Nolan,+Sidney

RESEARCH SCAFFOLD  || Held his first one man show in Melbourne in 1940. One of Australia's most famous artists. His Ned Kelly series changed the face of Australian painting. Also famous for his Mrs Fraser and Convict series.
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 * **Title: ** Title is detailed, creative, sparks interest. ||  Sidney Nolan: a man with imagination ||
 * **Orientation: ** Establishes the name of the person, when and where they were born, their early family life and what made them a famous person. || Sidney Nolan was a prolific and experimental painter. In the 1960s he explored the possibilities of ripolin, fabric dyes and polyvinyl acetate. In the later spray enamel paintings of the 1980s, Nolan expanded his focus on figure and landscape paintings to include flowers. ||
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 * ^  ||  Studied at Prahan Technical College and the National Gallery Art School Melbourne. Painter, printmaker, tapestry designer and illustrator.

Has a unique quality to be able to bring the beautiful relationships he sees directly onto the canvas with a sense of urgency. Honoured with a retrospective exhibition of his work at the Whitechapel Gallery, London in 1957 and at the Art Gallery of New South Wales in 1967. Represented Australia at the Venice Biennale in 1954. Represented in the Museum of Modern Art, New York; the Tate Gallery, London; the National Gallery, Canberra; all State galleries and numerous private collections around the world. || Chronological reference to people and experiences that influenced the person explaining how they influenced them. ||  Like Arthur Boyd and Russell Drysdale, Nolan was a visual myth maker, an artist whose innovative and powerful paintings of the Australian experience have extended the ways we see ourselves. With his fast painterly style he captured the fierce light and rugged character of the Australian landscape.
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 * ^  || Sidney Nolan (1917–1992) was one of Australia’s most complex, innovative, and prolific artists. In 1978 Nolan presented the Gallipoli series to the Australian War Memorial. These 252 drawings and paintings, completed over a 20-year period, were donated in memory of his brother Raymond, a soldier who died in a tragic accident just before the end of the Second World War. Gallipoli was a theme to which Nolan constantly returned throughout his artistic career. ||
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A bold modernist, the young Nolan was unafraid of using radically simplified forms - the most famous of which is his stark Ned Kelly. The internationally acclaimed Kelly paintings have become icons of the national visual repertory. Nolan was a prolific and experimental painter. || In the late 1930s he began painting outback landscapes and urban scenes, experimenting widely and with great imaginative energy.
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 * ^  || His depictions of Ned Kelly, Burke and Wills and "Ern Malley" have been permanently embedded in the Australian subconscious. In turn, Nolan himself has reached mythic status in the eyes of many of us. ||
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 * ^  || <span style="font-family: 'Arial','sans-serif'; font-size: 7pt; line-height: 115%;"> The challenge for curator Barry Pearce was how to present an exhibition of such a revered artist to a new audience, and a younger audience, in order to maintain the artist's relevance and potency. Nolan's prolific output, reputedly over 35,000 paintings, added to Pearce's curatorial test because a large production of work is often characterised by inconsistency. ||
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 * **<span style="font-family: 'Arial','sans-serif'; font-size: 7pt; line-height: 115%;">Education: **<span style="font-family: 'Arial','sans-serif'; font-size: 7pt; line-height: 115%;">Where and when they studied. Well ordered, and detailed description on when and where the person studied. || <span style="font-family: Verdana,Arial,Helvetica,sans-serif;">He commenced formal training twice through the National Gallery of Victoria School of Art but felt compelled to educate himself instead. One of his greatest influences was the French Romantic poet Arthur Rimbaud whose image has been interpreted frequently in many of Nolan’s paintings. A love of music and literature is evident in many of his works both thematically and visually. ||
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 * ^  || <span style="font-family: 'Arial','sans-serif'; font-size: 7pt; line-height: 115%;"> Born in Melbourne on April 22, 1917, Sidney Nolan was the son of a tram driver. He attended public schools and at age 14 began studying design at a technical college. His early interest was poetry, and his first job was as a poster painter for a hat company. Nolan began formal training at the National Gallery of Victoria and quickly developed a distinctive figurative manner of painting.

He exhibited abstract paintings in his first one-man show, in Melbourne in 1940, but soon concentrated on impressionistic renderings of the outback, with outlaws and animals most prominent. Later he moved from this stream-of-consciousness outpouring of personal symbolism to an art in which choice, decision, and will played a larger part. || <span style="font-family: 'Arial','sans-serif'; font-size: 7pt; line-height: 115%;"> || <span style="font-family: 'Arial','sans-serif'; font-size: 7pt; line-height: 115%;"> Throughout his career Nolan continued to expand the scope of his subjects, while he maintained the primitivism that marked his earlier work. His highly personal manner of executing a series of paintings was demonstrated with great success in his works on Leda and Prometheus and his recreation of the Australians' courageous storming of the Gallipoli heights during World War I. His work grew in scale and included a huge mural in Melbourne, //Paradise Garden// (1968-1970), that consisted of 1,320 floral designs in crayon and dyes. || By the late 1950s Nolan was credited with having uncovered and enshrined the Australian myth through his works on Ned Kelly. In his poetic and poignant interpretations of the legend, he used a blend of realism and fantasy. Kelly's head was depicted as a black square. His distorted bodies resembled the postwar figurative styles in Europe and America. Critic James Gleeson (1969) underscored Nolan's ability to create "striking and beautiful" visual relationships. While maintaining a simple narrative value, Nolan developed a wide range of style and technique. || For those of us who rank Sidney Nolan as one of the two or three painters in Australia of real significance, this Exhibition - his first one-man show in a Public Gallery - is of quite outstanding importance. We believe its value in the history of Australian painting is already assured. Australia has not been an easy country to paint. A number of artists have sensed something of what it holds and one or two - the early Roberts and Streeton - have succeeded in giving us glimpses of it which were movingly true; but we have waited many years for a mature statement to cover both the landscape and man in relation to the landscape. In my opinion this has now been achieved by Sidney Nolan in the group of 27 paintings exhibited, and it is a remarkable achievement indeed, necessitating as it has the most sensitive and profound harmony between symbol, legend and visual impact. That this has been accomplished in language of the utmost simplicity is in itself an indication of the strength of the artist's vision and discipline, while at the same time it should allow those who are responsive to the elemental things which move us all to find ready response in themselves to what the paintings have to give. || <span style="font-family: 'Arial','sans-serif'; font-size: 7pt; line-height: 115%;">Well known persons working at the same time. || <span style="font-family: 'Arial','sans-serif'; font-size: 7pt; line-height: 115%;"> By some accounts Ned Kelly and his gang were horse thieves, bank robbers, and murderers. By others, they may have been political revolutionaries, misunderstood deprived youth; or just plain good old boys. One point is certain: all were dead before their thirtieth birthdays.
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 * ^  || <span style="font-family: 'Arial','sans-serif'; font-size: 7pt; line-height: 115%;"> Australian born, Sydney Nolan taught himself to paint and took it up professionally in 1938. His early abstracts were soon replaced by his famous naïve paintings that depicted the adventures of Ned Kelly and explorers Burke and Wills. In 1950, Nolan traveled and studied throughout Europe, including Italy, Greece, and North Africa and then settled in London. Here, he began painting in a more mature, slightly figurative, abstract style. Nolan also worked as a set designer, book illustrator and poet. He became Sir Sidney Nolan in 1981. ||
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 * ^  || Nolan was represented in the Twelve Australian Artists Exhibition, sponsored by the Arts Council of Great Britain (1953), and at the Venice Biennale in 1954. The Italian government awarded him a scholarship in 1956, and he received a Commonwealth Fund fellowship to the United States in 1958.
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Ned Kelly was twenty-five when he was hung. His brother, Dan, was nineteen when he died, probably of smoke inhalation during a police siege at Glenrowan. Notwithstanding, to be "as game as Ned Kelly" in contemporary Australia is to be a real-life Crocodile Dundee || Nolan was represented in the Twelve Australian Artists Exhibition, sponsored by the Arts Council of Great Britain (1953), and at the Venice Biennale in 1954. The Italian government awarded him a scholarship in 1956, and he received a Commonwealth Fund fellowship to the United States in 1958. By the late 1950s Nolan was credited with having uncovered and enshrined the Australian myth through his works on Ned Kelly. In his poetic and poignant interpretations of the legend, he used a blend of realism and fantasy. Kelly's head was depicted as a black square. His distorted bodies resembled the postwar figurative styles in Europe and America. Critic James Gleeson (1969) underscored Nolan's ability to create "striking and beautiful" visual relationships. While maintaining a simple narrative value, Nolan developed a wide range of style and technique. || <span style="font-family: 'Arial','sans-serif'; font-size: 7pt; line-height: 115%;">Why do their life is regarded as significant and why they are admirable. || Absorption with myth gave ambiance and reach as well as a personal focus to Nolan. Working in London, he moved on from Australian colonial subjects to timeless and universal themes drawn from mythology, and he gained international recognition for the powerful imagery of his work. He became Australia's most acclaimed modern painter and was considered by art historian Kenneth Clark to be one of the major artists of the 20th century. || <span style="font-family: 'Arial','sans-serif'; font-size: 7pt; line-height: 115%;">Establishes when and where the person died and the effect their work and values had on people. || Nolan also excelled at printmaking and designed ballet sets for several productions. In the 1970s and 1980s he visited Australia almost annually and returned to the Kelly theme, each time with different techniques. He remained a prolific artist in his later years, painting a series of Chinese landscapes, another on Australian miners, and drawings for poems by Dante, Rimbaud, Shakespeare and others. He died in London on November 28, 1992. ||
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 * ^  || <span style="font-family: 'Arial','sans-serif'; font-size: 7pt; line-height: 115%;"> Australian novelist, short story writer, and playwright, who was awarded the Nobel Prize for Literature in 1973. White's international breakthrough novel was VOSS (1957), a symbolic story of a doomed journey into the Australian desert. RIDERS IN THE CHARIOT (1961) was set in the imaginary Sydney suburban town, Sarsaparilla, White's Yoknapatawpha. These works established him as one of the most important modern writers. In his own country White had to wait a long time before his unadorning picture of the Australian middle class was accepted. ||
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 * ^  || <span style="font-family: 'Arial','sans-serif'; font-size: 7pt; line-height: 115%;"> The speed at which Sidney Nolan worked, and the expansiveness of his production, has always presented something of a dilemma for the retrospective defining of his genius. John Olsen once described Nolan as having a “wild eye”, by which he was able to glimpse a motif with the instantaneousness of a lens shutter, spawning a bewildering plethora of images, from ephemeral sketches to large-scale compositions, many of which have become indelible icons of 20th century Australian art. ||
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 * ^  || <span style="font-family: 'Arial','sans-serif'; font-size: 7pt; line-height: 115%;"> **Nolan, Sidney** (1917–92) Australian painter. He is famed for a series of paintings (begun in 1946) based on the life of the notorious outlaw, Ned Kelly. He continued painting subjects which portrayed events from Australian history, notably the Eureka Stockade series (1949). His almost surreal landscapes express the hard, scorched majesty of the outback ||
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 * ^  || Four decades after Hal Missingham’s ground–breaking retrospective at the Art Gallery of New South Wales in 1967, and two decades after the important retrospective mounted by the National Gallery of Victoria in 1987, it is timely for another generation to see a survey of the artist’s entire career; and one with a new emphasis. It is the first since Nolan’s death in 1992, following a period that began with the sale of works from the estate five years later, during which his status has been undergoing reassessment. This retrospective, through careful selection of his most potent masterpieces,explores and aims to make more explicit his essential and enduring language ||
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 * ^  || <span style="font-family: 'Arial','sans-serif'; font-size: 7pt; line-height: 115%;"> Nolan painted a wide range of personal interpretations of historical and legendary figues, including explorers Burke and Wills, and Eliza Fraser.Probably his most famous work is a series of stylised depictions of the bushranger Ned Kelly in the Australian Outback.In 1950 Nolan moved to London, England, where he lived until his death. Nolan's treatment of his wife Cynthia led to a bitter and long-running public feud between Nolan and his former friend, writer Patrick White, that lasted until Nolan's death ||
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 * **<span style="font-family: 'Arial','sans-serif'; font-size: 7pt; line-height: 115%;">Pictures ** || <span style="font-family: 'Arial','sans-serif'; font-size: 7pt; line-height: 115%;">[[image:http://www.theage.com.au/ffximage/2008/02/27/lge_Nolan_080227120208705_wideweb__300x300.jpg width="259" height="259"]][[image:http://nla.gov.au/nla.pic-an13752001-v width="155" height="261"]][[image:http://www.ngv.vic.gov.au/sidneynolan/images/EXHI004921_600.jpg width="227" height="211"]][[image:http://www.worldart.com.au/images/sidney-nolan-the-slip-horse-falling-off-a-cliff.jpg width="297" height="212"]] ||