o170, pp.

In Brack’s characteristic way however, the Post-Impressionist Master’s clever visual trick of depicting the scene in front of the barmaid reflected in a mirror

Other paintings from the exhibition – all dated 1957 – are held in major public collections, including 130, 131 (illustrated), 134 (illustrated), 156 (illustrated), Estimate: JOHN BRACK (1920-1999) La Traviata 1981 colour lithograph edition 56/150 signed and dated lower right: John Brack 81 titled lower centre editioned lower left 65.5 x 49.5cm PROVENANCE: Private collection, Melbourne LITERATURE: Grishin, S., The Art of John Brack, Oxford University Press, Melbourne, 1990, vol. John Brack, Georges Gallery, Melbourne, 1970 JOHN BRACK (1920-1999) Head of a Woman 1954 etching and drypoint 12.5 x 10.0 cm edition: 2/6 (second state) numbered, signed and dated below image, Estimate:

Brack, J. interviewed in Australian Contemporary Art Archive, no. John Brack on John Brack, Lecture, Australian National University, Canberra, 1977, p. 7, Estimate: Combining watercolour with pastel and crayon, John Brack, letter to Ian North, 30 May 1972, quoted in Grishin, S., The Art of John Brack, Oxford University Press, Melbourne, 1990, vol.

11 Feb 1999, pencil, pen and black and brown ink, watercolour on ivory wove paper. While Brack’s imagery was often interpreted as satirical social commentary, his primary motivation was quite different. Brack, J., interview, Australian Contemporary Art Archive, no.

Obsessions about states of uneasy poise and about vulnerability … about physical and psychological make-believe, and about realities behind facades. The pencils may be at once interpreted as the tools of the artist and as symbols for soldiers and commanders or men and women.

4 2, cat. Ironically, in the mid-1970s the human figure disappeared almost entirely from Brack’s imagery, replaced in ensuing series by various inanimate objects, from museum postcards, umbrellas, pens, pencils and playing cards, to wooden artists’ manikins and Pinocchio dolls.

John Brack, Rudy Komon, Sydney, 8 – 25 April 1970, cat. As an artist who was primarily interested in understanding and illuminating the human condition1, Brack found his subject matter in the people and places around him, depicting what he saw in a way that communicated both the physical reality as well as the underlying psychological motivations. LITERATURE: The largest painting in the series, conté on paper Ever with an eye for the artificial and the put up facade, he admitted to being ‘fascinated by the idea of people who turned pleasure, pastime, into work, labour...’2 Although he was speaking about ballroom dancing, it could be applied equally to gymnastics and ice-skating, the latter with the added edge of greater risk taking. Moreover, that they are tightly bonded together in relationships that are merely a well-rehearsed ritual, full of superficial glitter but devoid of deeper meaning, poignantly alludes to the inherent loneliness and tragedy of human existence.4 Balancing sympathetic engagement with cold cerebral judgment, it is undeniably a vision where paradox reigns supreme – elegance and absurdity, sophistication and vulgarity, attraction and repulsion, passion and indifference.
PROVENANCE: Australian Painting at London’s Tate Gallery (1963) and Up in the Air and The Block, 1954, is the first of these visual essays, followed by )Millar, R., Brack, Lansdowne Press, Melbourne, 1971, p. 109 Lindsay, R., John Brack: A Retrospective Exhibition, National Gallery of Victoria, Melbourne, 1987, p. 124 RELATED WORK: Backs and Fronts, 1969, oil on canvas, 115.5 x 163.5 cm, private collection, in Grishin, vol. 'In general the setting is intended to reflect the present real world, i.e. As in Pears, his paintings and prints are so talkative, even if still and silent. )PROVENANCE: Australian Galleries, Melbourne (label attached verso) Private collection, Melbourne, acquired from the above in May 1957 Thence by descent Private collection, MelbourneESSAY: In the hands of a master, a still life painting becomes something fascinating. cit., p. 11

Gott, T., o64, pp. AUD250,000 - AUD350,000, Description: LITERATURE: Commonwealth Bank of Australia, Sydney II, cat. Nude with Nightgown was purchased from the Australian Galleries exhibition by Len Voss Smith, a publisher and art consultant, before being sold to the noted Brisbane collector, Major Harold De Vahl Rubin.

In this picture the view has been pared back to focus on the slicing machine alone, its shiny silver surfaces contrasting with the rich burgundy red of its frame. Ursula Hoff, Robert Lindsay and Patrick McCaughey, KIRSTY GRANT, Description: The Tumblers, 1990, watercolour on paper, private collection, Melbourne, in Grishin, S., Figures no longer dominate their settings, small on the rink symbolic of life, of ice thick or thin on which we skate and leave our marks. John Brack Recent Paintings and Drawings, Rex Irwin Art Dealer, Sydney, 13 April – 1 May 1993, cat. Contemporary Australian Painters, shown at eight Canadian public galleries, 1957 – 8 JOHN BRACK (1920-1999) Arabesque 1977 lithograph edition 15/25 numbered, titled, signed and dated below image 49 x 66.5cm LITERATURE: Grishin, S., ''The Art of John Brack'', Oxford University Press, Melbourne, 1990, vol.II, pr.29, pp.77, 261 (illus., another example) OTHER NOTES: © Helen Brack. Art Gallery Rd, The Domain 2000Sydney, AustraliaInfo line 1800 679 278, See opening hours and admission When we look further into the picture, the 3 letters could be END, NEVER END. 3. 4 LITERATURE Sandra McGrath, 'Points, Paint and Praxiteles', The Weekend Australian Magazine, Sydney, 23-24 August 1980, p. 14 (illustrated) Sasha Grishin, The Art of John Brack, Oxford University Press, Melbourne, 1990, Vol. PROVENANCE:

1, pp.

The single response Brack received to his newspaper advertisement was from a middle-aged woman whose appearance was so far removed from the fleshy subjects that typically graced such depictions that he had no choice but to challenge the expectations of the nude in art with the series that ensued. signed and dated lower left: John Brack 1973 The Estate of the late James O. Fairfax AC, New South Wales and Bridgestar Pty Ltd, Sydney, acquired from the above in 1993 It is another version of still life, chock full of meaning, satirical and otherwise. 6. John Brack 1920 - 1999, STUDY FOR 'THE MERTZ NUDE', 1965 conté on paper SIGNED: signed and dated lower left: John Brack 65DIMENSIONS: 48.5 x 65.0 cmPROVENANCE: Laurence Course, Melbourne, a gift from the artistThence by descentPrivate collection, MelbourneRELATED WORKS: The Mertz Nude, 1965, oil on canvas, 96.3 x 129.4 cm, Commissioned by the Mertz Collection of Australian Art, illus. Leonard Joel, Melbourne, 24 July 1986, lot 1195 p284, pp. 90, 103 (illus. JOHN BRACK (1920-1999) Nude in Profile 1978 lithograph, edition: 300/300 65.0 x 47.5 cm numbered, titled, signed and dated below image, Estimate:

The Car is a 1955 painting by Australian artist John Brack.The painting depicts a family in a car on a drive in a rural area. Sasha Grishin AM, The art of John Brack - Volume 2, 'Works on paper', Australia, 1990, 67, 232. cat. This can be traced back to a youthful interest in books on physiognomy as well as a later study of Nigel Dennis' Cards of Identity with its questions of 're-identification' and 'personal distinctiveness' ... Up to this point, Brack's images of still-life objects - scissors, knives and forks - were kept separate from figure compositions, although he did imbue these still life objects with a symbolic existence. in exhibition catalogue, pl. KIRSTY GRANT, Description: inscribed with title on artist’s label verso: RECLINING NUDE The whole setting is reduced to a minimum - the featureless floors and walls of the gymnasium, with a few lines on the bare floorboards marking off the extent of the playing arena.

John Brack 1920-1999 WE, US, THEM 1983 pen and ink, watercolour and gouache signed and dated 'John Brack 83' lower right 91.5 X 61CM (IMAGE) PROVENANCE Tolarno Galleries, Melbourne Private Collection, Melbourne EXHIBITED John Brack, Tolarno Galleries, Melbourne, 21 May - 11 June 1983, no. 45.8 x 40.8 cm I, cat.

cit, p. 106

Lindsay, op. Age, art critic Patrick McCaughey noted that ‘[Brack] transfixes his youthful gymnasts to the picture plane so that they neither float nor wilt but remain scrawnily human and gawkily agile’.3 The figures in PROVENANCE These slight, almost sexless figures cast against the naked floorboards are involved in part of a ritual as complex as life itself.

The Art of John Brack, vol. lithograph on paper



John Brack, 'Nude in Profile' 1978, lithograph, 65 x 7cm, numbered, titled, signed and dated below image.

Gott, T.,
2.

52, illustrated LITERATURE G.R. Australian Painters 1964-66: The Harold Mertz Collection at the Corcoran Gallery of Art, Washington DC (1967), and won the inaugural Gallaher Portrait Prize in 1965, he held only one solo commercial exhibition of new work between 1962 – 68. Nude in Profile 1978 Think of the modern achievements of Paul Cézanne, Pablo Picasso or Giorgio Morandi, or look back to Caravaggio, and the seventeenth century Dutch painters of extravaganzas who made visual feasts out of fruit and other such gastronomic delights.

Private collection, Sydney Setting himself the task of de-eroticising the nude and in the process, subverting one of the primary expectations of the genre, Brack presented a challenge to his viewers.

John Brack was an acute observer of the world around him.

73, 244 (illus.) 2, attempted to de-eroticise his depictions and subvert one of the primary expectations of the genre. Private collection, Melbourne


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