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On 18 May 1956, Drysdale and his wife Bon and their sixteen year-old son Tim set out on a six-month journey in a specially fitted-out Dodge station wagon. In the Eighteenth Century they were depicted as unfettered ‘Noble Savages’–a then common phrase that originated with the English poet and dramatist John Dryden in his book, The Conquest of Granada, of 1672 and was later popularised as an anthropological concept by the French philosopher Jean-Jacques Rousseau in his famous publication, The Social Contract, of 1762. Likewise, the low horizon line and its outcrop of mountainous rocks of indeterminate size suggest receding distance.

Here, this is overcome by suggesting pictorial depth through the slant of the mid-ground mound immediately behind the figure.

Drysdale was fully cognizant of these effects and in his essay ‘Capricornia’, which accompanied the 1958 London exhibition in which the present painting was originally shown, he cogently adds the following lucid insights:© COPYRIGHT MENZIES ART BRANDS PTY LTD 2019 Located on Todman Avenue between South Dowling Street and Anzac Parade. Many gifted painters have come out of Australia and one of them, Sidney Nolan, is a universal figure.

These amply display visual attributes that make his contributions all the more obvious. The exhibition presented the first opportunity that the Australian public had in thirty-seven years to evaluate the full scale of Drysdale’s paintings. English 1912–81 emigrated to Australia 1923. The trip covered over 22,000 kilometres and went through country rarely seen by most of Australia’s city dwellers, who were then diverted by preparations for Australia’s first Olympic Games in Melbourne. LOU KLEPAC'S weighty monograph on Russell Drysdale was first issued in 1983, less than two years after the artist's death in June 1981. This historically and aesthetically important painting shows the then forty-six year-old Drysdale at his mature best, displaying all the artistic hallmarks that justifiably made him so admired and famous. Clark’s flattering and accurate remarks certainly underscore our initial observations. During the mid-1940s Russell Drysdale began to blend symbolism with Australian outback imagery.

I wish to acknowledge the help of Peter Nahum, the Director of London’s Leicester Galleries, with the primary source research for this essay.Russell Drysdale was an unusually significant artist. (Jock) Marshall -both of whom were committed ‘Austrophiles’. Russell Drysdale, Defining the Modern Australian Landscape is published to accompany the exhibition, which runs from 19 October 2013 to 9 February 2014. Lord Kenneth Clark, the youngest ever Director (at thirty years of age) of London’s National Gallery, former Surveyor of the King’s Pictures and the Professor of Fine Art at Oxford University had the following pertinent words to say about Drysdale’s artistic merits: Russell Drysdale was an unusually significant artist. As is so often the case in history, it is the visionary artist What was presented in the Melbourne retrospective were brooding, even tenebrous, paintings that are quite different from the majestic vistas of Sir Arthur Streeton or the pastoral idylls of Frederick McCubbin. Viewed in such a context, there is little doubt that Drysdale had a very sympathetic understanding of Aborigines’ relationship to the Australian landscape and their adaptation to local climatic conditions and forbidding environments. He is part of the Speleothem Science Research Group (www.speleothemscience.org) that spans the Schools of Geography and Earth Sciences. Russell Drysdale, Sofala (1947) "Sofala' is regarded as one of Russell Drysdale’s finest paintings, representing the artist at the height of his powers. The bleak apocalyptic landscape painting, Crucifixion (1946), encapsulates the horrors of World War II, including the Holocaust and the bombing of Hiroshima. Current Catalogues It was a point of view that was substantially formed during his travels through Australia’s vast inland. Russell is a Quaternary scientist who studies Earth's past climate using geochemical proxies from cave deposits (speleothems). Feelings of awe and wonder flood the painting. Russell DRYSDALE. He is one of a group of Physical Geographers specialising in Quaternary climate and environmental change. As a consequence, Drysdale’s singular paintings, known for their rarity, are among the most sought after in the country. He admired their resourcefulness and their stately manner. The most observable thing to note in this impressive painting is how closely the foreground male figure is linked to his surroundings. As a result, the painting presents itself as a horizontal vignette which displays only a small part of the vast visual expanse. The figure’s white shirt and headband faintly hint at the incremental incursions of White Settlement and its sadder dimensions. Buying & Selling Art But no one except Drysdale gives the same authentic feeling of the resolute humanity that has managed to exist in that terrible continent. George Russell Drysdale was knighted in 1969 for his contribution to Australian art and his reputation has been firmly sealed into Australia’s artistic heritage.

Drysdale’s eyesight was monocular and he always had trouble rendering perspective and visual depth. After a stay of three weeks in Darwin, Drysdale set out through the Kimberleys to Broome, Carnarvon, Perth, Kalgoorie, across the Nullarbor to Port Augusta and the Flinders Ranges to Adelaide before returning to Sydney. Certainly, he had been into North Queensland to attend monthly business meetings for Pioneer Sugar Mills, the family company of which he was a director, but he had never crossed west into Australia’s heartland. The dizzying vastness and desolate solitude of the environment is heightened by the complete lack of internal framing devices (trees, branches, grass and the like) that might draw the viewer’s eyes inwards.

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