Master of stillness

Barry Pearce was born in 1944 in , where This book on the work of Jeffrey Smart is the first he was educated, and began his art museum since his virtual retirement from painting in 2011. career at the Art Gallery of South . From It illuminates the vision of the most celebrated of 1969 he lived in London, where he studied at Master of stillness Australian expatriate artists, from his beginnings in the British Museum’s Department of Prints and Adelaide until his last major composition painted in

Drawings as a Harold Wright Scholar. On his return where he has lived for the last five decades. Jeffrey to Australia in 1975 he was appointed the first Adelaide, where Smart was born in 1921, was Curator of Prints and Drawings at the Art Gallery of Jeffrey Smart where his essential evolution as an artist took South Australia; two years later he became Curator Paintings 1940–2011 shape. His early fascination for its grid-like urban of Paintings at the Art Gallery of Western Australia. landscape was a perfect basis for an ongoing In 1978 he was appointed Curator of celebration of the phenomena of highways, traffic at the Art Gallery of New South Wales and later signs, trucks, transmitters and brutish modular became Head Curator of Australian Art. Over three architecture in post-war Europe; aspects of the decades there he has curated many exhibitions, Sm modern world others found ugly but which he including major retrospectives of the work of Sali declared beautiful. Herman, Elioth Gruner, , Donald Jeffrey Smart’s vision, which has altered the way art Friend, Arthur Boyd, Brett Whiteley, Margaret Olley, we see the technologies of change that impel us Charles Conder, Sidney Nolan and Justin O’Brien, through the fabric of time, curiously searches for among others, each accompanied by publications an elusive stillness that lies at the heart of it, and

which remain definitive texts in their field. He has Paintings 1940–2011 may be seen here and appreciated with a selection written many other essays on aspects of Australian of many of his most important masterpieces. art for magazines, journals and catalogues, has lectured extensively, and has acted as an ambassador of Australian art in connection with various international projects. Master of Stillness: Jeffrey Smart paintings 1940–2011 has Barry Pearce’s most recent books with been published to coincide with the twenty-first anniversary of absorption by the University of South Australia of The Beagle Press are a monograph on Michael Barry Pearce the South Australian School of Art from which Smart is Johnson, a new edition of his book on Jeffrey considered perhaps its greatest alumnus. In recognition of Smart, and a new book on Margaret Olley. He this, the University bestowed on him an honorary doctorate retired from the Art Gallery of New South Wales in in 2011 and organised a retrospective through the Anne early 2011 but remains affiliated as its inaugural & Gordon Samstag Museum of Art, with works from the Emeritus Curator of Australian Art. Adelaide period shown at Carrick Hill.

ISBN 978-1-74305-123-8

F ront cover: Jeffrey Smart MORNING PRACTICE, BAIA 1969 (detail) Jacket design: Liz Nicholson, designBITE Back cover: Jeffrey Smart LABYRINTH 2011 9 781743 051238 Barry Pearce Master of stillness Jeffrey Smart Paintings 1940–2011

Barry Pearce Contents

F oreword 1 J effrey Smart

I ntroduction 3 E rica Green and Richard Heathcote

S earch for the Timeless 7 Barry Pearce

Plates Adelaide 25 Sydney 50 Rome 64 77

Biographical Notes 107 Barry Pearce

S elected exhibitions 126

Collections 127

Catalogue of exhibited works 128

List of lenders 133

Acknowledgements 134 Opposite and title pages Selected further references 135 Self portrait at Papini’s 1984–85 (details) oil and acrylic on canvas 85 x 115 cm Private collection (Cat. 58)

v Foreword

I am deeply moved by the compliment the Anne & Gordon Samstag Museum of Art, under the aegis of the University of South Australia, and Carrick Hill have paid me through this exhibition. Much time has passed since I left of course, but it prompts me to reflect back to the beginning of my career in Adelaide where I was supported from the outset by a fellow artist. I remember it well, a landscape painting of the city purchased by Max Ragless in 1943 for three guineas from my show with Jacqueline Hick at the Royal South Australian Society of Arts. Then the Art Gallery of South Australia bought Water towers in 1944, when I was just twenty- three years old. These early acquisitions were such an encouragement. However, my time beforehand at the art school, now part of the University of South Australia, was crucial. I was taught tonal painting by Ivor Hele and Marie Tuck, after which it was who opened my eyes to the dynamic symmetry of ‘the moderns’. She taught us about the Golden Mean and how it applied to abstract and cubist painting. All that prepared me for lessons I later received in Paris from Fernand Léger. The other influence of my Adelaide years was the voluptuous landscape of the Willunga Plains, so popular with painters like Horace Trenerry, and so reminiscent – as it turned out upon reflection – of Tuscany where I now live. The splendour of the Flinders Ranges to the north was also a great inspiration, with at his best. It would be fair to say that the unique shape and light of these South Australian landscapes, together with my fascination for city motifs, formed the alpha and omega of the way I would continue to see the world through my painting. My farewell show at John Martin’s Art Gallery in 1948 sold out to supporting Adelaideans. That was when I worked my passage to Europe. No art scholarships in those days. On my return over two years later I was supported once more and able to work seriously again, particularly boosted by the award in 1951 of the Commonwealth Jubilee Art Prize of £500 for Wallaroo, a painting depicting a mining port in South Australia. I was on my way: already in Sydney; and eventually settling in Italy as I had dreamed of long ago in the city where I had the good fortune to be born.

Jeffrey Smart Posticcia Nuova, Opposite Jeffrey Smart, April 1986 February 2012 Photograph by Michel Lawrence

1 introduction

When Jeffrey Smart left Adelaide in 1951 for a new life in Sydney, he was already well formed as an artist and equipped with the necessary technical skills, the legacy of his complete studio education at the South Australian School of Arts and Crafts, today part of the University of South Australia. But he also had a clear plan. Little more than a decade later, Smart’s exemplary vision and capacity for hard work saw him residing permanently in Italy, close to the inspiration that he had yearned for, and living the culturally rich life of a full-time painter. It was to prove a long, productive life, distinguished by profound artistic success and fame. Now ninety-one years of age and residing still in his beloved Italian country home of more than forty years – Posticcia Nuova, near Arezzo – it is appropriate and timely that Jeffrey Smart be honoured in his hometown of Adelaide, where his education and journey began. Accordingly, this handsome book – published by Adelaide’s own Wakefield Press and with a key essay by respected curator Barry Pearce – complements an ambitious exhibition presented across two Adelaide venues: at the University of South Australia’s Anne & Gordon Samstag Museum of Art; and at the historic home and gallery, Carrick Hill, in Springfield. Titled Master of Stillness and comprising works drawn from across Jeffrey Smart’s oeuvre, the exhibitions and publication together offer rare insight into his lifetime achievement as an artist and, in effect, a précis of his incomparable career. Master of Stillness has the vantage of curator Barry Pearce’s long friendship and professional association with Jeffrey Smart, this informing a deep appreciation of the artist’s work, methods and motivations. Through his selection of works and his knowledgeable, concise text, Pearce traces the development of Smart’s art from its beginnings in Adelaide (a city which embedded itself in the artist’s visual bloodstream as a child for its grids, long straight lines and vanishing points) to his ultimate, mature achievement as the poet of a new vernacular of modern painting. It is a vision inspired as much by the enduring example of as by the geometric patterns of apartment blocks and the familiar coloured squares, circles and letters of road signs and construction sites. The two fascinating exhibitions that comprised Master of Stillness were the outcome of a productive collaboration between the Samstag Museum of Art and Carrick Hill in partnership with TarraWarra Museum of Art, supported by very generous private and institutional lenders. The Jeffrey Smart project that brought to Adelaide sixty-eight of the artist’s iconic paintings, as well as works on paper, is a wonderful example of institutions sharing a vision to achieve a truly significant, historic outcome. Among many individuals who played a role in the creation of Opposite Jeffrey Smart, Sydney, 1945 this splendid project, special acknowledgement must be extended to long-time Smart archivist, Photograph courtesy The Jeffrey Smart Archive

3 Stephen Rogers, and to Susan Jenkins, Curator: Special Projects at the Samstag Museum of Art, who effectively led the development of the exhibition and coordinated its associated documentation. The works in the Master of Stillness exhibition were logically divided between the two exhibition venues: those produced before the artist left Adelaide in 1951 were appropriately shown at Carrick Hill, the grand cultural estate created by Smart’s early Adelaide friends, society leaders Ursula Hayward (née Barr Smith) and Edward (Bill) Hayward. All other works were exhibited at the Samstag Museum of Art, located near to the renowned School of Art that rightly claims Dr Jeffrey Smart AO as its most distinguished alumnus. It is with great respect and appreciation that we acknowledge Jeffrey Smart for his wholehearted support and enthusiasm for this important project. And it is a matter of enormous pride and excitement to everyone associated with Master of Stillness that, among the treasures presented, is a very special work, Labyrinth, produced by Jeffrey Smart in 2011. Despite having declared his retirement from painting, it was in part news of Adelaide’s desire to celebrate and honour him in this exceptional project that lured the artist back to his studio, and his easel, one more masterful time. Throughout his enviably long life in art, Jeffrey Smart has modestly protested that the special qualities others see in his art owe everything to simple hard work, or to the peripheral ‘glance’ that begets an unexpected idea, perhaps while driving along a highway; not to mention the sheer dogged patience required during the often long, frustrating wait for inspiration. We the audience are more privileged, seeing (as we do) way beyond that characteristically honest formula of the artist, enabling us to richly enjoy the inscrutable mystery of great art.

Erica Green Director, Anne & Gordon Samstag Museum of Art University of South Australia

Richard Heathcote Director, Carrick Hill

Opposite Jeffrey Smart painting Labyrinth, 2011 Photograph by Rob Palmer

4 Master of Stillness

Search for the Timeless

Flesh perishes, I live on, Projecting trait and trace Through time to times anon, And leaping from place to place Over oblivion.

Thomas Hardy, from Heredity1

In 1965, having left Australia for Europe two years earlier, permanently exchanging one hemisphere for another, Jeffrey Smart felt at last his painting might be making progress. He was living in Rome where he had long desired to be, buoyed by a new-found companionship with young, recently arrived Australian artist Ian Bent, and resolving a vision that might now carry him on the long haul into posterity. During the halcyon summer of that year when his life and work appeared to be coalescing so well, Smart saw on the beach at Ostia, a man lying on his back with his feet in the air balancing an inflated rubber ball. Converging this image with a painting by Picasso he remembered, Acrobat on a ball – in which a large muscular figure with his back to us sits on a cube observing a lithe young female poised on a ball – Smart made a small pen-and-ink sketch which he turned into a masterful painting four years later.2 He called it Morning practice, Baia. This disarmingly simple work holds a central position within the entire span of Smart’s painting career, from his earliest compositions of the city of Adelaide where he was born, to the very latest image in this book, Labyrinth, painted recently in Tuscany where he now lives. Exactly halfway between these two extremities of a lifetime, Morning practice, Baia is an essential image of the artist himself. A man practises with geometry, fascinated by its capacity to measure the Above Pablo Picasso Acrobat on a ball 1905 meaning of existence, whilst enjoying life-enhancing sunlight illuminating the modern walls of oil on canvas 147 x 95 cm what used to be an ancient fleshpot of the Roman Empire on the Bay of Naples. Moscow, Pushkin Museum, © 2012 Photo Scala, What was the genesis of Smart’s preoccupation with parallel lines, cubes, spheres, curves and Florence, licensed by Viscopy Opposite rectangles as the foundation of his visual language? And from where came his inclination to Jeffrey Smart Morning practice, Baia 1969 (detail) transform a cool, dystopian vision of the 20th-century city and its technologies into a startling oil on canvas 58 x 81 cm new aesthetic? We have to start in Adelaide where, with intelligence and determination, the young Collection of Mr and Mrs Dick and Barbara Senn, Smart absorbed vital clues from the more worldly individuals of the local scene. It is interesting California, USA how many of these were strong women.

7 One was the French-trained Marie Tuck, who taught at the South Australian School of Arts and Crafts, and gave Smart his first instruction in oil painting. She imbued in him a method of laying out his palette so that it might be used like an instrument as instinctively as touch-typing. Another was Dorrit Black who, after studying with André Lhote and Albert Gleizes in Paris in the late 1920s, returned to Australia a disciple of cubism. She eventually came back to Adelaide, teaching privately, then permanently at the School of Arts and Crafts from about 1940. Her key philosophy was that a painting was something to be made or designed, as opposed to the reactionary Australian pastoral tradition of Arthur Streeton and Elioth Gruner. One of Smart’s most powerful early drawings, a figure study of 1942 that began as a conventional nude but changed into a mosaic of cubist shapes, is directly influenced by Black’s teaching. Then there was Ursula Hayward, wife of wealthy businessman Edward (Bill) Hayward who, in the late 1930s following their marriage, constructed a spectacular faux-Jacobean house named Carrick Hill in the Adelaide foothills at Springfield. After witnessing this building taking shape

Jeffrey SmartS eated Nude 1942 when he was a boy, Smart became enfolded in friendship with the Haywards in 1946, and through pencil on paper their art collection and library – particularly Ursula’s sympathy for the avant-garde – the window 50.9 x 37 cm to a broader reality opened up. There were paintings and sculptures by modern Australian, British and French artists, with a number of whom the Haywards developed personal rapport. Sharing Ursula’s passion for Proust, and at the same time admiring her down-to-earth intellect, Smart soon realised that her embrace of the wider world was not a common part of Adelaide society. But even more interesting, in the context of Smart’s confession that even he could not quite explain why, during his childhood, he found himself more visually stimulated by the rooftops and back lanes of inner working-class Adelaide than the comfortable suburbs and pastoral splendour of its parklands,3 is the work of a woman who was born on the opposite side of the planet and died long before his time. The answer was staring at him on the walls of his own home. Marie Bashkirtseff was a young Russian painter who went to Paris to study at the Académie Julian, one of the rare art schools that took female enrolments, and proved to be a prodigious talent. She kept a diary from the age of thirteen in which she recorded the struggles of women artists, and by the time of her death from tuberculosis in 1884, aged twenty-five, she had established herself as a powerful intellectual feminist. But a tragedy exceeding that of her short life occurred during the Second World War when the Nazis destroyed most of her paintings.4 A final masterpiece survived upon which her reputation rests: A meeting, today housed at the Musée d’Orsay. Somehow, perhaps because in the 1920s Bashkirtseff’s star was still ascendant, Smart’s parents brought back as a souvenir of their European sojourn – with infant Jeffrey in tow – a coloured print of this painting which they hung at home in Denning Street, Hawthorn.

Marie Bashkirtseff A Meeting 1884 Over the years Smart studied it carefully, the only image of an actual painting, along with framed oil on canvas sepia photographs of Rome, he remembers hanging in the house.5 193 x 177 cm Paris, Musée d’Orsay, Peinture, © 2012 White Images/ The synergy between Bashkirtseff’s image and Smart’s evolution as a painter is astonishing. Photo Scala, Florence A meeting, influenced by the realism of Jules Bastien Lepage who died in the same year, depicts a group of Parisian slum children congregating on a street corner; but the most galvanising aspect of the composition is the background of weatherworn palings comprising a fence of verticals,

8 Master of Stillness horizontals and broken triangles, and the distant sun-kissed facade of a building rendered into simple flat rectangles. The urban geometry is so emphatic, it exudes a sense of discovery that was about to take the young Bashkirtseff forward, only to be cut short by her death. We may connect it effortlessly to several descendants in Smart’s oeuvre, including Morning practice, Baia (1969) with its improvised grid occluding a doorway in a wall flushed with warm light; and others in which he has deployed a striated pattern of planks with stripes and arrows for traffic control; or the span of a fence that separates a building from the street, as in The wooden fence, St Kilda (2009). Of course there were other factors in Adelaide shaping the evolution of Smart’s particular sensibility. He lived in a city laid out on a flat grid of long, straight perspectives, with crisp sundial shadows created by clear light; discovering within this grid interruptions of its neatness through the poetry of T.S. Eliot and his evocations of vacant lots and wastelands, from Rhapsody on a windy night for example:

The memory throws up high and dry A crowd of twisted things; A twisted branch upon the beach Eaten smooth, and polished As if the world gave up The secret of its skeleton Stiff and white. A broken spring in a factory yard, Rust that clings to the form that the strength has left Hard and curled and ready to snap.

And from Preludes:

The winter evening settles down With smell of steaks in passageways. Six o’clock. The burnt-out ends of smoky days, And now a gusty shower wraps The grimy scraps Of withered leaves about your feet And newspapers from vacant lots; The showers beat On broken blinds and chimney pots, And at the corner of the street A lonely cab-horse steams and stamps . . .

Jeffrey Smart Paintings 1940–2011 9 Such sonorous responses to the aura of evacuation or abandonment in contemporary townscapes led Smart to a new way of seeing:

. . . they provided me with images of urban life which were valid. I had painted my last flower piece; the gum trees and the billabongs and blue hills had been thrown out with the daffodils.6

Smart’s inclination towards man-made structures rather than nature led at one stage to a tug of war between becoming an artist and an architect. He remembers the excitement when, sitting high up in the gallery at the back of St Peter’s Cathedral, a friend taught him how to construct a perspective drawing.7 However, as much as architecture would have been a happy choice, his parents could not afford to pay for university training. Perhaps in the end the balance towards projecting the world through a frame to create a portal for the imagination was tipped by his boyhood passion for the cinema, which prepared him to feel simpatico with the work of the American painters Edward Hopper and Andrew Wyeth. The mystique of the big silver screen had a profound impact on all of them. As his thoughts turned increasingly towards Europe and its golden stream of art, music, poetry and architecture, in which he yearned to become immersed, Smart’s thorough grounding in painting methodology in Adelaide held him in good stead against the growing tide of loose expressionist styles that would continue to challenge his resolve. Marie Tuck’s French palette complemented the old master tonalism taught him by Ivor Hele, and Dorrit Black opened the way to Fernand Léger’s school in Paris where Smart would soon discover the next level of architectonic figuration and the power of negative space. Conditioned for so long with an escape mentality as far as Adelaide was concerned, he always regarded his paintings there as a ‘warm-up’ phase; but they stand alone in their consummate execution and evocation of the places of his youth. The awkwardness of compositions such as Hindley Street at evening (1944) and Port Adelaide railway station (1944) quickly give way to the formal rigour of Water towers (1944) and the elegant, Blamire Young-inspired Keswick siding (1945), a subject not far from where he lived. None of these are pretty pictures, but they exude a tough kind of poetry, technically accomplished with a judicious balance between thin washes and impasto; and are challenging enough for us to recognise the path on which the artist would consistently focus for the rest of his life. We cannot truly appreciate where he came from without becoming familiar with them. Between this group and his first major trip overseas, Smart extended his subject matter beyond Adelaide with two paintings on the Wasteland theme, gleaned from Cradock on the way to Hawker in northern South Australia in 1945; also Kapunda mines (1946) from a visit to the hometown of his student and friend Michael Shannon; Robe (1947) and Cape Dombey (1947) from a summer holiday on the coast en route to Melbourne; and The vacant allotment (1947) from a visit to Sydney. In these works a growing strength of design can be seen, even a hint of theatrical grandeur in Kapunda mines which, with its Cornish architecture and salute to the influence of Russell Drysdale, impressed the National Gallery of Victoria enough for it to purchase the painting in 1947.

10 Master of Stillness Left Jeffrey Smart Dockyard, Porto d’Ischia 1949 ink and watercolour on paper 21 x 27 cm Above Wine Labourers and Cart, Ischia 1949 ink and watercolour on paper 22 x 27.5 cm

Net Menders, Ischia 1950 In 1948 Smart worked his way on a long, arduous journey to Europe by cargo ship. He had ink and wash on paper 22 x 27.5 cm eked out enough money teaching art at a high school in Goodwood, then at the School of Arts and Crafts on North Terrace, plus income from a few painting sales. Basically it was to be a work- study tour and reconnaissance for future plans. Arriving in London with a tight budget, he met with his friend, the painter Jacqueline Hick, then travelled to France where he was joined by Shannon.8 Later the three South Australians stayed together for an extended period on the island of Ischia, off the coast of Naples. There were many Australians in Europe at this time, including Justin O’Brien, and Nora Heysen, with whom Smart made contact, and Margaret Olley, whom he didn’t manage to meet. She and Smart had one thing in common, however, which was that their European experience was more conducive to drawing and sketching than painting. Two pilgrimages were of lasting significance. The first, following a brief stint at the Grande Chaumière in Paris, was his enrolment at the school of Fernand Léger, whom Smart greatly admired. The second was a visit to Cézanne’s studio in Aix where he spent the best part of a day meditating on the motifs famously recognisable in the French master’s paintings. His lifelong dedication to Cézanne may seem difficult to comprehend considering the latter’s broken contours and faceted execution in search of petites sensations. It is perhaps to do with a basic respect for Cézanne’s structured procedure, not to mention his espousal of Poussin as a beacon of the modernist journey; a painter whose classic measure of stillness is relevant to Smart.

Jeffrey Smart Paintings 1940–2011 11 His dedication to Cézanne is also related to the French master’s dogged belief in the virtual priesthood of painting against all distractions, particularly commerce.9 Smart was destined to have many commercial exhibitions during his career, but with pragmatic determination he would eventually invest in property and shares to avoid being stressed by the necessity of painting for a living. His attitude has been that if one thinks too much at the easel about what price this or that work may be worth and who might buy it, purity of purpose is on a path towards corrosion. Toying briefly in Ischia with the idea of returning to abstraction after a mild flirtation with it in Adelaide, Smart began to drift into a hedonistic island existence, his finances dwindling rapidly. With support from his parents towards the cost of a passage, he embarked for Australia and was back in Adelaide by the end of 1950. But his intention was still on track, as he had previously declared with confidence to his students in Adelaide: to live in Sydney for ten years and marshal his resources for a permanent move to Italy. Before the shift to Sydney in the middle of 1951 Smart painted his largest work to date as a submission for the Commonwealth Jubilee Art Prize. It was Wallaroo (1951), another mining town subject like Kapunda mines (1946), this time on the coast of Spencer Gulf and featuring similar Cornish-style buildings. In spite of prominently featuring two fishermen carrying a boat ashore in the foreground, it was again permeated with the poetic solitude of Drysdale looking over the shoulder of Giorgio de Chirico. Smart had already left Adelaide when he was announced the winner, and was pleased to receive the generous prize money.10 But his first couple of years in Sydney were a struggle, as his painting came to a stasis. He found it difficult to find a place big enough to live in comfortably, much less work, and the imperative to teach to keep the wolf from the door stole much precious time. He began to doubt himself. Even his part-time appointment to the ABC – through the recommendation of Bernard Smith – where he became the much loved Phidias of the Argonauts Club art program for children on radio and television, only marginally eased his struggle.11 Two important small paintings, Approaching storm by railway (1955) and The nuns’ picnic (1957), signify that once more he began to recover his sense of knowing what kind of painter he wanted to be. In both, as in Kapunda mines, the colour of the sky has been reduced almost to black, nudging them towards the realm of not-quite-of- this-world. A pram stands stranded on a stretch of dazzlingly illuminated grass; two nuns sit on Jeffrey Smart an ochre-brown escarpment strewn with rocks in the old gold mining town of Hill End, like a Drawing for Approaching storm by railway 1955 mise en scène on the moon. Smart disavowed any emotional or symbolic agendas, but these two ink and wash on paper 17.5 x 26 cm compositions present a compress of mild anxiety about human existence we expect from the inventiveness of film-makers, like Cocteau, or Bergman, or Fellini. Smart began to prise open the envelope of social commentary through homo- and hetero- erotic themes played out against the backdrops of graffiti-covered walls, grassy slopes, bathing sheds and boardwalks; male and female flesh poised in the light waiting for something to happen. On the roof, Taylor Square (1961) is a portrait of passive sensuality, a female nude drenched in sunlight slumbering within a small symphony of rectangles held firm by the Golden Mean. This particular image, demonstrating Smart’s draftsmanship of the figure, led to him being invited to teach life drawing at East Sydney Technical College.12

Jeffrey Smart Paintings 1940–2011 13 Adelaide

‘I loved those streets . . . the back streets of Adelaide . . . where there was high density living and streets and verandahs and all that conglomeration which comes with it.’

Opposite Self portrait 1940 oil on canvas 48 x 39 cm Private collection, courtesy of Australian Galleries, Melbourne and Sydney (Cat. 2)

25 Laundry still life 1940 oil on canvas 40 x 50 cm Private collection, courtesy of Australian Galleries, Melbourne and Sydney (Cat. 1)

26 Wet street II 1941 oil on canvas 52.5 x 40 cm Private collection (Cat. 3)

27 Wakefield Press Edited by Pauline Green and Charlotte Michalanney 1 The Parade West Designed by Liz Nicholson, designBITE Kent Town Colour preparation work by Digital Art Directory South Australia 5067 Additional colour and pre-press work by Graphic Print Group Printing and quality control in China by Tingleman Pty Ltd Master of Stillness: Jeffrey Smart paintings 1940–2011 First published 2012 National Library of Australia Cataloguing-in-Publication entry Author: Pearce, Barry. Text copyright © Barry Pearce, 2012 Title: Master of stillness: Jeffrey Smart paintings 1940–2011 / Barry Pearce. Copyright for the works of Jeffrey Smart rests with Jeffrey Smart, with the ISBN: 978 1 74305 123 8 (hbk.). exception of the following, whose copyright rests with the Art Gallery of Subjects: Smart, Jeffrey, 1921– . South Australia: Port Adelaide railway station; Water towers; Robe; Harbour Artists – Australia – Biography. excavations, Port Kembla and Control tower. Copyright for The stilt race rests Painters – Australia – Biography. with the Art Gallery of New South Wales. Painting – Australia – 20th century. Dewey Number: 759.994 Where no collection is listed for Jeffrey Smart’s works the images are supplied courtesy of The Jeffrey Smart Archive. Sources of quotations: p. 25 and 49, Jeffrey Smart, Barry Pearce, The Beagle Press, 2011; p. 50, 64 and 87, Not Quite Straight: A memoir, Jeffrey Smart, All rights reserved. This book is copyright. Apart from any fair dealing for William Heinemann Australia, 1996; p. 77, letter to Barry Pearce, 31 August the purposes of private study, research, criticism or review, as permitted 2004; p. 104, letter to Barry Pearce, 16 January 2012. under the Copyright Act, no part may be reproduced without written permission. Enquiries should be addressed to the publisher. Published to coincide with the exhibition Master of Stillness: Jeffrey Smart paintings 1940–2011 presented by the Anne & Gordon Samstag Museum of Art, Grateful acknowledgement to Faber & Faber Ltd publishers for permission University of South Australia, Adelaide, 12 October to 14 December 2012 to use excerpts from T.S. Eliot’s Rhapsody on a windy night and Preludes. and Carrick Hill, Springfield, 10 October 2012 to end February 2013 in partnership with TarraWarra Museum of Art, Healesville, 21 December 2012 Wakefield Press is an independent publishing and distribution company to 31 March 2013. based in Adelaide, South Australia. We love good stories and publish beautiful books. To see our full range of titles, please visit our website at www.wakefieldpress.com.au.

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