Podcast appearances and mentions of Jeffrey Smart

Thank you for listening to this track produced by the Art Gallery of South Australia. Join us as Elle Freak, Associate Curator Australian Paintings & Sculpture, speaks on recent acquisition by Jeffrey Smart The Argument, Prenastina in Gallery 4. For more information visit agsa.sa.gov.au Image: Jeffrey Smart, Australia, 1921 - 2013, The argument, Prenestina, 1982, Italy, synthetic polymer paint, oil, pencil on canvas, 120.0 x 60.0 cm; James and Diana Ramsay Fund, 2022, in memory of James Ramsay AO to commemorate twenty years after his passing., Art Gallery of South Australia, © Jeffrey Smart, photo: Saul Steed.

With episodes nearing 300 in the STAGES archive, it's time to revisit conversations featured in our previous seasons. STAGES spotlights such episodes, in case you missed them the first time ‘round - or so you can simply savour, a second listen. Either way, you'll accessing precious oral histories from the people who were there, on and around our stages. Kate Fitzpatrick is one of our great actors. She was born in Perth but grew up in Adelaide. It was in this city that she developed her passion for art and cricket and classical music. Her potential as a visual artist was recognised by Jeffrey Smart, who awarded her a travelling art scholarship to Japan. Her love of cricket lead her to an appointment as the world's first female Cricket commentator. And classical music has sustained her through a vast array of experiences in a career that has rewarded and challenged. At the age of 18 she was accepted into NIDA to study Acting. This instigated her move to Sydney and a career as one of our favourite actors. Her triumphant theatre roles include The Lady of Camellias, Hamlet on Ice, Rooted, Insignificance and Kennedy's Children. She was there at the beginning of a burgeoning Australian theatre working in seminal works at The Jane Street Theatre, The Old Tote Theatre and Nimrod. She created the role of Magenta in the original Australian production of The Rocky Horror Show and began her career alongside iconic Australian directors like John Bell, Rex Cramphorne and Jim Sharman. She has been a regular face on our film and television. And an unmistakeable voice on radio. Kate has made an impression across all mediums. Kate joined me for Episode 99 of the podcast over a long lunch and a candid conversation. She detailed an extraordinary life in the theatre and some extraordinary experiences with some extraordinary people. Kate has since become a regular on the STAGES podcast, co-hosting our annual Christmas episode. She is tremendous fun and tells a great story - as you'll hear in this compelling conversation from the STAGES vault. The Stages podcast is available from Apple podcasts, Spotify, and where you find your favourite podcasts. www.stagespodcast.com.au

Curator of Decorative Arts & Design, Rebecca Evans will introduce you to the work of nineteenth century British artist and designer, William Morris and his company Morris & Co. Dr. Lisa Slade will take you on a journey through the Australian Art collection and will include works of art by South Australian-born artists who travelled to Europe, such as Dorrit Black, Margaret Preston and Jeffrey Smart.

We take a look at the exhibition featuring one of Australia's great landscape artists.

We take a look at the exhibition featuring one of Australia's great landscape artists.

The enduring power of Jeffrey Smart's urban wastelands, and his comparatively beautiful life in Tuscany, as told by the late artist's partner Ermes De Zan.Plus, visit the studio of Natalya Hughes as she works on an installation of mid-century aesthetics and Freud's psychoanalytic theory.

The enduring power of Jeffrey Smart's urban wastelands, and his comparatively beautiful life in Tuscany, as told by the late artist's partner Ermes De Zan. Plus, visit the studio of Natalya Hughes as she works on an installation of mid-century aesthetics and Freud's psychoanalytic theory.

The enduring power of Jeffrey Smart's urban wastelands, and his comparatively beautiful life in Tuscany, as told by the late artist's partner Ermes De Zan. Plus, visit the studio of Natalya Hughes as she works on an installation of mid-century aesthetics and Freud's psychoanalytic theory.

The enduring power of Jeffrey Smart's urban wastelands, and his comparatively beautiful life in Tuscany, as told by the late artist's partner Ermes De Zan. Plus, visit the studio of Natalya Hughes as she works on an installation of mid-century aesthetics and Freud's psychoanalytic theory.

This week we're joined by Corey McMahon for an hour of blinking and quivering under the bedclothes in the scariest bedroom in human history, before learning a Very Important Lesson about the power of a father's love. (There's a plot about dollies in there, but it doesn't really go anywhere.) Hey-ho, it's Night Terrors. Notes and links You probably all know this already, but The League of Gentlemen was a surreal and upsetting sketch comedy series from around the turn of the millennium (gulp), written by and starring Mark Gatiss, Reece Shearsmith (Sleep No More) and Steve Pemberton (Silence in the Library). Corey is alluding to Jeffrey Smart's paintings “Study for Holiday” and “Holiday”, which both depict a small human figure dwarfed by a brightly coloured wall of balconies. You can learn more about Smart from his obituary in The Guardian. Sapphire & Steel was a Doctor Who-like science fantasy show in the 1980s, starring David McCallum and Joanna Lumley. In the absence of much of a budget, it relied heavily on sound, atmosphere and strange conceptual horror. It's slow-moving, but it's definitely worth a look if you've never seen it. Follow us Nathan is on Twitter as @nathanbottomley and Brendan is @brandybongos. The Flight Through Entirety theme was arranged by Cameron Lam. You can follow the podcast on Twitter at @FTEpodcast. We're also on Facebook, and you can check out our website at flightthroughentirety.com. Please consider rating or reviewing us on Apple Podcasts, or we'll turn up uninvited at your front door and smarmily ask you intrusive questions about your personal problems. And more You can find Jodie into Terror, our flashcast on the Whittaker Era of Doctor Who, at jodieintoterror.com, at @JodieIntoTerror on Twitter, on Apple Podcasts, and wherever podcasts can be found. We're currently covering Series 13, releasing a new episode the Tuesday after Doctor Who airs. Our James Bond commentary podcast is called Bondfinger, and you can find that at bondfinger.com, at @bondfingercast on Twitter, on Apple Podcasts, and everywhere else as well. We're also involved in the Blakes 7 podcast Maximum Power, which is releasing Episode 9 today. We'll be covering the rest of Series A over the next few weeks. And finally, there's our new Star Trek commentary podcast, Untitled Star Trek Project, featuring Nathan and friend-of-the-podcast Joe Ford. In our second episode, we find a lot to say and a lot of laugh about as we watch the Deep Space Nine episode House of Quark.

This week we're joined by Corey McMahon for an hour of blinking and quivering under the bedclothes in the scariest bedroom in human history, before learning a Very Important Lesson about the power of a father's love. (There's a plot about dollies in there, but it doesn't really go anywhere.) Hey-ho, it's Night Terrors. Notes and links You probably all know this already, but The League of Gentlemen was a surreal and upsetting sketch comedy series from around the turn of the millennium (gulp), written by and starring Mark Gatiss, Reece Shearsmith (Sleep No More) and Steve Pemberton (Silence in the Library). Corey is alluding to Jeffrey Smart's paintings “Study for Holiday” and “Holiday”, which both depict a small human figure dwarfed by a brightly coloured wall of balconies. You can learn more about Smart from his obituary in The Guardian. Sapphire & Steel was a Doctor Who-like science fantasy show in the 1980s, starring David McCallum and Joanna Lumley. In the absence of much of a budget, it relied heavily on sound, atmosphere and strange conceptual horror. It's slow-moving, but it's definitely worth a look if you've never seen it. Follow us Nathan is on Twitter as @nathanbottomley and Brendan is @brandybongos. The Flight Through Entirety theme was arranged by Cameron Lam. You can follow the podcast on Twitter at @FTEpodcast. We're also on Facebook, and you can check out our website at flightthroughentirety.com. Please consider rating or reviewing us on Apple Podcasts, or we'll turn up uninvited at your front door and smarmily ask you intrusive questions about your personal problems. And more You can find Jodie into Terror, our flashcast on the Whittaker Era of Doctor Who, at jodieintoterror.com, at @JodieIntoTerror on Twitter, on Apple Podcasts, and wherever podcasts can be found. We're currently covering Series 13, releasing a new episode the Tuesday after Doctor Who airs. Our James Bond commentary podcast is called Bondfinger, and you can find that at bondfinger.com, at @bondfingercast on Twitter, on Apple Podcasts, and everywhere else as well. We're also involved in the Blakes 7 podcast Maximum Power, which is releasing Episode 9 today. We'll be covering the rest of Series A over the next few weeks. And finally, there's our new Star Trek commentary podcast, Untitled Star Trek Project, featuring Nathan and friend-of-the-podcast Joe Ford. In our second episode, we find a lot to say and a lot of laugh about as we watch the Deep Space Nine episode House of Quark.

Although he spent much of his career in Italy, Jeffrey Smart is one of Australia’s most significant artists, famous for his depictions of stark urban landscapes, often entirely devoid of figures. In this episode, art historian Dr Nick Gordon discusses Smart’s life, work and prodigious career.

Kate Fitzpatrick is one of our great actors. She was born in Perth but grew up in Adelaide. It was in this city that she developed her passion for art and cricket and classical music. Her potential as a visual artist was recognised by Jeffrey Smart, who awarded her a travelling art scholarship to Japan. Her love of cricket lead her to an appointment as the world’s first female Cricket commentator. And classical music has sustained her through a vast array of experiences in a career that has rewarded and challenged.At the age of 18 she was accepted into NIDA to study Acting. This instigated her move to Sydney and a career as one of our favourite actors. Her triumphant theatre roles include The Lady of Camellias, Hamlet on Ice, Rooted, Insignificance and Kennedy’s Children. She was there at the beginning of a burgeoning Australian theatre working in seminal works at The Jane Street Theatre, The Old Tote Theatre and Nimrod. She created the role of Magenta in the original Australian production of The Rocky Horror Show and began her career alongside iconic Australian directors like John Bell, Rex Cramphorne and Jim Sharman.The great Patrick White spotted her in The Legend of King O’Malley and became an immediate fan which then began a friendship that lasted until his death. Kate played Nola Boyle in White’s play The Season at Sarsaparilla. Subsequently he penned his next play Big Toys as a gift for her.She has been a regular face on our film and television screens. And an unmistakeable voice on radio. Kate has made an impression across all mediums.Kate joined me for long lunch and a candid conversation, detailing an extraordinary life in the theatre and some extraordinary experiences with some extraordinary people. She is a great raconteur and an immense wit, all delivered with wonderful detail and a voice as smooth as warm honey.Stages is available from iTunes, Spotify and Whooshkaa.

Andrew mocks Karl's choice of trousers, which prompts our hosts to consider the perils and pleasures of buying wine - and clothes - on the internet (especially when smashed); Karl makes the case for the Michael Hutchence doco Mystify, regardless of whether you're an INXS fan or not; Andrew visits a Jeffrey Smart retrospective and rabbits on about the Tour de France, because it's that time of year; and the Cricket World Cup in brief (very brief).  Tell a friend about the show - The Clappers! Join our Facebook Group The Clappers is produced by Nearly, a podcast network. Get a new podcast from Nearly Media Chapter One - hear the first chapter of a brand new book.  The Debrief with Dave O'Neil - Dave gives a comedian a lift home from a gig. 10 Questions with Adam Zwar - The same 10 questions with answers that vary wildly. © Nearly Media 2019 See omnystudio.com/listener for privacy information.

Sculptor featured at Brisbane Street Art Festival Leonie Rhodes joins Ed as this week's studio artist, piano duo ZOFO on their latest show of pieces inspired by artworks, and AGNSW curator Hannah Hutchison on the constructed worlds of Jeffrey Smart.

Sculptor featured at Brisbane Street Art Festival Leonie Rhodes joins Ed as this week's studio artist, piano duo ZOFO on their latest show of pieces inspired by artworks, and AGNSW curator Hannah Hutchison on the constructed worlds of Jeffrey Smart.

Nicholas Harding is one of Australia's most celebrated artists. He has been awarded the Archibald prize, the Archibald People's Choice award, the Kilgour prize and the Dobell drawing prize amongst others. His work crosses portraiture, landscape and still life. Harding's oil paintings are created with a glorious impasto technique, he uses gouache to capture the lifesize portraits of many a famous sitter and he is renowned for his magnificent ink drawings. He has had over 30 (often sell-out) solo shows, major survey shows of his work have been held at the S H Ervin Gallery and the National Portrait Gallery and his work is in the collections of many public institutions including the Art Gallery of New South Wales, the National Gallery of Australia, the National Portrait Gallery, and in private and corporate collections around the world. One of the major impacts on his work was coming to Australia after spending the first 8 years of his life in England and, in particular, his observation of the different light and how its glare created contrasts which were so different to the muted tones of England.  It was his time in the bush and the beaches as a child which caused him later to move further from the English influence to make Australia the subject of his work. In this episode we talk about his influences, painting from memory, the strengths and weaknesses of using photographic references, failing in order to succeed, making art during the dark times and much more. To hear the episode press 'play' under the feature photo above or listen however you get your podcasts. See short video of Harding in his studio below. Current Upcoming shows Destination Sydney Re-Imagined (together with work by Wendy Sharpe and Jeffrey Smart)  at S H Ervin Gallery until 17 March 2019 Solo show at Philip Bacon Galleries, Brisbane, 20 August - 14 September 2019 Show Notes Nicholas Harding Nicholas Harding on Instagram Nicholas Harding at Olsen Gallery Nicholas Harding at Philip Bacon Galleries Nicholas Harding at Sophie Gannon Gallery Simone de Beauvoir Memento mori Willem De Kooning Mark Rothko Howard Hodgkin JMW Turner Vincent van Gogh Henri de Toulouse Lautrec Russell Drysdale Brett Whiteley Lloyd Rees Arthur Boyd Sidney Nolan Francis Bacon Chuck Close Malcolm Morley Frank Auerbach Leon Kossoff Walter Sickert John Bell Robert Drewe Catherine Hunter Anna Volska John Olsen   John Singer Sargent Hugo Weaving https://www.youtube.com/watch?v=NWezJHrg9P4&t=7s  

Jeffrey Smart (1921), Corrugated Gioconda 1976. Painting, oil on canvas, 80.8 h x 116.6 w cm. Purchased 1976.

This painting by Jeffrey Smart, perhaps the finest masterpiece of his later years, is a perfect example of his habit of finding motifs delivered without warning. For, given the calculation and precision typifying his long career as an artist, Smart has never quite known what is in store to appeal to his compositional interests driving around the industrial estates of Arezzo, or walking through a flea market in Rome, or a back street in Sydney. His process has a curious connection with a 19th-century method inculcated by French artist Lecoq de Boisbaudran as a kind of competition with the seduction of photography. Students were encouraged to look at a motif for a few seconds, turn their backs on it, commit it to memory, and let imagination go to work. Whistler adopted this practice in France and England; and in Australia half a century later Nolan developed his own instinctive version of it to spectacular effect. Smart differed from those two however in his slow, deliberate construction of a scaffolding to hold fast a taken-by-surprise glimpse of a subject that to ordinary eyes may have had little significance. Indeed, often it is almost as if he has been the hunted and the motif the hunter, snaring him through the most unprepossessing effect; a slant of light on a garage door; a pattern of peeling posters on a corrugated fence; a red post box against a yellow wall. And always there have been moments of despair between these effects – moments of visual bankruptcy as he puts it – when he can find nothing to paint at all. Such was his state before the idea of 'Matisse at Ashford' made its first impact on him. At Posticcia Nuova his easel was bare, and there were only older sketches in the studio racks, nothing fresh coming at him for a new composition. Heavy with a cold in the late winter of 2005 he went to London for a business meeting, then on to Paris to meet up with Margaret Olley at the Louvre. He had to go back to London to finish his business talks, contemplating the ultimate return to a barren studio. The train pulled out of the tunnel in darkening afternoon light and 'Goddie came good' he later wrote to a friend, as it paused at the first English station, Ashford. The platforms at Ashford were dominated by a series of posters advertising a Matisse exhibition at the Royal Academy – one of the blue cut-out nudes – seen in progression across the width of the station like echoing cadences of a modernist cliché. Smart didn't know quite why the motif was so imperative – why its visual irony was so eloquent – he just knew it had to be painted. Before the train moved off he quickly sketched what he saw with a black pen inside the end papers of a paperback novel and the masterpiece was in embryo, teased out and developed in the ensuing months through a succession of studies to its final bold, golden-section structure of verticals and horizontals. Its tight geometry and cool palette, true to the mood of season and time of day of its original inspiration, conspire to hold captive one of Matisse's most famous works as a magnificent specimen of that influence which helped set so many of the next generation of modernists free to roam the picture plane.

This painting by Jeffrey Smart, perhaps the finest masterpiece of his later years, is a perfect example of his habit of finding motifs delivered without warning. For, given the calculation and precision typifying his long career as an artist, Smart has never quite known what is in store to appeal to his compositional interests driving around the industrial estates of Arezzo, or walking through a flea market in Rome, or a back street in Sydney. His process has a curious connection with a 19th-century method inculcated by French artist Lecoq de Boisbaudran as a kind of competition with the seduction of photography. Students were encouraged to look at a motif for a few seconds, turn their backs on it, commit it to memory, and let imagination go to work. Whistler adopted this practice in France and England; and in Australia half a century later Nolan developed his own instinctive version of it to spectacular effect. Smart differed from those two however in his slow, deliberate construction of a scaffolding to hold fast a taken-by-surprise glimpse of a subject that to ordinary eyes may have had little significance. Indeed, often it is almost as if he has been the hunted and the motif the hunter, snaring him through the most unprepossessing effect; a slant of light on a garage door; a pattern of peeling posters on a corrugated fence; a red post box against a yellow wall. And always there have been moments of despair between these effects – moments of visual bankruptcy as he puts it – when he can find nothing to paint at all. Such was his state before the idea of 'Matisse at Ashford' made its first impact on him. At Posticcia Nuova his easel was bare, and there were only older sketches in the studio racks, nothing fresh coming at him for a new composition. Heavy with a cold in the late winter of 2005 he went to London for a business meeting, then on to Paris to meet up with Margaret Olley at the Louvre. He had to go back to London to finish his business talks, contemplating the ultimate return to a barren studio. The train pulled out of the tunnel in darkening afternoon light and 'Goddie came good' he later wrote to a friend, as it paused at the first English station, Ashford. The platforms at Ashford were dominated by a series of posters advertising a Matisse exhibition at the Royal Academy – one of the blue cut-out nudes – seen in progression across the width of the station like echoing cadences of a modernist cliché. Smart didn't know quite why the motif was so imperative – why its visual irony was so eloquent – he just knew it had to be painted. Before the train moved off he quickly sketched what he saw with a black pen inside the end papers of a paperback novel and the masterpiece was in embryo, teased out and developed in the ensuing months through a succession of studies to its final bold, golden-section structure of verticals and horizontals. Its tight geometry and cool palette, true to the mood of season and time of day of its original inspiration, conspire to hold captive one of Matisse's most famous works as a magnificent specimen of that influence which helped set so many of the next generation of modernists free to roam the picture plane.

This painting by Jeffrey Smart, perhaps the finest masterpiece of his later years, is a perfect example of his habit of finding motifs delivered without warning. For, given the calculation and precision typifying his long career as an artist, Smart has never quite known what is in store to appeal to his compositional interests driving around the industrial estates of Arezzo, or walking through a flea market in Rome, or a back street in Sydney. His process has a curious connection with a 19th-century method inculcated by French artist Lecoq de Boisbaudran as a kind of competition with the seduction of photography. Students were encouraged to look at a motif for a few seconds, turn their backs on it, commit it to memory, and let imagination go to work. Whistler adopted this practice in France and England; and in Australia half a century later Nolan developed his own instinctive version of it to spectacular effect. Smart differed from those two however in his slow, deliberate construction of a scaffolding to hold fast a taken-by-surprise glimpse of a subject that to ordinary eyes may have had little significance. Indeed, often it is almost as if he has been the hunted and the motif the hunter, snaring him through the most unprepossessing effect; a slant of light on a garage door; a pattern of peeling posters on a corrugated fence; a red post box against a yellow wall. And always there have been moments of despair between these effects – moments of visual bankruptcy as he puts it – when he can find nothing to paint at all. Such was his state before the idea of 'Matisse at Ashford' made its first impact on him. At Posticcia Nuova his easel was bare, and there were only older sketches in the studio racks, nothing fresh coming at him for a new composition. Heavy with a cold in the late winter of 2005 he went to London for a business meeting, then on to Paris to meet up with Margaret Olley at the Louvre. He had to go back to London to finish his business talks, contemplating the ultimate return to a barren studio. The train pulled out of the tunnel in darkening afternoon light and 'Goddie came good' he later wrote to a friend, as it paused at the first English station, Ashford. The platforms at Ashford were dominated by a series of posters advertising a Matisse exhibition at the Royal Academy – one of the blue cut-out nudes – seen in progression across the width of the station like echoing cadences of a modernist cliché. Smart didn't know quite why the motif was so imperative – why its visual irony was so eloquent – he just knew it had to be painted. Before the train moved off he quickly sketched what he saw with a black pen inside the end papers of a paperback novel and the masterpiece was in embryo, teased out and developed in the ensuing months through a succession of studies to its final bold, golden-section structure of verticals and horizontals. Its tight geometry and cool palette, true to the mood of season and time of day of its original inspiration, conspire to hold captive one of Matisse's most famous works as a magnificent specimen of that influence which helped set so many of the next generation of modernists free to roam the picture plane.

Inspired by the South Australian copper-mining town, Wallaroo is an atmospheric and mysterious painting. Located on the Spencer Gulf coast, Jeffrey Smart visited Wallaroo in 1951 and made a number of watercolour studies of the town’s buildings, beach, mining sites and breakwater. Returning to his studio, Smart ‘began mixing all the sketches together, trying them this way and that, seeing how they could agree in a large composition–a painting in oils’.1 In Wallaroo two young men carry a boat ashore, one figure stepping out of the water and swinging his arm out to balance himself. The entire composition is an exercise in balance–the stretch of sand meeting the curve of the breakwater, the height of the chimney balancing the weight of the figures. Each element is carefully placed to direct the eye around the painting. There is an eerie stillness to the image, created by the long shadows and abandoned environment. The rusty ochres and greys of the earth and sky contrast with the bright strip of sand and the building. In discussing the painting Smart said: I tried all sorts of skies, ones with huge clouds, those with strata clouds, a stormy sky and so on. Finally I settled for one which graduated, light at the horizon and becoming darker near the top. But then it looked too dull. It wasn’t interesting enough. So a moon–which you often see at evening, was brought in, just to make a note against the plain surface.2 1 Jeffrey Smart, ‘An edited version from the artist’s explanation of how he painted Wallaroo. ABC Children’s Hour 1956’, published in Edmund Capon, Jeffrey Smart, Sydney: Art Gallery of New South Wales, 1999, p. 78. 2 Capon, p. 79.