The National Gallery of Victoria, popularly known as the NGV, is an art museum in Melbourne, Victoria, Australia. Founded in 1861, it is Australia's oldest and most visited art museum.
Sir George Russell Drysdale, also known as Tass Drysdale, was an Australian artist. He won the prestigious Wynne Prize for Sofala in 1947, and represented Australia at the Venice Biennale in 1954. He was influenced by abstract and surrealist art, and "created a new vision of the Australian scene as revolutionary and influential as that of Tom Roberts".
Albert Lee Tucker was an Australian artist and member of the Heide Circle, a group of modernist artists and writers associated with Heide, the Melbourne home of art patrons John and Sunday Reed. Along with Heide Circle members such as Sidney Nolan and Arthur Boyd, Tucker became associated with the Angry Penguins art movement, named after a publication founded by poet Max Harris and published by the Reeds.
John Brack was an Australian painter, and a member of the Antipodeans group. According to one critic, Brack's early works captured the idiosyncrasies of their time "more powerfully and succinctly than any Australian artist before or since. Brack forged the iconography of a decade on canvas as sharply as Barry Humphries did on stage."
The Heide Circle was a loose grouping of Australian artists who lived and worked at "Heide", a former dairy farm on the Yarra River floodplain at Bulleen, a suburb of Melbourne, counting amongst their number many of Australia's best-known modernist painters.
The Ian Potter Centre: NGV Australia is an art gallery that houses the Australian part of the art collection of the National Gallery of Victoria (NGV).
John Harford Reed was an Australian art editor and patron, notable for supporting and collecting of Australian art and culture with his wife Sunday Reed.
Sunday Reed was an Australian patron of the arts. Along with her husband, Reed established what is now the Heide Museum of Modern Art.
Australian rules football has had a significant impact on popular culture in its native Australia, capturing the imagination of Australian film, art, music, television and literature.
Mirka Madeleine Mora was a French-born Australian visual artist and cultural figure who contributed significantly to the development of Australian contemporary art. Her media included drawing, painting, sculpture and mosaic.
Janine Burke is an Australian author, art historian, biographer, novelist and photographer. She also curates exhibitions of historical and contemporary art. She is Honorary Senior Fellow, Faculty of Fine Arts and Music, University of Melbourne. She was born in Melbourne in 1952.
The Heide Museum of Modern Art, also known as Heide, is an art museum in Bulleen, a suburb of Melbourne, Victoria, Australia. Established in 1981, the museum houses modern and contemporary art across three distinct exhibition buildings and is set within sixteen acres of heritage-listed gardens and a sculpture park.
Moya Dyring was an Australian artist. She was one of the first women artists to embrace Modernism and exhibit cubist paintings in Melbourne. For several years she was a member of the modern art community known as the Heide Circle, named after the home of art collectors John and Sunday Reed, and now the Heide Museum of Modern Art. Dyring then travelled to the USA and France, where she lived most her life. Her work is held in the Heide Museum as well as the National Gallery of Australia.
The Trial (1947) is a painting by the Australian painter Sidney Nolan.
Peter Sebastian Graham is a contemporary Australian artist, painter, printmaker and sculptor. He was born in 1970 in Sydney, New South Wales. He moved with his family in 1983 to Melbourne, Victoria, where he currently lives and works.
Sir Sidney Robert Nolan was one of Australia's leading artists of the 20th century. Working in a wide variety of media, his oeuvre is among the most diverse and prolific in all of modern art. He is best known for his series of paintings on legends from Australian history, most famously Ned Kelly, the bushranger and outlaw. Nolan's stylised depiction of Kelly's armour has become an icon of Australian art.
J. J. Kenneally was an Australian journalist and trade unionist. An early populariser of Australian bushranger Ned Kelly and his gang via his book The Inner History of the Kelly Gang and Their Pursuers (1929), he was also one of the original members of the country's Labor Party and later formed his own party.
First-class Marksman (1946) is a painting by the Australian painter Sidney Nolan.
The Museum of Modern Art Australia (MOMAA), alternatively named the 'Museum of Modern Art of Australia,' or, according to McCulloch, the 'Museum of Modern Art and Design' (MOMAD), was founded by Australian art patron John Reed in 1958 in Tavistock Place, a lane-way off 376 Flinders Street, Melbourne, launched previously with a survey of Modernist Victorian women artists on 1 June 1956, organised by the Reeds who had taken on the then named Gallery of Contemporary Art. It held exhibitions of important contemporary Australian and international art of the late 1950s and early 1960s. The Museum operated until 1966 and was formally dissolved in 1981.
The Field was the inaugural exhibition at the National Gallery of Victoria’s new premises on St Kilda Road, Melbourne. Launched by the director of London’s Tate gallery, Norman Reid, before an audience of 1,000 invitees, it was held between held 21 August and 28 September 1968. Hailed then, and regarded since as a landmark exhibition in Australian art history, it presented the first comprehensive display of colour field painting and abstract sculpture in the country in a radical presentation, between silver foil–covered walls and under geometric light fittings, of 74 works by 40 artists. All practised hard-edge, geometric, colour and flat abstraction, often in novel media including coloured or transparent plastic, fluorescent acrylic paints, steel and chrome. The art was appropriate to a launch of the new venue itself, designed by architect Roy Grounds, and emphatically rectilinear; cubes nested in a basalt rectangular box amongst the other buildings of the new Arts Centre, each based on a geometric solid. Echoing emerging international stylistic tendencies of the time, The Field sparked immediate controversy and launched the careers of a new generation of Australian artists.
