Examine individual changes

'{{Other uses}} <noinclude>{{User:RMCD bot/subject notice|1=Fred Williams (artist)|2=Talk:Fred Williams#Requested move 23 May 2020 }} </noinclude>{{Use dmy dates|date=June 2015}} {{Use Australian English|date=June 2015}} {{Infobox artist | bgcolour = silver | name = Fred Williams | image = Fred-Williams-1981.jpg | imagesize = 230 | caption = Fred Williams in front of ''Gorge landscape'' (oil on canvas, 1981) from the ''Pilbara series'' (photo by [[Rennie Ellis]], 1981) | birth_name = Frederick Ronald Williams<ref name="ppaap">{{cite web|url=http://www.printsandprintmaking.gov.au/catalogues/artist/12269/fred-williams.aspx|title=Prints and printmaking Australia Asia Pacific|publisher=The National Gallery of Australia|accessdate=18 December 2010}}</ref> | birth_date = {{Birth date|df=yes|1927|1|23}} | birth_place = [[Richmond, Victoria]], [[Australia]] | death_date = {{Death date and age|df=yes|1982|4|22|1927|1|23}} | death_place = [[Hawthorn, Victoria]], Australia | nationality = [[Australia]]n | known_for = [[Painting]], [[Printmaking]] | training = [[National Gallery School]], Melbourne<br>[[Chelsea School of Art]], London<br>[[Central School of Arts and Crafts]], London | movement = | works = Pilbara series (1979–81) | patrons = | awards = Officer of the Order of the British Empire (OBE)<ref name="ri-bio">{{cite web|url=http://www.rexirwin.com/artists/gallery_artists/williams/2003/bio.htm|title=Fred WILLIAMS - bio|publisher=Rex Irwin Art Dealer|accessdate=27 April 2011|archive-url=https://web.archive.org/web/20160304044549/http://www.rexirwin.com/artists/gallery_artists/williams/2003/bio.htm|archive-date=4 March 2016|url-status=dead}}</ref> }} '''Frederick Ronald Williams''' [[Officer of the Order of the British Empire|OBE]] (23 January 1927{{spaced ndash}}22 April 1982) was an [[Australia]]n [[Painting|painter]] and [[printmaker]]. He was one of Australia’s most important artists, and one of the twentieth century’s major painters of the [[landscape]]. He had more than seventy solo exhibitions during his career in Australian galleries, as well as the exhibition ''Fred Williams - Landscapes of a Continent'' at the [[Museum of Modern Art]] in [[New York, New York|New York]] in 1977. ==Early life and education== Fred Williams was born on 23 January 1927 in [[Richmond, Victoria|Richmond]], a suburb of Melbourne, Australia,<ref name="ppaap"/><ref>Mollison (p. 3.)</ref> the son of an electrical engineer and a Richmond housewife.<ref name="aac"/> Williams left school at 14 and was apprenticed to a firm of Melbourne shopfitters and box makers.<ref name="aac"/> From 1943 to 1947 he studied at the [[National Gallery School]], Melbourne, at first part-time and then full-time from 1945 at the age of 18. The Gallery School was traditional and academic, with a long and prestigious history. He also began lessons under [[George Bell (painter)|George Bell]] the following year, who had his own art school in Melbourne. This continued until 1950. Bell was a conservative modern artist but a very influential teacher. Between 1951 and 1956, Williams studied part-time at the Chelsea School of Art, [[London]] (now [[Chelsea College of Art and Design]]) and in 1954 he did an etching course at the [[Central School of Arts and Crafts]]. He lived in a [[South Kensington]] bedsit and subsidised his art practice by working part-time at Savage’s picture framers.<ref name="aac"/> Williams returned to Melbourne in 1956, when his family was able to send him a cheap ticket aboard a ship bringing visitors to the [[1956 Summer Olympics|Melbourne Olympics]].<ref name="aac"/> He had work included in the 'Recent Australian Painting' exhibition at the [[Whitechapel Gallery]], London, and 'Australian Painting: Colonial, Impressionism, Modern' at the [[Tate Gallery]]. == Work == After mainly working with figures in early paintings and etchings, he began painting landscapes after returning to Melbourne in 1957, which remained the major theme in his art. While learning etching and printing in London, he produced vivid caricatured sketches of contemporary London life. It was during this period that he established his method of reworking the same motif a number of times in a number of mediums and very often over a number of years. As an artist concerned with form over subjectivity, Williams' approach struck a jarring note against the unity of many of his close associates such as [[John Brack]], [[Arthur Boyd]] and [[Charles Blackman]], the authors of the famous ‘Antipodean’ manifesto of 1959. Williams' work was excluded from their major exhibition. As heirs to the [[expressionist]] tradition, the Antipodeans lauded a spontaneous, improvised approach to painting and saw the function of art as vested in its expressive potential. They had little time for - and, in fact, denounced - the 'new' art emerging from Europe, the influences which were increasingly informing Williams' development. On his return to Australia, Williams saw the [[aesthetic]] potential of the Australian bush in its inherent plasticity. His interest in finding an aesthetic 'language' with which to express the very un-European Australian [[landscape]]. This was grounded in establishing a pictorial equivalent to the overwhelmingly vast, primarily flat landscape, in which the traditional European relationship of foreground to background breaks down, necessitating a complete re-imagining of [[composition (visual arts)|composition]]al space. In this, Williams looked to the approach taken by [[Australian Aboriginal]] artists. He did this by tilting the landscape up against the [[picture plane]], so that frequently the only indicator of horizontal recession is the presence of a [[horizon]] line, or where clumps of trees huddle closer together towards the horizon, suggesting recession. Where no horizon is visible, the landscape runs fully parallel to the picture plane, as in the major You Yangs series of the mid-1960s. Here, calligraphic knots of pigment indicate the presence of single trees against the earth, as if seen from the air ([https://web.archive.org/web/20070830183614/http://www.holmesacourtgallery.com.au/collection/artist-profile.cfm?artist_id=23 example]). Williams' first Australian landscape series was based on the [[Nattai River]] (1957–58).<ref name="mg"/><ref name="short">{{cite book|last=Short|first=John|title=Imagined country: environment, culture, and society|url=https://archive.org/details/imaginedcountrye0000shor|url-access=registration|year=1991|publisher=Routledge|isbn=978-0-415-05830-8|pages=[https://archive.org/details/imaginedcountrye0000shor/page/214 214–215]}}</ref> Williams' landscapes recorded the passage of the [[Yarra River]] from its source to its mouth.<ref name="mg">{{cite web|url=http://www.mcclellandgallery.com/index.php?prfPageId=past/past22|title=Fred Williams: Water. 12 December 2004 - 27 February 2005|year=2004|publisher=McClelland Gallery and Sculpture Park|accessdate=23 December 2010}}</ref> In 1960, Williams was invited to enter for the [[Helena Rubenstein]] Travelling Art Scholarship, the richest and most prestigious art prize at the time with an award of £1000 plus £300 travel expenses aimed at giving the winner overseas experience.<ref name="Mollison p. 48.">Mollison (p. 48.)</ref> Five paintings were required for his entry and he selected ''Landscape with a steep road'' (1957),<ref>{{Cite web|url=http://www.artgallery.nsw.gov.au/collection/works/359.2005.11/|title=Landscape with a steep road, from the album Volume 3|last=Williams|first=Fred|date=1959|website=AGNSW collection record|publisher=Art Gallery of New South Wales|access-date=11 May 2016}}</ref> ''Landscape with a building I'' (c. 1957–58),<ref>{{Cite web|url=http://www.artgallery.nsw.gov.au/collection/works/359.2005.13/|title=Landscape with a building, from the album Volume 3|last=Williams|first=Fred|date=1959–1960|website=AGNSW collection record|publisher=Art Gallery of New South Wales|access-date=11 May 2016}}</ref> ''The forest pond'' (c. 1959–60), ''Sherbrooke Forest'' (1960)<ref>{{Cite web|url=http://www.artgallery.nsw.gov.au/collection/works/OA14.1964/|title=Sherbrooke Forest|last=Williams|first=Fred|date=1961|website=AGNSW collection record|publisher=Art Gallery of New South Wales|access-date=11 May 2016}}</ref> and ''The St George River'' (1960).<ref name="Mollison p. 48."/> He won in 1963 and it proved to be a turning point in his career which, according to fellow artist Jan Senbergs, brought Williams wide acclaim, especially from many influential curators and critics.<ref name="Hillside1"/> Sydney art dealer [[Rudy Komon]] took Williams on as one of his key artists which enabled Williams to discontinue his part-time work with a Melbourne picture-framer and paint full-time.<ref name="Hillside1"/> In 1969, Williams started using a horizontal strip format in his landscape paintings in order to present different aspects of one scene on the same sheet.<ref name="cb">{{cite web|url=http://nga.gov.au/Conservation/Paper/30.cfm|title=Conservation Department. Paper conservation. Cafes and Beaches|last=Kemp|first=Fiona|author2=Wise|publisher=National Gallery of Australia|accessdate=18 December 2010}}</ref> In 1970, Williams produced a group of four large strip format gouache-on-paper paintings called the ''West Gate Bridge series'' showing the half-constructed [[West Gate Bridge]] over the [[Yarra River]] in [[Melbourne]].<ref name="wowm">{{cite news|url=http://www.theage.com.au/news/Arts/When-oil-and-water-mix/2005/02/07/1107625131508.html|title=When oil and water mix|last=Hill|first=Peter|date=2005-02-08|newspaper=The Age|accessdate=23 December 2010}}</ref> A section of the bridge collapsed on 15 October 1970, while it was still under construction, killing thirty-five workers. Williams had planned to paint the length of the river, but his widow, Lyn said he "lost heart in the project" after the accident.<ref name="wgb">{{cite news|url=http://www.theage.com.au/entertainment/art-and-design/sorrowful-crossing-20101007-169dp.html|title=Sorrowful crossing|last=Sinclair|first=Jenny|date=2010-10-09|newspaper=The Age|accessdate=23 December 2010}}</ref> In his ''Beachscape with bathers Queenscliff'' I-IV series from 1971, Williams painted from the top of a cliff overlooking the beach during a seaside holiday.<ref name="cb"/> Each sheet is broken horizontally into four separate strips representing a different time of day and corresponding shift in the colour and tone of the scene as Williams recorded the effects of light on the landscape.<ref name="cb"/> By 1971 he had developed the technique extensively, moving from a vertical format to a horizontal format.<ref name="cb"/> In March 1974, Williams travelled to [[Erith Island]] in [[Bass Strait]] with the historians [[Stephen Murray-Smith]] and [[Ian Turner (Australian political activist)|Ian Turner]], and fellow painter [[Clifton Pugh]].<ref name="ei1">{{cite web|url=http://cs.nga.gov.au/Detail.cfm?IRN=100916#_ftn1|title=Beachscape, Erith Island I (1974)|last=Gray|first=Anne|year=2002|publisher=National Gallery of Australia|accessdate=18 December 2010}}</ref> Poor weather prevented Williams and his friends from leaving the island when they had intended.<ref name="ei1"/> When the weather broke Williams painted a number of gouaches, including ''Beachscape, Erith Island'' I and II which employ the horizontal strip format.<ref name="ei1"/> The ''Beachscape, Erith Island'' pictures show the point where the sea joins the land depicted as if looking down from above in the form of four strips.<ref name="ei1"/> Williams recorded the event in his diary from 27–28 March 1974, "I do 'strip' paintings of the beach using sand glued on – but the wind has worn me to a 'frazzle' … My final half doz. strip paintings are my best."<ref name="ei1"/> In May 1976, while Williams and his wife Lyn were visiting Paris and Bologna, many of Williams's paintings and all gouaches stored at the Barrett Malt Factory in Richmond were damaged by a fire.<ref name="abv2729">{{cite journal|year=1986|title=Art bulletin of Victoria|publisher=Council of the National Gallery of Victoria|volume=27-29|page=24}}</ref> In 1976, Williams flew over the Northern Territory at night on his way to an art fair in [[Bologna]], [[Italy]]. He saw lines of bushfires burning and later that year produced the twelve-sheeted gouache series, ''Bushfire in Northern Territory''.<ref name=nga-ih-bushfire>{{cite web|title=Bushfire in Northern Territory|url=http://www.nga.gov.au/Exhibition/WILLIAMS/Default.cfm?IRN=101504&BioArtistIRN=15718&mystartrow=85&realstartrow=85&MnuID=3&GalID=0&ViewID=2|publisher=National Gallery of Australia}}</ref> In February 1979, Williams visited the Lal Lal Falls on the [[Moorabool River]] to the west of Melbourne near [[Ballarat]] and painted the ''Lal Lal polyptych'', a four panel painting that he regarded as a single work.<ref name="agnsw-wp">{{cite web|url=http://www.artgallery.nsw.gov.au/work/208-1980-a-d+waterfall-polyptych|title=Waterfall polyptych|year=2000|publisher=Art Gallery of New South Wales|accessdate=20 December 2010}}</ref><ref name="Mollison p. 224.">Mollison (p. 224.)</ref> The successive canvases of the polyptych depict the changes in light on the waterfall and the surrounding landscape.<ref name="agnsw-wp"/> Williams painted the last of his major landscapes, the four panel ''Waterfall polyptych'' (oil on canvas, each 183.0&nbsp;cm x 152.5&nbsp;cm), in his studio in 1979 based on the ''Lal Lal polyptych''.<ref name="agnsw-wp"/><ref name="Mollison p. 224."/><ref name="fwmeWaterfall">{{cite web|url=http://www.fredwilliams.me.com.au/waterfallPolyptychA.html|title=Waterfall Polyptych 1979|publisher=fredwilliams.me.com.au|accessdate=26 April 2011|url-status=dead|archiveurl=https://web.archive.org/web/20110411170221/http://www.fredwilliams.me.com.au/waterfallPolyptychA.html|archivedate=11 April 2011|df=dmy-all}}</ref> He described the studio painting as "a major effort on my part" and it is regarded as one of the most important works of his career.<ref name="agnsw-wp"/><ref name="Mollison p. 224."/> Williams said that his "enthusiasm was fired" by [[Eugene von Guérard]]'s ''[[Waterfall, Strath Creek]]'' from 1862.<ref name="Mollison p. 224."/><ref>{{Cite web|url=http://www.artgallery.nsw.gov.au/collection/works/OA3.1967/|title=Waterfall, Strath Creek|last=von Guérard|first=Eugene|date=1862|website=AGNSW collection record|publisher=Art Gallery of New South Wales|access-date=11 May 2016}}</ref> In the last years of his career, Williams produced more landscape series with strong themes, his last being the [[Pilbara]] series (1979–81), which remained intact as it was acquired by Con-Zinc [[Rio Tinto Group]], the mining company that had invited him to explore the arid north-west region of Australia ==Awards== Williams received a [[Helena Rubinstein]] Travelling Art Scholarship in 1963.<ref name="Hillside1">{{cite web|url=http://collections.ncc.nsw.gov.au/keemu/pages/nrm/Display.php?irn=9771&QueryPage=%2Fkeemu%2Fpages%2Fnrm%2Fngallery%2FQuery.php|title=Hillside Number 1|last=Rumley|first=Katrina|publisher=Newcastle City Council|year=2005|accessdate=20 December 2010}}</ref><ref name="nlaRubinstein">{{cite web|url=http://trove.nla.gov.au/work/32484641?selectedversion=NBD41760328|title=Helena Rubinstein Travelling Art Scholarship : Australian Gallery File|publisher=National Library of Australia|accessdate=20 December 2010}}</ref> In 1976 he was named an Officer of the [[Order of the British Empire]] (OBE), and awarded a Doctorate of Law (Honoris Causa) by [[Monash University]] in 1980.<ref name="ri-bio"/> Williams won the [[Wynne Prize]] for landscape painting twice; in 1966 with ''Upwey Landscape''<ref>{{Cite web|url=http://www.artgallery.nsw.gov.au/prizes/wynne/1966/|title=Wynne Prize|last=|first=|date=1966|website=AGNSW prize record|publisher=Art Gallery of New South Wales|access-date=11 May 2016}}</ref> and in 1976 with ''Mt. Kosciusko''.<ref>{{Cite web|url=http://www.artgallery.nsw.gov.au/prizes/wynne/1976/|title=Wynne Prize|last=|first=|date=1976|website=AGNSW prize record|publisher=Art Gallery of New South Wales|access-date=11 May 2016}}</ref> His painting ''Upwey Landscape'' (1965) sold for $1,987,700 in one of the final auctions of [[Christie's]] in Australia in April 2006, which at the time was the second highest price for any work sold at an Australian auction.<ref>[http://www.andrewmcilroy.com/PDF/ArtInsightMay.htm Art Insight May], andrewmcilroy.com. Retrieved on 15 January 2011.</ref> In September 2007, auction house [[Menzies Art Brands|Deutscher-Menzies]] broke their sales record with Williams' ''Landscape with Water Ponds'' (1965) selling for $1,860,000.<ref>[http://www.abc.net.au/news/stories/2007/09/13/2031697.htm Williams painting sells for record $1.86m], abc.net.au. Retrieved on 15 January 2011.</ref> The most expensive work sold at an Australian auction in 2009 was Williams' 1965 ''Evening Sky, Upwey'', which sold for $1.15 million.<ref>Coslovich, Gaberiella (12 December 2009). [http://www.theage.com.au/entertainment/art-and-design/sold-a-picture-of-pockets-and-percentages-20100219-ok9a.html Sold: a picture of pockets and percentages], ''The Age''. Retrieved on 18 January 2011.</ref><ref>Thomas, David. [http://www.deutscherandhackett.com/catalogue12/lot_number14.html FRED WILLIAMS: Evening Sky, Upwey] {{webarchive|url=https://web.archive.org/web/20110305171116/http://www.deutscherandhackett.com/catalogue12/lot_number14.html |date=5 March 2011 }}, Deutscher and Hackett. Retrieved on 18 January 2011.</ref> Two of Williams' paintings, ''Dry Creek Bed, Werribee Gorge I'' (1977) and ''Drifting Smoke'' (1981) were included in [[Quintessence Editions Ltd.]]'s 2007 edition of ''[[1001 Before You Die|1001 Paintings You Must See Before You Die]]''.<ref>[http://1001beforeyoudie.com/ 1001 Before You Die] {{webarchive |url=https://web.archive.org/web/20140110124836/http://1001beforeyoudie.com/ |date=10 January 2014 }}</ref> Williams' work is also represented in William Splatt's ''100 Masterpieces of Australian Landscape Painting''. ==Personal life== Williams met Lyn Watson in January 1960 while painting at [[Sherbrooke, Victoria|Sherbrooke]]. They were married in March 1961 and moved to the inner-city suburb of [[South Yarra]].<ref>Mollison (p. 61.)</ref> They had three daughters: Isobel, Louise and Kate. In 1963 the couple moved to [[Upwey, Victoria]] in the [[Dandenong Ranges]] outside Melbourne, a location that would have a decisive impact on his work. In 1964 they travelled through [[Europe]] on a [[Helena Rubenstein]] Scholarship. In 1969 Williams moved to [[Hawthorn, Victoria|Hawthorn]], an inner suburb of Melbourne. ==Death and legacy== In November 1981, Williams was diagnosed with inoperable lung cancer.<ref>Mollison (p. 237.)</ref> He died less than six months later in Hawthorn on 22 April 1982, aged 55.<ref name="ppaap"/><ref name="aac">{{cite web|url=http://www.artcollector.net.au/Assets/447/1/8_williams.pdf|title=Fred Williams: A Life in Landscape|last=White|first=Judith|date=April–June 1999|publisher=Australian Art Collector|accessdate=18 December 2010|archive-url=https://web.archive.org/web/20170517085406/http://www.artcollector.net.au/Assets/447/1/8_williams.pdf|archive-date=17 May 2017|url-status=dead}}</ref> Fellow artist and friend [[John Brack]] gave the eulogy at his funeral. He said<ref name="aac"/> {{quote|text=Fred brought us a new vision of Australia’s landscape at least as valid and impressive as any of the two or three major illuminations which went before it. He changed the way we see our country: an achievement which will live long after all of us are gone.|sign=John Brack}} ==Williams' estate== Williams' estate is managed by his widow, Lyn Williams.<ref name="bt2011-04-01">{{cite news|url=http://www.brisbanetimes.com.au/national/fred-williams-retrospective-to-unveil-works-for-first-time-20110401-1crse.html|title=Fred Williams retrospective to unveil works for first time|last=Gill|first=Raymond|date=2011-04-01|newspaper=Brisbane Times|accessdate=28 April 2011}}</ref> Lyn bought a former factory in inner-Melbourne in 1989 and has managed the artist's estate from there since she sorted through his studio at their former home in Hawthorn.<ref name="bt2011-04-01"/> All of the artist's known works have been catalogued on a database.<ref name="bt2011-04-01"/> The building houses Williams' easel, brushes, the leather-bound diaries he kept from 1963 until his death, clipping books, a range of works and includes a gallery for hanging and photographing the artist's works.<ref name="bt2011-04-01"/> Works that are donated to public galleries and museums are prepared there.<ref name="bt2011-04-01"/> In 2009, Lyn Williams completed her ongoing gift to the National Gallery of Victoria (NGV) of the prints of Fred Williams.<ref name="ngv2009">{{cite web|url=http://www.ngv.vic.gov.au/__data/assets/pdf_file/0009/27873/ngv_suppport_annualreport_0809.pdf|title=NGV Foundation - Annual Report 2009|year=2009|publisher=National Gallery of Victoria|accessdate=23 December 2010|url-status=dead|archiveurl=https://web.archive.org/web/20110313124555/http://www.ngv.vic.gov.au/__data/assets/pdf_file/0009/27873/ngv_suppport_annualreport_0809.pdf|archivedate=13 March 2011|df=dmy-all}}</ref> ==Major collections== * [[Holmes à Court Collection]]<ref name="HolmesaCourt">{{cite web|url=http://www.holmesacourtgallery.com.au/collection/index.cfm|title=The Holmes à Court Collection|publisher=[[Holmes à Court Gallery]]|accessdate=13 January 2011|archiveurl=https://web.archive.org/web/20080719142455/http://www.holmesacourtgallery.com.au/collection/index.cfm|archivedate=19 July 2008}}</ref> ==Notes== {{reflist}} ==See also== * [[Australian art]] ==References== *{{cite book|last=Grant|first=Kirsty|title=Fred Williams: Pilbara Series |year=2006|publisher=National Gallery Of Victoria|isbn=978-0-7241-0217-4}} *{{cite book|last=McCaughey|first=Patrick|title=Fred Williams 1927-1982 |year=2008|publisher=Murdoch Books|isbn=978-1-74196-087-7}} *{{cite book|last=Mollison|first=James|title=A singular vision: The art of Fred Williams |year=1989|publisher=Australian National Gallery-Oxford University Press|isbn=978-0-19-554911-9}} ==Further reading== *{{cite book|last1=Brack|first1=John|last2=Mollison|first2=James|title=Fred Williams: Etchings|year=1968|publisher=Rudy Komon Gallery}} *{{cite book|last1=Capon|first1=Edmund|last2=Ryan|first2=Anne|title=From Music Hall to Landscape. Fred Williams: Drawings and Prints|year=2001|publisher=Art Gallery of NSW|isbn=978-0-7347-6317-4}} *{{cite book|last=McCaughey|first=Patrick|title=Fred Williams: The Later Landscapes, 1975 - 1981|year=2005|publisher=LA Louver|isbn=978-0-9765585-1-4}} *{{cite book|last1=Zdanowicz|first1=Irena|last2=Coppel|first2=Stephen|title=Fred Williams: An Australian Vision. Etchings, Drawings and Gouaches in the British Museum |year=2004|publisher=British Museum Press|isbn=978-0-7141-2639-5}} *{{cite journal|last=Zdanowicz|first=Irena|year=2005|title=Painting from the Inside Out: Fred Williams’ Travels and His Relationship to the European Tradition|journal=Melbourne Art Journal|publisher=Melbourne Art Network|issue=8}} == External links == *[https://web.archive.org/web/20070817064957/http://www.fredwilliams.me.com.au/ Fred Williams Image Gallery] * [http://www.artgallery.nsw.gov.au/collection/artists/williams-fred/ Fred Williams] at the [[Art Gallery of New South Wales]] *[https://web.archive.org/web/20090603070416/http://lalouver.com/html/williams.html Fred Williams, The Later Landscapes, 1975 - 1981, LA Louver gallery] *[http://www.grafico-qld.com/content/fred-williams Fred Williams in Queensland: Exhibition review by Grafico Topico's Sue Smith] *[http://www.nga.gov.au/Exhibition/WILLIAMS/Default.cfm ''Infinite Horizons''] - Major retrospective, National Gallery of Australia <!-- http://www.deutscherandhackett.com/search/node/Fred%20Williams To be included via inline citations to essays about the various works --> {{Authority control}} {{DEFAULTSORT:Williams, Fred}} [[Category:1927 births]] [[Category:1982 deaths]] [[Category:Landscape artists]] [[Category:Alumni of Chelsea College of Arts]] [[Category:People from Richmond, Victoria]] [[Category:Deaths from lung cancer]] [[Category:Australian printmakers]] [[Category:Alumni of the Central School of Art and Design]] [[Category:Wynne Prize winners]] [[Category:20th-century Australian painters]] [[Category:20th-century printmakers]]'