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Sidney Nolan's Ned Kelly

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Sidney Nolan's Ned Kelly Sidney Nolan's Ned Kelly The Ned Kelly paintings in the National Gallery of Australia With essays by Murray Bail and Andrew Sayers City Gallery_JWELLINGTON australia Te \Vliare Toi ■ national gallery of 7 © National Gallery of Australia 2002 Cataloguing-in-publication data This publication accompanies the exhibition Copyright of texts remains SIDNEY NOLAN'S NED KELLY SERIES with the authors Nolan, Sidney, Sir, 1917-1992. City Gallery Wellington, New Zealand Sidney Nolan's Ned Kelly: the Ned Kelly 22 February-19 May 2002 All rights reserved. No part of this publication paintings in the National Gallery of Australia. Part of the New Zealand Festival 2002 may be reproduced or transmitted in any form or by any means, electronic or Bibliography. mechanical, including photocopying, ISBN O 642 54195 7. Presented by recording or any information storage and retrieval system, without permission 1. Kelly, Ned, 1855-1880 - Portraits - Exhibitions. in writing from the publisher. 2. Nolan, Sidney, Sir, 1917-1992 - Exhibitions. EllERNST & YOUNG 3. National Gallery of Australia - Exhibitions. Co-published by the 4. Painting, Modern - 20th century - National Gallery of Australia, Canberra Australia - Exhibitions. 5. Painting, RUSSELL M�VEAGH and City Gallery Wellington, New Zealand Australian - 20th century - Exhibitions. I. Bail, Murray, 1941- . II. Sayers, Andrew. Produced by the Publications Department III. National Gallery of Australia. IV. Title. of the National Gallery of Australia Tele�erm NEW ZEALAND Designer Kirsty Morrison 759.994 Editor Karen McVicker Printed in Australia by Lamb Print National Gallery of Australia GPO Box 1150 Canberra ACT 2601 www.nga.gov.au Front cover: Sidney Nolan The chnse 1946 Gift of Sunday Reed 1977 Back cover: Sidney Nolan The trinl 1947 Gift of Sunday Reed 1977 :ation accompanies the exhibition fOLAN'S NED KELLY SERIES Contents y Wellington, New Zealand y-19 May 2002 New Zealand Festival 2002 Presented by Brian Ke1medy Foreword iv :RNST & YOUNG Paula Savage Foreword v 3SELL M�VEAGH Acknowledgements vi Tele��m NEW ZEALAND Murray Bail Ned Kelly, Artist 1 Andrew Sayers Kelly's words, Rousseau and Sunlight 3 The Paintings 19 Checklist of Works 75 Further Reading 77 Foreword The National Gallery of Australia is delighted to share Sir Sidney cinematic, like a sequence of film stills, the stylised figures Nolan's magnificent Ned Kelly series of 1946-47 with the people carrying all the force of directed scene-making. of New Zealand. I know the paintings will be warmly received while they are on loan to the City Gallery Wellington. The National Gallery of Australia is privileged to house twenty­ six of the twenty-seven paintings in the Kelly series: one was The Ned Kelly series has always had a personal significance for purchased in 1972, and twenty-five were given 'with love' to me. Australia, to the Irish mind, is still one of the most distant the Gallery by Sunday Reed in 1977. The remaining work has places imaginable, as is New Zealand, a step still further away. been loaned to the exhibition in Wellington through the Yet the bond of ancestry is very close. Nolan was sixth-generation generosity of the Vizard Foundation and the National Gallery Australian, but was pleased to be Irish-Australian too. He grew of Victoria. We congratulate Paula Savage and her colleagues up on boyhood tales of Kelly, as I did myself. The predominantly at the City Gallery for organising the exhibition and for Irish Kelly gang shot three Irish policemen at Stringybark collaborating so effectively with the National Gallery's Ruth Creek in October 1878. It was Judge Redmond Barry, a Trinity Patterson and Kirsty Morrison on this catalogue. College Dublin graduate, who sentenced Kelly to death and thereby defeated barbarism, at least in the eyes of the Nolan's Kelly series is extraordinary. It more than anything else Victorian establishment. has convinced me that Australia is not 12,000 miles from Ireland: it is more that little Ireland is 12,000 miles from vast Australia. Nolan declared, regarding the Kelly series, 'From being Our world view depends very much on where we live. Our interested in these stories it is a simple enough step to find that countries are connected, but different and unique. New it is possible to combine two desires: to paint and to tell stories'. Zealanders, close to Australia, even further from Ireland, Nolan achieved a significant contribution to both Australian and, with their own part-Irish background, will understand this landscape and history painting in his Kelly series. He also even more deeply. embedded international modernism in Australia. The Malevich­ like black square helmet, broken by the eye-slit and extended As I said to Prime Minister Helen Clark in my Canberra office by a neck, recalls the advance of abstraction while celebrating when, bushranger-like, she told me, 'We've come about the the art of story telling.The paintings are informed by Nolan's Kellys' - please enjoy the loan, but we want the pictures back! work in opera and ballet design, poetry, printmaking and book illustration and, of course, his interest in film. The series is Dr Brian P. Kennedy Direct01� National Gallery of Australia iv Foreword film stills, the stylised figures Sir Sidney Nolan's Ned Kelly series offers us a unique his helmet. 'He took it and ran with it.' It's a delightful insight i scene-making. opportunity to enter a myth. The myth is quintessentially that threatens to wrong-foot our notions of the creative Australian; say the name 'Ned Kelly' and you've summoned process. Just who is the artist here? And what is it about Ned ia is privileged to house twenty- a distinctive cultural space. The space is the Australian bush in Kelly that continues to pull at our imaginations? Moreover, 1gs in the Kelly series: one was the late nineteenth century, and it resonates with a rural music how is it, as Andrew Sayers puts it, 'Nolan's Kelly has become ·-five were given 'with love' to made of lawlessness, Irishness, social injustice and personal Ned Kelly'? 1977. The remaining work has rebellion. If we have none of the details of his life, we most n in Wellington through the lation and the National Gallery likely still understand Kelly as colourful and wronged. And These two writers' contributions come as part of a long line of mla Savage and her colleagues whatever the truth of that, somehow those qualities leak into reshapings and retellings of the Kelly myth. The mythologising, :iising the exhibition and for our vision of Australia. of course, did not start with Sidney Nolan in 1945, though his th the National Gallery's Ruth images remain the most enduring and instantly recognisable on this catalogue. Sidney Nolan's masterful achievement is to transform this versions. The first Australian feature film, made in 1906, was national and regional story-a bushranger operating in a specific The Story of the Kelly Gang. There have been many subsequent inary. It more than anything else historical climate for specific social goals - into something films, as well as novels, poems, plays, ballets, and songs. For the . is not 12,000 miles from Ireland: recognisably ours as well as 'theirs'. These paintings, through scholar and general reader alike there is a mountain of Kelly 2,000 miles from vast Australia. the force of their conception and the brilliance of their execution, literature, of which the most recently formed and notable peak , much on where we live. Our argue for art's universal values. Though they attend to a large is Peter Carey's Booker Prize-winning novel, True History of the t different and unique. New narrative and carry the freight of history and politics, they are Kelly Gang. a, even further from Ireland, affectingly human in what they notice and uncannily private in ackground, will understand this their focus. As Andrew Sayers writes here in his seminal essay, That word 'true' in Carey's title is deployed with understandable 'there are complexities in all of Nolan's paintings, but there are irony. It is not so much that the historical facts can't be distillations of great simplicity.' established. (Kelly historians such as John McQuilton and Len Clark in my Canberra office Ian Jones have authoritatively reconstructed the period.) What ld me, 'We've come about the but we want the pictures back! The Australian writer Murray Bail suggests, in his original matters to the fiction writer, Carey, as well as to the painter, and witty reading of these masterpieces, that Ned Kelly should Nolan, is that Ned Kelly offers a kind of lens through which the be recognised as a prototype performance artist. Sidney Nolan artist can view the elusive and changing patterns of identity ustralia comes along later and 'steals' Kelly's inspired art object - and belonging. V Andrew Sayers reminds us that these paintings are not simply Acknowledgements biographical or even autobiographical narratives; they are vitally concerned with the land and with the sky. It is Nolan's It is a great honour for City Gallery Wellington to present inheritance as an Australian - as it has been ours too as New Sir Sidney Nolan's canonic Ned Kelly series, key works from Zealanders - to seek a sense of self through a relationship with the Australian National Collection and a focus for visitors to the physical world. The dramas enacted in his paintings are Canberra. We are indebted to the National Gallery of Australia therefore also metaphysical. They are alternately full of terror for generously allowing these works to travel to New Zealand and whimsy, comedy and mortality, heat and the loss of heat. and for the support and facilitation of this project by Direct01� Dr Brian Kennedy, and the staff.
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