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| Image | Sale date | Auction house | Location | Sale name | Lot No. | Estimate | Price Sold | Condition | Title |
|---|---|---|---|---|---|---|---|---|---|
Sep 10, 2024 | Bonhams | Sydney | Important Australian Art | 23 | $****** - ****** | Wimmera Landscape |
paintings
44 x 108.5 cm (17.32 x 42.72 in)
oil on board
Mr Arthur Boyd, New South Wales
thence by descent
Private collection, Victoria
Arthur Boyd, like other major Australian artists of his generation revisited major themes throughout his careers: one thinks of Nolan and Kelly or Williams and the You Yangs. Boyd"s visit to the Wimmera in the late 1940"s would be a defining point for the young artist"s oeuvre and would see him return to the subject sporadically over the following decades. He first visited the Wimmera district during the summer of 1948-49, when he travelled with his friend Jack Stephenson, a poet, to Horsham and painted the countryside near the Wimmera River. "He discovered there the hint of something that had drawn other painters of his generation, a subject tentatively recorded by only a few artists of the nineteenth century and touched upon by even fewer: The empty spaces of the great interior."1.
Boyd"s landscapes painted from these regions were widely well-received, possibly because their blue and gold palette which was reminiscent of the popular Heidelberg School. Franz Philipp describes the landscape which Boyd came to know so well, "dry, semi-arid, sheep and wheat country, turning yellow and sun-parched in summer, with patches of burnt-off stubble or weed...he invariably includes some sign of life, human or animal: a ramshackle shed, scattered thin, dusty sheep, a hunter followed by his slow, thirsty dog, some distant houses or even only a bird..."2
Arthur Boyd consistently alternated between naturalistic and imaginative phases in his work; he would often return to the landscape genre after an exhaustive period of creative output. There is a certain sense of serenity present in Boyd"s depictions of the landscape, particularly after viewing his chaotic, figurative works painted from the imagination, such as Nebuchadnezzar or his Biblical subjects. The palette Boyd chose for many of his landscape paintings is optimistic when compared to the dark tones of his Bride series. Clearly, Boyd found his local surroundings to be uplifting and inspiring; this sentiment is felt in the beautiful renderings of the countryside that he returned to paint over and again throughout his long and distinguished career.
1 Barry Pearce, Arthur Boyd: Retrospective , Art Gallery of New South
Wales, The Beagle Press, 1999, p. 20
2 Franz Philipp, Arthur Boyd , Thames and Hudson, London, 1967, p. 62
Arthur Boyd (1920-1999)
Wimmera Landscape
oil on board
44.0 x 108.5cm (17 5/16 x 42 11/16in).
