Academic literature on the topic 'Painting, Abstract – Australia'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Painting, Abstract – Australia.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Painting, Abstract – Australia"
Mason, Matthew J. "Out of the Outback, into the Art World: Dotting in Australian Aboriginal Art and the Navigation of Globalization." ARTMargins 11, no. 3 (October 1, 2022): 67–88. http://dx.doi.org/10.1162/artm_a_00326.
Full textPrendergast, Kit S., Jair E. Garcia, Scarlett R. Howard, Zong-Xin Ren, Stuart J. McFarlane, and Adrian G. Dyer. "Bee Representations in Human Art and Culture through the Ages." Art & Perception 10, no. 1 (December 8, 2021): 1–62. http://dx.doi.org/10.1163/22134913-bja10031.
Full textO’Reilly, Chiara. "Collecting French art in the late 1800s at the Art Gallery of New South Wales." Journal of the History of Collections 32, no. 2 (March 18, 2019): 313–25. http://dx.doi.org/10.1093/jhc/fhz006.
Full textSchwab, Claire, Paul Sinclair, Anthony V. Moorman, Stephen Hunger, Mignon L. Loh, Andrew J. Carroll, Nyla A. Heerema, and Christine Harrison. "Improved Diagnosis of Intrachromosomal Amplification of Chromosome 21 (iAMP21) By Copy Number Profiling." Blood 128, no. 22 (December 2, 2016): 1733. http://dx.doi.org/10.1182/blood.v128.22.1733.1733.
Full textGaskin, Sharyn, Naomi Currie, and John W. Cherrie. "What do occupational hygienists really know about skin exposure?" Annals of Work Exposures and Health, June 15, 2020. http://dx.doi.org/10.1093/annweh/wxaa046.
Full textDaniel, Ryan. "Artists and the Rite of Passage North to the Temperate Zone." M/C Journal 20, no. 6 (December 31, 2017). http://dx.doi.org/10.5204/mcj.1357.
Full textDauber, Christine. "An Interview With Jon Cattapan." M/C Journal 5, no. 3 (July 1, 2002). http://dx.doi.org/10.5204/mcj.1960.
Full textD'Paula, Clay. "A EXPOSIÇÃO ‘O TEMPO DOS SONHOS’ E A ARTE DOS ARTISTAS ABORÍGENES DA AUSTRÁLIA." ILUMINURAS 19, no. 46 (December 22, 2018). http://dx.doi.org/10.22456/1984-1191.85262.
Full textForster, Patricia A. "Review of Aboriginal astronomy and navigation: A Western Australian focus." Publications of the Astronomical Society of Australia 38 (2021). http://dx.doi.org/10.1017/pasa.2021.51.
Full text"No boundaries: Aboriginal Australian contemporary abstract painting: from the Debra and Dennis Scholl Collection." Choice Reviews Online 53, no. 11 (June 21, 2016): 53–4667. http://dx.doi.org/10.5860/choice.191074.
Full textDissertations / Theses on the topic "Painting, Abstract – Australia"
Ottley, Dianne. "Grace Crowley's contribution to Australian modernism and geometric abstraction." University of Sydney, 2007. http://hdl.handle.net/2123/2254.
Full textGrace Crowley was one of the leading innovators of geometric abstraction in Australia. When she returned to Australia in 1930 she had thoroughly mastered the complex mathematics and geometry of the golden section and dynamic symmetry that had become one of the frameworks for modernism. Crowley, Anne Dangar and Dorrit Black all studied under the foremost teacher of modernism in Paris, André Lhote. Crowley not only taught the golden section and dynamic symmetry to Rah Fizelle, Ralph Balson and students of the Crowley-Fizelle Art School, but used it to develop her own abstract art during the 1940s and 1950s, well in advance of the arrival of colour-field painting to Australia in the 1960s. Through her teaching at the most progressive modern art school in Sydney in the 1930s Crowley taught the basic compositional techniques as she had learnt them from Lhote. When the art school closed in 1937 she worked in partnership with fellow artist, Ralph Balson as they developed their art into constructive, abstract paintings. Balson has been credited with being the most influential painter in the development of geometric abstraction in Australia for a younger generation of artists. This is largely due to Crowley’s insistence that Balson was the major innovator who led her into abstraction. She consistently refused to take credit for her own role in their artistic partnership. My research indicates that there were a number of factors that strongly influenced Crowley to support Balson and deny her own role. Her archives contain sensitive records of the breakup of her partnership with Rah Fizelle and the closure of the Crowley-Fizelle Art School. These, and other archival material, indicate that Fizelle’s inability to master and teach the golden section and dynamic symmetry, and Crowley’s greater popularity as a teacher, was the real cause of the closure of the School. Crowley left notes in her Archives that she still felt deeply distressed, even forty years after the events, and did not wish the circumstances of the closure known in her lifetime. With the closure of the Art School and her close friend Dangar living in France, her friendship with Balson offered a way forward. This thesis argues that Crowley chose to conceal her considerable mathematical and geometric ability, rather than risk losing another friend and artistic partner in a similar way to the breakup of the partnership with Fizelle. With the death of her father in this period, she needed to spend much time caring for her mother and that left her little time for painting. She later also said she felt that a man had a better chance of gaining acceptance as an artist, but it is equally true that, without Dangar, she had no-one to give her support or encourage her as an artist. By supporting Balson she was able to provide him with a place to work in her studio and had a friend with whom she could share her own passion for art, as she had done with Dangar. During her long friendship with Balson, she painted with him and gave him opportunities to develop his talents, which he could not have accessed without her. She taught him, by discreet practical demonstration the principles she had learnt from Lhote about composition. He had only attended the sketch club associated with the Crowley- Fizelle Art School. Together they discussed and planned their paintings from the late 1930s and worked together on abstract paintings until the mid-1950s when, in his retirement from house-painting, she provided him with a quiet, secluded place in which to paint and experiment with new techniques. With her own artistic contacts in France, she gained him international recognition as an abstract painter and his own solo exhibition in a leading Paris art gallery. After his death in 1964, she continued to promote his art to curators and researchers, recording his life and art for posterity. The artist with whom she studied modernism in Paris, Anne Dangar, also received her lifelong support and promotion. In the last decade of her life Crowley provided detailed information to curators and art historians on the lives of both her friends, Dangar and Balson, meticulously keeping accurate records of theirs and her own life devoted to art. In her latter years she arranged to deposit these records in public institutions, thus becoming a contributor to Australian art history. As a result of this foresight, the stories of both her friends, Balson and Dangar, have since become a record of Australian art history. (PLEASE NOTE: Some illustrations in this thesis have been removed due to copyright restrictions, but may be consulted in the print version held in the Fisher Library, University of Sydney. APPENDIX 1 gratefully supplied from the Grace Crowley Archives, Art Gallery of New South Wales Research Library)
Dutkiewicz, Adam. "Raising ghosts post-World War Two European emigre and migrant artists and the evolution of abstract painting in Australia, with special reference to Adelaide ca 1950-1965." 2000. http://arrow.unisa.edu.au:8081/1959.8/24967.
Full textthesis (PhDVisualArts)--University of South Australia, 2000.
Adsett, Peter. "Beyond picturing." Phd thesis, 2012. http://hdl.handle.net/1885/155939.
Full textBooks on the topic "Painting, Abstract – Australia"
Wardell, Michael. Phenomena. [Sydney]: Art Gallery of New South Wales, 2001.
Find full textNo Boundaries: Aboriginal Australian Contemporary Abstract Painting. Prestel Publishing, 2015.
Find full textModern Australian paintings, 1990, Wednesday 8 August--Wednesday 29 August, Charles Nodrum Gallery. Richmond, Melbourne, Vic: The Gallery, 1990.
Find full textThe Art Of Grahame King. Macmillan Education Australia, 2005.
Find full textBook chapters on the topic "Painting, Abstract – Australia"
Urwin, Chris, Lynette Russell, and Lily Yulianti Farid. "Cross-Cultural Interaction across the Arafura and Timor Seas." In The Oxford Handbook of the Archaeology of Indigenous Australia and New Guinea, C51.S1—C51.N8. Oxford University Press, 2023. http://dx.doi.org/10.1093/oxfordhb/9780190095611.013.51.
Full textPierse, Simon. "Bryan Robertson, abstract expressionism and late modernism in ‘Recent Australian Painting’ (1961)." In Impact of the Modern, 154–68. Sydney University Press, 2008. http://dx.doi.org/10.2307/jj.130856.16.
Full text