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National Gallery of Art National Gallery of Art Opening Year

Fine art gallery in Canberra, Australia

National Gallery of Australia
National Gallery of Australia logo.svg
National Gallery from SW, Canberra Australia.jpg

Former proper noun

 Australian National Gallery
Established 1967; 55 years agone  (1967)
Location Parkes, Canberra, Australia
Coordinates Coordinates: 35°18′01″Due south 149°08′12″E  /  35.300399°S 149.136781°East  / -35.300399; 149.136781
Blazon Art gallery
Managing director Nick Mitzevich
Architect Colin Madigan
Possessor Australian Government
Public transit access ACTION buses
Website nga.gov.au

The National Gallery of Australia (NGA), formerly the Australian National Gallery, is the national art museum of Australia as well as one of the largest art museums in Australia, belongings more than 166,000 works of art. Located in Canberra in the Australian Capital Territory, it was established in 1967 by the Australian Government as a national public fine art museum. As of 2022[update] information technology is under the directorship of Nick Mitzevich.

Establishment [edit]

Prominent Australian artist Tom Roberts had lobbied various Australian prime number ministers, starting with the first, Edmund Barton. Prime Minister Andrew Fisher accepted the idea in 1910, and the following year Parliament established a bipartisan commission of half dozen political leaders—the Historic Memorials Committee. The Committee decided that the regime should collect portraits of Australian governors-general, parliamentary leaders and the principal "fathers" of federation to exist painted by Australian artists. This led to the establishment of what became known equally the Commonwealth Art Advisory Board, which was responsible for art acquisitions until 1973. Nevertheless, the Parliamentary Library Committee likewise collected paintings for the Australian collections of the Democracy Parliamentary Library, including landscapes, notably the conquering of Tom Roberts' Allegro con panache, Bourke St West in 1918. Prior to the opening of the Gallery these paintings were displayed effectually Parliament House, in Commonwealth offices, including diplomatic missions overseas, and State Galleries.

From 1912, the building of a permanent edifice to house the collection in Canberra was the major priority of the Commonwealth Art Advisory Board. However, this period included ii Earth Wars and a Depression and governments ever considered they had more pressing priorities, including building the initial infrastructure of Canberra and Old Parliament House in the 1920s and the rapid expansion of Canberra and the building of government offices, Lake Burley Griffin and the National Library of Australia in the 1950s and early on 1960s. In 1965 the Commonwealth Art Advisory Lath was finally able to persuade Prime number Minister Robert Menzies to take the steps necessary to establish the gallery.[1] On 1 November 1967, Prime Minister Harold Holt formally announced that the Government would construct the building.

Location [edit]

The blueprint of the building was complicated by the difficulty in finalising its location, which was affected by the layout of the Parliamentary Triangle. The main trouble was the final site of the new Parliament House. In Canberra's original Griffin 1912 program, Parliament Business firm was to be built on Campsite Colina, between Capital Loma and the Conditional Parliament House and a Capitol was to be built on top of Majuscule Loma. He envisaged the Capitol to exist "either a general administration structure for pop receptions and ceremony or for housing archives and commemorating Australian Achievements".[ii] In the early 1960s, the National Capital letter Development Commission (NCDC) proposed, in accord with the 1958 and 1964 Holford plans for the Parliamentary Triangle, that the site for the new Parliament Business firm be moved to the shore of Lake Burley Griffin, with a vast National Identify, to be built on its south side, to exist surrounded by a large mass of buildings. The Gallery would be built on Capital letter Hill, along with other national cultural institutions.[3]

In 1968, Colin Madigan of Edwards Madigan Torzillo and Partners won the contest for the design, even though no design could be finalised, equally the final site was at present in doubt. Prime Minister John Gorton stated that,

"The Competition had as its aim non a final design for the building merely rather the selection of a vigorous and imaginative architect who would and then exist deputed to submit the actual design of the Gallery."[4]

Gorton proposed to Parliament in 1968 that it endorse Holford's lakeside site for the new Parliament House, but it refused and sites at Camp Colina and Capital Hill were then investigated. As a result, the Government decided that the Gallery could not be built on Capital Hill.[5] In 1971, the Government selected a 17-hectare (42-acre) site on the eastern side of the proposed National Place, between King Edward Terrace and for the Gallery. Fifty-fifty though it was now unlikely that the lakeside Parliament House would keep, a raised National Place (to hide parking stations) surrounded past national institutions and authorities offices was still planned.[6] Madigan'south brief included the Gallery, a building for the High Court of Australia and the precinct around them, linking to the raised National Place at the eye of the Land Axis of the Parliamentary Triangle, which and so led to the National Library on the western side.

Development of the design [edit]

Madigan's final pattern was based on a brief prepared by the National Capital Evolution Commission (NCDC) with input from James Johnson Sweeney and James Mollison. Sweeney was manager of the Guggenheim Museum between 1952–1960 and director of The Museum of Fine Arts, Houston and had been appointed as a consultant to advise on problems concerning the display and storage of art. Mollison said in 1989 that "the size and form of the edifice had been determined betwixt Colin Madigan and J.J. Sweeney, and the National Capital Development Commission. I was not able to modify the advent of the interior or outside in any manner...Information technology's a very difficult building in which to brand art expect more important than the space in which you put the fine art".[7] The structure of the edifice commenced in 1973, with the unveiling of a plaque by Prime Government minister Gough Whitlam. Construction was managed past P.D.C. Constructions nether the supervision of the National Capital Development Committee and it was officially opened past Queen Elizabeth II in 1982, during the premiership of Whitlam's successor, Malcolm Fraser. The building price $82 million.

In 1975, the NCDC abandoned the plan for the National Place, leaving the precinct 5 metres above the natural ground level, without the previously proposed connections to national institutions [viii] and next to a vast space just partially taken up by Reconciliation Place, which does not substitute for the yard mass of buildings originally envisaged.

Appointment of an acting director [edit]

The Commonwealth Art Advisory Board recommended that Laurie Thomas, a former manager of the Art Gallery of Western Commonwealth of australia and of the Queensland Fine art Gallery be appointed director, simply the Prime Minister John Gorton took no action on this recommendation, as he apparently favoured the appointment of James Johnson Sweeney, although he was already 70.

James Mollison was exhibitions officer in the Prime number Government minister'due south Department from 1969 and the Government'south failure to appoint a director of the National Gallery of Australia required Mollison to become involved in the evolution of the design for the building with the architects led by Colin Madigan. In November 1970, the Republic Fine art Advisory Board recommended that he should be re-designated as banana managing director (development). In May 1971, post-obit Gorton's fall from power, the Regime endorsed Madigan's sketches for the building. The new Prime Minister, William McMahon announced the appointment of Mollison as interim managing director of the National Gallery of Australia in October 1971. Tenders for construction were called in November 1972, just earlier the McMahon regime's defeat in the December 1972 ballot.[ix]

Building and garden [edit]

Prior to renovations, in 2004

The National Gallery edifice is in the late 20th-century Brutalist style. It is characterised by angular masses and raw physical surfaces and is surrounded by a series of sculpture gardens planted with Australian native plants and copse.

The geometry of the building is based on a triangle, most obviously manifested for visitors in the coffered ceiling grids and tiles of the primary floor. Madigan said of this device that it was "the intention of the architectural concept to implant into the grammar of the design a sense of liberty so that the building could exist submitted to change and diverseness but would ever limited its truthful purpose". This geometry flows throughout the edifice, and is reflected in the triangular stair towers, columns and building elements.

The building is principally constructed of reinforced bush hammered physical, which was also originally the interior wall surface. More than recently, the interior walls have been covered with painted wood, to allow for increased flexibility in the display of artworks.

The building has 23,000 thou2 of flooring space. The design provides space for both the display and storage of works of art and to accommodate the curatorial and support staff of the Gallery. Madigan's design is based on Sweeney's recommendation that there should be a spiral programme, with a succession of galleries to brandish works of art of differing sizes and to permit flexibility in the way in which they were to exist exhibited.

There are three levels of galleries. On the chief flooring, the galleries are large, and are used to display the Indigenous Australian and International (meaning European and American) collections. The lesser level besides contains a serial of large galleries, originally intended to house sculpture, simply at present used to display the Asian art drove. The topmost level contains a serial of smaller, more intimate galleries, which are at present used to display the Gallery's collection of Australian art. Sweeney had recommended that sources of natural low-cal should not backbite from the collections, and so light sources are intended to be indirect.

The High Court and National Gallery Precinct were added to the Australian National Heritage Listing in November 2007.[10]

Antechamber expanse of the National Gallery of Australia in 2005, earlier the major extension completed in 2010.

After extensions [edit]

The Gallery has been extended twice, the kickoff of which was the building of new temporary exhibition galleries on the eastern side of the building in 1997, to house large-calibration temporary exhibitions, which was designed by Andrew Andersons of PTW Architects. This extension includes a sculptural garden, designed past Fiona Hall. The 2006 enhancement project and new entrance was complemented by a big Australian Garden designed by Adrian McGregor of McGregor Coxall Mural Architecture and Urban Design.

There accept likewise been proposals, during the tenure of Director Brian Kennedy, for the structure of a new "front" archway, facing Rex Edward Terrace. Madigan made known his concerns about these proposals and their interference with his moral rights as the architect and also expressed concerns about these changes.[11] A former director, Betty Churcher, was particularly critical of Madigan, and told a journalist that "the dead hand of an architect cannot stay clamped on a building forever".[12] When Ron Radford became director, he expanded the brief to include a suite of new galleries to display the collection of ethnic fine art and a new Australian Garden fronting Rex Edward Terrace.

The Government minister for the Arts and Sport, Senator Rod Kemp, announced on 13 December 2006 that the Australian Government would provide $92.9 million for a major building enhancement project at the National Gallery of Australia, including effectually $xx million for previously approved building refurbishments. The building enhancements were designed to create new arrival and entrance facilities to improve public admission to the Gallery's building and significantly increase display infinite, especially for the collection of Australian Indigenous art.[13] Stage ane of the Indigenous galleries and new archway project was officially opened on 30 September 2010 past Quentin Bryce, Governor-General of Australia.[14] Co-ordinate to well-known compages critic Elizabeth Farrelly, the new extension had three main tasks: "how to dock amicably with the existing architecture; how to provide the resulting whole with a new street "accost"; how to create a logical, legible and deferential hanging space for the collection."[15]

Sculpture garden renewal [edit]

A project for the renewal of the sculpture garden was under way as of 2021. Every bit part of the project, in September 2021 the gallery commissioned a huge sculpture by Lindy Lee, 4 chiliad (thirteen ft) loftier and based on the ouroboros (an ancient symbol depicting a snake eating its ain tail), to be placed near its principal archway of the gallery. Scheduled to be finished in 2024, the sculpture is the NGA's about expensive commission to date.[xvi]

Directorship [edit]

In 1976, the newly established ANG Council advertised for a permanent manager to fill the position that James Mollison had been interim in since 1971. The new Prime Minister Malcolm Fraser announced the appointment of Mollison as manager in 1977.

James Mollison [edit]

James Mollison is notable for establishing the Gallery and building on the drove that had already been assembled of mainly Australian paintings by purchasing icons of modern western art, the best known were the 1974 purchases of Bluish Poles past Jackson Pollock ($1.3m), and Woman V by Willem de Kooning ($650,000). These purchases were very controversial at the time, but are now generally considered to be visionary acquisitions.

He also congenital up the other collections, often with the help of donations. Starting in 1973 Mollison secured funding from Philip Morris to acquire gimmicky Australian photography for the ANG, though Ian Northward was not appointed Foundation Curator of Photography until 1980.[17] [18] [19] In 1975, Arthur Boyd presented several grand of his works to the Gallery. In 1977 Mollison persuaded Dominicus Reed to donate Sidney Nolan's remarkable Ned Kelly serial to the ANG. Nolan had long disputed Reed'south ownership of these paintings, but the donation resolved their dispute.[20] In 1981, Albert Tucker and his married woman presented a substantial collection of Tucker's collection to the Gallery. Equally a result of these and more recent donation, it has the finest collection of Australian art in being.

He also arranged many touring exhibitions, most famously The Groovy Impressionist Exhibition of 1984.

His successor, Betty Churcher has said that when she took over in 1990, he "was of almost legendary stature [and] had single-handedly built a keen and comprehensive collection from the ground upwards; indeed he had presided over the collection for more than twenty years with great flair, and over the institution for seven years — it was in the truest sense, his Gallery, his professional person achievement."[21]

Betty Churcher [edit]

Betty Churcher became director in 1990. She had been formerly manager of the Art Gallery of Western Australia. While director of the National Gallery, she was dubbed "Betty Blockbuster" because of her love of blockbuster exhibitions.

Churcher initiated the building of new galleries on the eastern side of the building, opened in March 1998, to house large-scale temporary exhibitions. It was under her directorship that the name of the Gallery was changed from the Australian National Gallery to its current championship.

During her menses, the Gallery purchased, among many other artworks, Gold Summer, Eaglemont by Arthur Streeton for $3.v million. This was the last great Heidelberg School painting notwithstanding in private easily.[22]

Brian Kennedy [edit]

Brian Kennedy was appointed managing director in 1997. He expanded the traveling exhibitions and loans program throughout Commonwealth of australia, arranged for several major shows of Australian art abroad, increased the number of exhibitions at the museum itself and oversaw the development of an extensive multi-media site. On the other hand, he discontinued the accent of his predecessor, Churcher, of showing blockbuster exhibitions.

During his directorship, the National Gallery of Australia gained government back up for improving the building and significant private donations and corporate sponsorship. Individual funding supported his notable acquisitions of David Hockney's A Bigger Grand Coulee for $four.six 1000000 in 1999, Lucian Freud'south Afterwards Cézanne for $seven.4 one thousand thousand in 2001 and Meaning Woman by Ron Mueck for $800,000.

He also introduced complimentary admission to the gallery, except to major exhibitions. He campaigned for the construction of a new front end entrance to the Gallery, facing King Edward Terrace, but this did not come to pass during his tenure.

Kennedy's counterfoil of the Awareness exhibition (scheduled at the National Gallery of Australia from 2 June 2000 to 13 August 2000) was controversial, as information technology was seen by many as censorship. This exhibition was created by the Young British Artists of the Saatchi Gallery. Its well-nigh controversial work was Chris Ofili'due south The Holy Virgin Mary, a painting which used elephant dung and was accused of being blasphemous. The then Mayor of New York, Rudolph Giuliani campaigned confronting the exhibition, claiming it was "Catholic-bashing" and an "ambitious barbarous, disgusting attack on religion." In Nov 1999, Kennedy cancelled the exhibition and stated that the events in New York had "obscured discussion of the artistic merit of the works of art."[23]

Kennedy was also repeatedly under attack over allegations that the air-workout was exposing its staff to cancer. Despite his denials that there was any problem with the air-conditioning, claims that the issue had been 'swept under the carpet' persisted. The air-conditioning was finally renovated in 2003.[24] Kennedy announced that he would not seek extension of his contract in 2002. He has denied that he was under whatsoever government pressure to do so.

Ron Radford [edit]

Ron Radford was appointed managing director in tardily 2004. He was formerly managing director of the Art Gallery of Southward Australia.

Radford has lent out the Gallery's former masters drove (European art, prior to the 19th century) for long-term brandish to state galleries, noting that he "considers the collection of less than 30 paintings, put together by Mollison to give context to the modern drove, equally too pocket-sized to brand whatsoever impact on the public". He has been quoted as saying that the gallery should concentrate on its strengths – European art of the kickoff half of the 20th century, 20th-century American art, photography, Asian art and the 20th-century drawing collection, and to fill the gaps in the Australian collection.[25]

In September 2005, in that location was considerable publicity about an offering to the gallery of Sketch for Drench II by Wassily Kandinsky for $35 one thousand thousand. The gallery did not subsequently become through with the purchase.

Radford has been notable in securing funding and completing the building of the new entrance to the Gallery likewise as an extension for Indigenous galleries, public and role areas. In developing the collection he has been notable for a series of acquisitions of indigenous art, in particular the largest collection of watercolours past Albert Namatjira and the James Turrell sculpture and installation Inside without (2010).

Gerard Vaughan [edit]

In October 2014, it was announced that Gerard Vaughan would be the new director of the National Gallery of Commonwealth of australia from 10 November. He was formerly manager of the National Gallery of Victoria from 1999 to 2012.[26]

In 2014, the gallery sued antiquities dealer Subhash Kapoor in New York Supreme Court for allegedly hiding show that an 11th-century sculpture of Shiva Nataraja known as the Sripuranthan Natarajan Idol, bought past the gallery for A$five.6 million in 2008, had been stolen from an Indian temple in Tamil Nadu.[27] The National Gallery voluntarily removed a bronze statue of the Dancing Shiva from display, every bit the Indian government formally requested the statue'south return.[28]

Nick Mitzevich [edit]

In April 2018, it was announced that Nick Mitzevich, the third of the NGA directors to be appointed from the Fine art Gallery of South Australia, would take over at the start of July.[29]

Exhibitions and initiatives [edit]

Women Hold Upwards Half The Sky [edit]

Women Hold Up Half The Sky was a large exhibition held in March to April 1995, to celebrate International Women's Day.[30] Named after Adelaide artist Ann Newmarch'southward famous print of the same name included in the exhibition, the exhibition was curated by Roger Butler. It was opened by Carmen Lawrence,[31] and also included a travelling exhibition chosen Sydney by Design.[32] The exhibition was part of the national commemoration of the Un's International Women's Twelvemonth, and the accompanying book, The National Women's Art Volume, was edited by Joan Kerr.[31] [33] [34]

Comprising around 300 works from the gallery'due south own collection, the exhibition included the work of Agnes Goodsir, Bessie Davidson, Clarice Beckett, Olive Cotton wool, Grace Cossington Smith, Yvonne Audette, Janet Dawson, Lesley Dumbrell, Margaret Worth, Rosalie Gascoigne, Bea Maddock, Judy Watson,[31] Frances Burke, Margaret Preston,[xxx] Olive Ashworth, and other artists of the previous 150 years.[35]

National Ethnic Fine art Triennial [edit]

The NGA held the inaugural National Indigenous Fine art Triennial (NIAT), Culture Warriors, from xiii October 2007 to ten February 2008. The guest curator was Brenda Fifty Croft, Senior Curator, Aboriginal and Torres Strait Islander Art. The exhibition was the largest survey prove of Indigenous fine art at the NGA in over 15 years, and featured works past selected artists created during the previous 3 years.[36] A free exhibition, it featured artists from every state and territory.[37]

The 2nd National Indigenous Art Triennial, unDISCLOSED, ran from May to July 2012 and featured 20 Indigenous artists, including Vernon Ah Kee, Julie Gough, Alick Tipoti, Christian Thompson, Lena Yarinkura, Michael Cook and Nyapanyapa Yunupingu. The theme alludes to "the spoken and the unspoken, the known and the unknown, what tin be revealed and what cannot". The exhibition afterwards toured the country, shown at Cairns Regional Gallery, the Anne & Gordon Samstag Museum of Art in Adelaide and the Western Plains Cultural Centre in Dubbo, NSW.[38]

The tertiary National Indigenous Art Triennial, Defying Empire, was held from 26 May to 10 September 2017, curated by Tina Baum, NGA Curator of Ancient and Torres Strait Islander Art. The title references the 50th anniversary of the 1967 plebiscite, that recognised Aboriginal and Torres Strait Islander people every bit Australians for the first fourth dimension.[39]

The quaternary Triennial Ceremony, takes place from 26 March to 31 July 2022. It explores the thought of ceremony, and is curated by Hetti Perkins.[40]

Know My Proper name exhibition, 2020

Know My Proper noun [edit]

Know My Name is "an initiative of the National Gallery of Australia to celebrate the significant contributions of Australian women artists". Launched in 2019, afterward information technology was discovered that just 25 per cent of the gallery's collection was made by women,[41] it features exhibitions, events, commissions, artistic collaborations, publications and partnerships that highlight the talent and work of women artists. As role of the programme, the NGA also instigated a new gear up of principles to ensure gender parity in the organisation, programming and collections.[42]

The exhibition Know My Proper name: Australian Women Artists 1900 to Now: Office One, held from fourteen Nov 2020 to 9 May 2021, featured fine art made by women, fatigued from the NGA's own collection likewise as other institutions around Commonwealth of australia.[43] Featured artists included Margaret Olley, Yvonne Koolmatrie, Tracey Moffatt, Emily Kame Kngwarreye, Mabel Juli, Rosemary Laing, Grace Cossington Smith, Thea Proctor, Betty Muffler,[44] Stella Bowen, Dora Chapman, Fiona Foley, Brenda 50. Croft,[41] and many others.[45] A book entitled Know My Name was published to accompany the exhibition.[46] A four-day conference was held to coincide with the exhibition'due south opening.[47]

Know My Name: Australian Women Artists 1900 to Now: Function Two was opened on 12 June 2021 and finishes on 26 June 2022. The two exhibitions do not purport to be a complete account, but rather "[look] at moments in which women created new forms of art and cultural commentary such as feminism... [highlighting] creative and intellectual relationships between artists beyond fourth dimension".[48]

Balnaves Contemporary Serial [edit]

In 2018 the Balnaves Gimmicky Intervention Series was launched, delivered in partnership with the Balnaves Foundation.[49] [50] The platform, later renamed to Balnaves Contemporary Series, commissions artists to create new work. Artists commissioned by this projection include Jess Johnson and Simon Ward (2018); Sarah Contos (2018); Patricia Piccinini (Skywhales, 2020-21); Judy Watson and Helen Johnson; and Daniel Crooks (2022).[51]

Other exhibitions [edit]

  • The Smashing Impressionist Exhibition (1984)
  • Ken Tyler: Printer Extraordinary (1985)
  • Aroused Penguins and Realist Painting in Melbourne in the 1940s (1988)
  • Nether a Southern Sun (1988–89)
  • Australian Decorative Arts, 1788–1900 (1988–89)
  • Give-and-take as Prototype: 20th Century International Prints and Illustrated Books (1989)
  • Rubens and the Italian Renaissance (1992)
  • The Age of Angkor: Treasures from the National Museum of Cambodia (1992)
  • Surrealism: Revolution past Nighttime (1993)
  • 1968 (1995)
  • Turner (1996)
  • Rembrandt: A Genius and his Bear on (1997–98)
  • New Worlds from Sometime: 19th Century Australian and American Landscapes (1998)
  • An Impressionist Legacy: Monet to Moore, The Millennium Gift of Sara Lee Corporation (1999)
  • Monet & Japan (2001)
  • William Robinson: A Retrospective (2001–02)
  • Rodin: A Magnificent Obsession, Sculpture and Drawings (2001–02)
  • Margaret Preston, Australian Printmaker (2004–05)
  • No Ordinary Place: The Art of David Malangi (2004)
  • The Edwardians: Secrets and Desires (2004)
  • Bill Viola: The Passions (2005)
  • James Gleeson: Beyond the Screen of Sight (2005)
  • Constable: Impressions of Land, Sea and Sky (2005)
  • Imants Tillers: Inventing Postmodern Appropriation (2006) [52]
  • George Due west. Lambert Retrospective: Heroes & Icons (2007) [53]
  • Turner to Monet: The Triumph of Landscape (2008)
  • Degas: Master of French Art (2009)
  • McCubbin: Last Impressions 1907–1917 (2009)
  • Masterpieces from Paris (2010), on loan from Musée d'Orsay.
  • Ballets Russes: The Art of Costume (2011)
  • Renaissance: 15th & 16th Century Italian Paintings from the Accademia Carrara, Bergamo (2011–2012)
  • Toulouse-Lautrec - Paris & the Moulin Rouge (2012–2013)
  • Jeffrey Smart (2021-2022)[54] [55]

Drove [edit]

The drove of the National Gallery of Australia held more than 166,000 works of art as of 2012.[56] and includes:

  • Australian art
    • Australian Aboriginal and Torres Strait Islander art (mostly contempo, but in traditional forms)
    • Art in the European Tradition (from European settlement to the present day)
  • Western art (from Medieval to Modern, mostly Modern)
  • Eastern art (from Due south and Eastward Asia, by and large traditional)
  • Modern Fine art (international)
  • Pacific Arts (from Melanesia and Polynesia mostly traditional)
  • Photography (International & Australian)
  • Crafts (dishes to dresses, international)
  • Sculpture garden (Auguste Rodin to Modern)

Australian Aboriginal and Torres Strait Islander fine art [edit]

This collection is dominated past the Aboriginal Memorial of 200 painted tree trunks commemorating all the indigenous people who had died between 1788 and 1988 defending their land against invaders. Each tree trunk is a dupun or log coffin, which is used to mark the rubber tradition of the soul of the deceased from this world to the next. Artists from Ramingining painted it to marker the Australian Bicentenary and it was accepted for brandish past the Biennale of Sydney in 1988. Mollison agreed to purchase it for permanent brandish before its completion.[57]

Australian art (non-indigenous) [edit]

This includes works by:

  • John Glover – Mount Wellington and Hobart Town from Kangaroo Point
  • Frederick McCubbin – Afterglow, Bush Idyll (on long term loan from private drove)
  • Tom Roberts – Going Home, Tempest Clouds, In a corner on the Macintyre, An Australian Native, The Sculptor's Studio
  • Arthur Streeton – From McMahons Bespeak – Fare 1 Penny, The Selector'due south Hut, Golden Summer, Spirit of the Drought
  • Charles Conder – The Yarra, Heidelberg, Bronte Embankment, Nether a Southern Sun
  • Margaret Preston – Flying over the Shoalhaven River, Flapper
  • Grace Cossington Smith – Interior in Yellow
  • Lloyd Rees – A South Declension Road
  • William Dobell – The Red Lady
  • Albert Tucker – Pick upward, Images of modern evil (collection), Victory Girls
  • Russell Drysdale – The Drover'south Wife, The Rabbiter and his Family
  • Sidney Nolan – Ned Kelly, The Slip, The Called-for Tree, Constable Fitzpatrick and Kate Kelly, Stringybark Creek, The Chase, Kelly Crossing the Bridge (and many other Ned Kelly paintings), Kiata, Caput of a Soldier
  • Arthur Boyd – The Mining Boondocks, Boat Builders, Eden
  • Joy Hester – Nude in Hat, Female parent and Child
  • John Perceval – Male child with Cat
  • Ron Mueck – Significant Woman
  • Patricia Piccinini – The Skywhale

Western fine art [edit]

The focus of the Gallery'southward international collection is primarily on late 19th-century and 20th-century art [58] although non all artworks are on brandish. There is a strong collection of modern works. It includes works past:

  • Paul Cézanne – L'Après-midi à Naples (Afternoon in Naples)
  • Claude Monet – Haystacks, Midday and Water Lilies
  • Fernand Léger – Trapeze Artists
  • Pablo Picasso - A consummate set of the Vollard Suite [59]
  • Jackson Pollock – Blue Poles, Totem Lesson two
  • Willem de Kooning – Woman 5
  • Andy Warhol – Elvis, Electric Chair
  • Marking Rothko – Multiform, Black, Chocolate-brown on Maroon or Deep Ruby-red and Black
  • Roy Lichtenstein – Kitchen Stove
  • David Hockney – A Bigger Grand Canyon
  • Lucian Freud – After Cézanne
  • Henri Matisse - Oceania, the Sea, Oceania, the Sky
  • Constantin Brâncuși - Bird in Space
  • Albert Gleizes - Adult female with Black Glove (Femme au gant noir)

  • Paul Cézanne, L'Après-midi à Naples (Afternoon in Naples), 1875

The Gallery has a small drove of European Erstwhile Master paintings, which are on long-term loan to the National Gallery of Victoria and the Art Gallery of New South Wales.[lx]

Eastern art [edit]

This includes:

  • Tang Standing Horse effigy, a Tang dynasty tomb effigy.[61]

Sculpture garden [edit]

The sculpture garden includes works by:

  • Bert Flugelman – Cones
  • Antony Gormley - Affections of the North (life-size maquette) [62]
  • Fujiko Nakaya – Fog sculpture, this just operates between noon and 2pm. It has been seen as a piece of work of Gas sculpture.
  • Henry Moore – Colina Arches
  • Mark di Suvero – Ik Ook
  • Auguste Rodin – The Burghers of Calais (1 of 12 sets)
  • Aristide Maillol – La Montagne (The Mountain)
  • Cloudless Meadmore – Virginia
  • Barnett Newman – Broken Obelisk

See also [edit]

  • Art of Australia
  • Fine art Gallery of New Due south Wales, the major art gallery in Sydney
  • Art Gallery of South Australia
  • List of sculpture parks
  • National Gallery of Commonwealth of australia Enquiry Library
  • National Gallery of Victoria, the major fine art gallery in Melbourne and Australia'southward oldest and largest public fine art gallery
  • National Portrait Gallery, also in Canberra

References [edit]

  1. ^ Green, Pauleen, ed. (2003). Building the Collection. National Gallery of Commonwealth of australia. p. 408. ISBN0-642-54202-3. , pp2-9
  2. ^ Parliamentary Zone Development Plan. National Capital Development Commission. 1982. p. 125. ISBN0-642-88974-0. , p12
  3. ^ Parliamentary Zone Development Plan, pp20-ane
  4. ^ Greenish: p. 339
  5. ^ Parliamentary Zone Development Plan, p23
  6. ^ Parliamentary Zone Evolution Plan, pp23-four
  7. ^ Green : pp. 379–80
  8. ^ "NGA and Loftier Courtroom – statement of significance". Purple Australian Institute of Architects. Retrieved 3 November 2006.
  9. ^ Greenish : pp14-17
  10. ^ Australian National Heritage listing for the High Court-National Gallery Precinct
  11. ^ Lauren Martin (19 October 2005). "Gallery defiant over redesign". Sydney Morning Herald . Retrieved 14 Oct 2006.
  12. ^ Meacham, Steve (25 September 2006). "Designs on his landmark leave builder in distress". The Sydney Morning time Herald . Retrieved 28 April 2019.
  13. ^ "Major expansion of the National Gallery of Australia" (Press release). Senator Rod Kemp. xiii Dec 2006. Archived from the original on 23 August 2007. Retrieved 14 Dec 2006.
  14. ^ "National Gallery of Australia". Retrieved 1 Jan 2011.
  15. ^ Farrelly, Elizabeth (9 Oct 2010). "Watch this space - Brutalism meets beauty in the National Gallery'south new wing". The Sydney Forenoon Herald. "Spectrum" department. pp. 16–17.
  16. ^ Convery, Stephanie (23 September 2021). "National Gallery of Australia orders $14m Ouroboros sculpture – its most expensive commission so far". The Guardian . Retrieved 24 September 2021.
  17. ^ Mollison, James (1979), Australian photographers: the Philip Morris Collection, Philip Morris (Australia)Ltd, ISBN978-0-9500941-one-3
  18. ^ Rex, Natalie, ed. (2010), Up close: Carol Jerrems with Larry Clark, Nan Goldin and William Yang, Jerrems, Ballad (photographer); Clark, Larry (lensman); Goldin, Nan (photographer); Yang, William (photographer), Schwartz City: Heide Museum of Modern Art, ISBN978-i-86395-501-0
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Further reading [edit]

  • Thomas, Daniel (2011). "Art museums in Commonwealth of australia: a personal business relationship". Understanding Museums. - Includes link to PDF of the commodity "Art museums in Australia: a personal hindsight" (originally published in Periodical of Fine art Historiography, No iv, June 2011).

External links [edit]

Media related to National Gallery of Commonwealth of australia at Wikimedia Eatables

  • Official website
  • A virtual walk through National Gallery of Australia - 2015
  • Kenneth Tyler Printmaking Collection Online at the National Gallery of Australia
  • "Place ID 105745". Australian Heritage Database. Australian Government.
  • National Gallery of Australia on Artabase

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Source: https://en.wikipedia.org/wiki/National_Gallery_of_Australia