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Sidney Nolan : the artist's materials / Paula Dredge ; with a contribution by Anne Carter and Gillian Osmond.
Record number:
Call No:
759.994 NOL
Contains image of item from the Caroline Simpson Library & Research Collection on page 23 : B.A.L.M. Dulux 388 Brushing Line colour chart, record number 5747.
Includes bibliographical references and index.
Contents: St. Kilda Reflections: 1938-1941 -- Artist's oil, boot polish, and blotting paper -- Set design -- Gloss paint -- Nitrocellulose lacquer -- Wartime Wimmera: 1942-1944 -- Drafted -- Diaries and letters -- Dulux -- Wartime supports -- Nolan's Ripolin -- Sheffield exhibitions -- Postwar Kelly: 1945-1947 -- Ripolin -- An anomaly -- Queensland journeys: 1947 (with Anne Carter and Gillian Osmond) -- Painting on Fraser Island -- Nolan's salvaged masonite on Fraser Island -- Mrs. Fraser, 1947 -- Sydney -- Sydney and London success: 1948-1982 -- The Wahroonga Studio -- Driers -- London -- Polyvinyl acetate (PVA) -- Helizarin dyes -- Artist's oil paints and alkyd gel medium -- The last studio: 1983-1992 -- Remnants of Australia -- Ripolin -- Spray cans -- A return to oil -- Observations on condition and conservation -- Appendix 1. Analysis of Nolan's paints in works from 1939 to 1964, with methods of analysis -- Appendix 2. Analysis of a selection of Nolan's materials from the Wahroonga and Rodd studios, with methods of sampling and analysis -- Analysis of a selection of Nolan's Wahroonga studio materials -- Analysis of drying oils and resins in a selection of Nolan's Ripolin paints from the Wahroonga studio -- Analysis of a selection of paints from the Rodd studio -- Appendix 3. Works of art sampled.
[2019] copyright 2019.
Publication details:
Los Angeles : The Getty Conservation Institute
136 pages : illustrations (some colour) ; 26 cm.
9781606065945 (paperback);
Sidney Nolan (1917-1992) is renowned for an oeuvre ranging from views of Melbourne's seaside suburb St. Kilda to an iconic series on outlaw hero Ned Kelly. Working in factories from age fourteen, Nolan began his training spray painting signs on glass,
which was followed by a job cutting and painting displays for Fayrefield Hats. Such employment offered him firsthand experience with commercial synthetic paints developed during the 1920s and 1930s. In 1939, having given up his job at Fayrefield in pursuit of an artistic career, Nolan became obsessed with European abstract paintings he saw reproduced in books and magazines. With little regard for the longevity of his work, he began to exploit materials such as boot polish, dyes, secondhand canvas, tissue paper, and old photographs, in addition to commercial and household paints. He continued to embrace new materials after moving to London in 1953. Oil-based Ripolin enamel is known to have been Nolan's preferred paint, but this fascinating study-certain to appeal to conservators, conservation scientists, art historians, and general readers with an interest in modern art-reveals his equally innovative use of nitrocellulose, alkyds, and other diverse materials.
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759.994 NOL
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