commissioned to paint the opening of Federal Parliament by the Queen during her visit in 1954. He painted portraits of Prime Ministers Sir William McMahon and Malcolm Fraser, which are hanging in the New Parliament House in Canberra, his portrait of Sir Thomas Blamey is held by the Australian War Memorial, as is one of Tom Derrick VC. with whom Hele had trained in 1940. His portrait of Sir Lyell McEwin, longtime leader of the South Australian Legislative Council, hangs in Parliament House, Adelaide, his portrait of Professor Chapman hangs in the University of Adelaide's Chapman Theatre. The National Portrait Gallery holds his portraits of Claude Charlick, Sir Lloyd Dumas and Senator, Dame
Virtual International Authority File
The Virtual International Authority File is an international authority file. It is a joint project of several national libraries and operated by the Online Computer Library Center. Discussion about having a common international authority started in the late 1990s. After a series of failed attempts to come up with a unique common authority file, the new idea was to link existing national authorities; this would present all the benefits of a common file without requiring a large investment of time and expense in the process. The project was initiated by the US Library of Congress, the German National Library and the OCLC on August 6, 2003; the Bibliothèque nationale de France joined the project on October 5, 2007. The project transitioned to being a service of the OCLC on April 4, 2012; the aim is to link the national authority files to a single virtual authority file. In this file, identical records from the different data sets are linked together. A VIAF record receives a standard data number, contains the primary "see" and "see also" records from the original records, refers to the original authority records.
The data are available for research and data exchange and sharing. Reciprocal updating uses the Open Archives Initiative Protocol for Metadata Harvesting protocol; the file numbers are being added to Wikipedia biographical articles and are incorporated into Wikidata. VIAF's clustering algorithm is run every month; as more data are added from participating libraries, clusters of authority records may coalesce or split, leading to some fluctuation in the VIAF identifier of certain authority records. Authority control Faceted Application of Subject Terminology Integrated Authority File International Standard Authority Data Number International Standard Name Identifier Wikipedia's authority control template for articles Official website VIAF at OCLC
Judy Cassab, born Judit Kaszab, was an Australian painter. Judit Kaszab was born in Austria in 1920 to Hungarian parents. Cassab began painting as a twelve year old and began studying at the Academy of Art in Prague in 1938 but was forced to flee the German occupation in 1939. Cassab worked in a factory under an assumed name and put her artistic skills to use after hours forging papers and passports, her husband, Jancsi Kampfner, was put in a forced labour camp by the Nazis in World War II, returned to Hungary in 1944. Cassab, her husband and two sons settled in Sydney. Cassab became an Australian citizen in 1957. Cassab was the first woman to win the Archibald Prize twice: 1960 for a portrait of Stan Rapotec 1967 for a portrait of Margo Lewers, she held more than fifty solo exhibitions in Australia, as well as others in London. On 14 June 1969 Cassab was appointed a Commander of the Order of the British Empire in "recognition of service to the visual arts". On 26 January 1988 Cassab was appointed an Officer of the Order of Australia again in "recognition of service to the visual arts".
On 3 March 1995 Cassab was awarded a Doctor of Letters from the University of Sydney. In 2011 Cassab was awarded Hungary’s Gold Cross of Merit. 1961 - Archibald Prize 1964 - Sir Charles Lloyd Jones Memorial Prize 1965 - The Helena Rubenstein Prize 1967 - Archibald Prize 1971 - Sir Charles Lloyd Jones Memorial Prize 1994 - The Pring Prize, Art Gallery of NSW. Http://www.womenaustralia.info/biogs/IMP0077b.htm http://www.judycassab.com Judy Cassab a self portrait 2013 conversation between Michael Kirby and Judy Cassab
Lloyd Frederic Rees AC CMG was an Australian landscape painter who twice won the Wynne Prize for his landscape paintings. Most of Rees's works are preoccupied with depicting the effects of light and emphasis is placed on the harmony between man and nature. Rees's oeuvre is dominated by sketches and paintings, in which the most frequent subject is the built environment in the landscape. Rees was born in Brisbane, the seventh of eight children of Owen Rees and his wife Angèle Burguez, half Mauritian, half Cornish. Rees attended Ironside State Ithaca Creek State School in Brisbane's inner west. After formal art training at Brisbane's Central Technical College, he commenced work as a commercial artist in 1917. Rees was engaged to sculptor Daphne Mayo, but it was broken off in 1925, he married Dulcie Metcalf in 1926. In 1927 Dulcie died in childbirth and Rees married again, in 1931, to Marjory Pollard, mother to his son Alan. Rees' wife died on 14 April 1988 and he died on 2 December of the same year.
From the 1940s until the 1960s Rees was part of the Northwood group, a small group of friends who would go on painting excursions around Sydney Harbor and northwestern Sydney. Regulars of the Northwood group were Lloyd Rees, Roland Wakelin, George Feather Lawrence and John Santry. Douglas Dundas, Wilmotte Williams and Marie Santry associated with the Northwood group; these artists had no manifesto but were conservative, tending towards a neo-impressionist sinuous style of landscape painting. They were less fashionable than the Sydney abstract expressionism of the time or Melbourne postwar voices of disquiet such as Sidney Nolan; the studio had a big window, which you passed when walking up the front of the house to the iron gates at the arched entrance. The window was splashed with paint because Lloyd would stand in front of his wet painting holding half a gallon of turps in one hand and put his other hand into the turps and throw it over the painting; as it ran down the painting, washing color with it, he would pick up a cloth and wipe back the selected areas.
If you look at his paintings of the eighties you will see where the paint has been handled in this fashion. Following Rees's death, Alan Rees and his wife Jancis gave to the Art Gallery of NSW all of Rees's surviving sketchbooks. Rees first travelled to Europe in the 1920s and made sketches, including many of Paris, which were left accidentally on a bus in London at that time. While some of his works - and indeed his betrothal to Mayo - were lost, his connection with the landscapes of town and country France and Italy was to last a lifetime. Rees visited Europe again in 1953, 1959, 1966–67 and 1973, painting and sketching on all of his journeys; the sketchbooks are now held by the Art Gallery of New South Wales, comprising 700 images in pencil, carbon pencil, wash and ballpoint pen. They reveal a capacity to characterize the texture and light of landscapes in these brief media - concerns that are evident in his paintings throughout his career. Rees painted right up to his death, his works of the last one to two decades in particular showed a preoccupation with the spiritual dimension of the relationship with and portrayal of the landscape, this became the focus of the final book prepared in cooperation with the author Renée Free: Lloyd Rees: the last twenty years.
His late works show an abstraction of form and a focus on the source and effects of light on the landscape, such as in his work The Sunlit Tower, painted when he was 91 years old, winner of the Jack Manton Prize for 1987. He claimed that one of the benefits of his failing eyesight in his old age was that he could look directly at the sun. Rees's own philosophical views he expressed in the Epilogue to their book: From quite an early age I was overwhelmed with the fact of endlessness... Planetary systems can blow up, but the universe is endless, our little life is set in the midst of this, everything in it has a beginning and an end... gives to life a sense of mystery, always with me. Although Rees's ambition was to be taken as a painter, was accepted late in life, his paintings were harshly received by the critics and public, he is seen as a virtuoso in pencil sketches of the landscape and was revered by a younger generation of artists such as the celebrated Australian painter Brett Whiteley.
Rees won the Wynne Prize in 1950 and 1982. He won the Commonwealth Jubilee Art Prize in 1957 and in 1971 he won the John McCaughey Memorial Art Prize and the International Cooperation Art Award. Rees was appointed a Companion of the Order of St Michael and St George in 1978 and Australia's highest civilian honour, Companion of the Order of Australia in 1985, he was awarded the Médaille de la Ville de Paris in 1987 in honour of his artistic achievements. For forty years, from 1946 to 1986, Rees taught art with Sydney University's Faculty of Architecture and in 1988 received the Sydney University Union Medal for his contributions to art and the University. In the same year he was named as one of the Australian Bicentennial Authority's Two hundred people who made Australia great. Art Gallery of New South Wales Art Gallery of Western Australia Darling Harbour Authority Parliament House, Canberra Australian National Gallery Newcastle Region Art Gallery Queensland Art Gallery Royal Australian College of Physicians Tasmanian Museum and Art Gallery University of Sydney University of Western Australia West Australian Institute of Technology Edward Duyker, ‘Lloyd Rees: Artist and Teacher’, Arts: The Journal of the Sydney University Arts Association, vol.
30, 2008, pp. 34–53. Renée Free
Sir William Dobell was a renowned Australian portrait and landscape artist of the 20th century. Dobell won Australia's premier award for portrait artists on three occasions; the Dobell Prize is named in his honour. Dobell was born in Cooks Hill, a working-class neighbourhood of Newcastle, New South Wales in Australia to Robert Way Dobell and Margaret Emma, his father was a builder and there were six children. Dobell's artistic talents were evident early. In 1916, he was apprenticed to Newcastle architect, Wallace L. Porter and in 1924 he moved to Sydney as a draftsman. In 1925, he enrolled in evening art classes at the Sydney Art School, with Henry Gibbons as his teacher, he was influenced by George Washington Lambert. He was gay and never married, while several of his works carried strong homoerotic overtones. In 1929, Dobell was awarded the Society of Artists' Travelling Scholarship and travelled to England to the Slade School of Fine Art where he studied under Philip Wilson Steer and Henry Tonks.
In 1930, he won first prize for figure painting at Slade and travelled to Poland. In 1931 he moved on to Belgium and Paris, after 10 years in Europe returned to Australia – taking with him a new Expressionist style of painting as opposed to his earlier naturalistic approach. In 1939, he began as a part-time teacher at East Sydney Technical College. After the outbreak of war, he was drafted into the Civil Construction Corps of the Allied Works Council in 1941 as a camouflage painter. In 1944, he had his first solo exhibition including public collection loans at the inauguration of the David Jones Art Gallery, Sydney. In 1949, he visited New Guinea as a guest of Sir Edward Hallstrom with writers Frank Clune and Colin Simpson; the trip inspired a new series of brilliantly coloured landscapes. In 1950, he revisited New Guinea. Between 1960 and 1963 TIME magazine commissioned Dobell to paint four portraits for covers, one per year, of: Sir Robert Menzies, Prime Minister of Australia. In 1964, Dobell exhibited in a major retrospective at the Art Gallery of New South Wales and the first monograph of his work was written by James Gleeson.
In 1943, Dobell's portrait of Joshua Smith, titled "Portrait of an artist", was awarded the Archibald Prize. This was contested in 1944 by two unsuccessful entrants, who brought a lawsuit against Dobell and the Gallery's Board of Trustees in the Supreme Court of New South Wales on the grounds that the painting was a caricature and therefore not eligible for the prize. Public opinion was divided, with most viewers puzzled by the unexpected portrait. One art critic was laudatory: Creating a man in the simplicity of everyday existence, Dobell reaches profundity by his understanding of this life which, at this instant, is realised and merged with his own nature; the claim was dismissed and the award was upheld, but the ordeal left Dobell disturbed and he retreated in 1945 to his sister's home at Wangi Wangi on Lake Macquarie, where he began to paint landscapes. The Supreme Court opinion by Mister Justice Roper said: The picture in question is characterized by some startling exaggeration and distortion intended by the artist, his technique being too brilliant to admit of any other conclusion.
It bears a strong degree of likeness to the subject and is, I think, undoubtedly a pictorial representation of him. I find it a fact that it is a portrait within the meaning of the words in the will, the trustees did not err in admitting it to the competition. Dobell was a private man, known always as "Bill", he died on 13 May 1970 in the City of Lake Macquarie suburb of Wangi Wangi of hypertensive heart disease. The sole beneficiary of his estate was the Sir William Dobell Art Foundation, founded on 19 January 1971 and awards the Dobell Australian Drawing Biennial, named in his honour, he was cremated with Anglican rites and his ashes interred at Newcastle Memorial Park in Beresfield, New South Wales. A film of Dobell's life, titled Yours sincerely, Bill Dobell was made in 1981 by Brian Adams and Cathy Shirley for the Australian Broadcasting Commission and the William Dobell Art Foundation. Brian Adams' book Portrait of an Artist – A biography of William Dobell was first published in 1983 by Hutchinson Publishing Group and revised in paperback in 1992 for Random House Australia.
A book on the life and art of William Dobell, William Dobell: An Artist's Life by Elizabeth Donaldson, was compiled in 2010 with the support of the Sir William Dobell Art Foundation and Dobell House, in Wangi Wangi. It is published by Exisle Publishing. A biography, Bill: The Life of William Dobell, was published in 2014 by Scott Bevan. Dobell's style is unique in being able to adapt to suit the character of his subject; this was best described by James Gleeson. If the character of his sitter is broad and generous, he paints generously. If the character is contained and inward looking, he uses brushstrokes. In his portraits one has only to look at a few square inches of a painted sleeve to know what sort of person is wearing it." Among private and other public holdings, examples of Dobell's work are exhibited in the Newcastle Region Art Gallery, the Art G