Where enquiries of prices are
made on the gallery, the work is subject to availability
and the price to change.
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The
Lesson of the Master
Manic emptiness - the dissociation of sensibility,
an omnipotent and excessive defence
against the anxiety of influence, novelty for
novelty's sake, sensation for the sake of sensation
- has dominated the British art world, under
its sharp-suited and short-sighted apparatchiks
(Nicholas Serota of the Tate and the Saatchi
brothers) for far too long. In a "scene"
such as this, the fable of the Emperor's New
Clothes has been forgotten and an unmade bed
is mistaken for a painting or sculpture of an
unmade bed. (I know she was supposedly "making
a statement"; but police officers or criminals
can do that rather better.) In this infantalised
and unseemly context a genuine artist such as
Jamie Boyd who, in the lineage of illustrious
predecessors - whether Giorgione, Rembrandt,
Manet or Kokoschka still manages to be
a magnificent craftsman, colourist and see-er,
is especially valuable.
And because of ineluctable swings of the pendulum
there is reason to suppose, and certainly to
hope (where there's death there's hope), that
in the fullness of time his patient, painstaking,
unshowy, exhilarating visions, whether here
of Narcissus and Echo, of Suffolk landscape,
or of Australian landscape worked on and completed
in Suffolk, will eventually prevail over work
by his less gifted, more exhibitionistic contemporaries.
Moreover, there is an additional reason why
we should pay attention to his work here at
the Chappel Galleries: Jamie Boyd has been working
in this area of England for thirty years and,
although international in his stature - with
roots in Australia, Italy and London as well
as in Ramsholt - probably every landscape he
does, whether the originating impulse comes
from an Australian river, an observation in
Tuscany or something mythological, is touched
by the light and atmospherics of the River Deben.
(In this exhibition two of the paintings I like
best are actually of the Deben: a sunset and
a stormy sky.) If Turner were alive today and
could award his own Prize (the Prize that currently
takes his name in vain) I am sure
that he would give it to Jamie Boyd; and that
Constable too would be glad to be in and of
his company: that of an artist who in the face
of an art world which has become a branch of
the fashion industry keeps alive the traditional
role of painting, which is not to viciously
shock (any fool can do that) but to show with
a jolt, to open our eyes to the fullness of
reality.
James Greene
- please
enquire for prices -
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JAMIE BOYD |
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1948 |
Born Melbourne |
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EXHIBITIONS |
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1966 |
Bonython Galleries, Adelaide, South Australia |
1967 |
Australian Galleries, Melbourme, Victoria, Australia
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1968 |
Bonython Galleries, Sydney, New South Wales,
Australia |
1969 |
Drian Galleries, London, England
Von Bertouch Galleries, Newcastle, N.S.W., Australia |
1970 |
Australian Galleries, Melbourne, Victoria, Australia
Bonython Galleries, Sydney & Adelaide, Australia |
1971 |
Clytie Jessop Gallery, London, England
Von Bertouch Gallery, Newcastle, N.S.W., Australia
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1972 |
Drian Galleries, London, England
Australian Galleries, Melbourne, Victoria, Australia |
1973 |
Skinner Galleries, Perth, Western Australia |
1976 |
Von Bertouch Gallery, Newcastle, N.S.W., Australia
Gallerie Kuppers, Neuss, Germany |
1977 |
Gallerie d'Eendt, Amsterdam, Holland |
1978 |
Fine Arts Gallery, Perth, Western Australia |
1979 |
Rex Irwin Gallery, Sydney, N.S.W., Australia |
1980 |
Australian Galleries, Melbourne, Victoria, Australia
New South Wales House, London, England
David Ellis Fine Art, Ballarat, Victoria, Australia
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1981 |
Philip Bacon Gallery, Brisbane, Queensland,
Australia |
1982 |
Australian
Galleries, Melbourne, Victoria, Australia
Holdsworth Gallery, Sydney, N.S.w., Australia
Bonython Galleries, Adelaide, South Australia |
1984 |
Barry
Stern Gallery, Sydney, N.S.W., Australia |
1985 |
David Ellis Fine Art, Ballarat, Victoria, Australia
Carriaggio Gallery, Palaia, Italy |
1986 |
Bonython-Meadmore Gallery, Adelaide, South Australia
Beaver Galleries, Canberra, A.C.T., Australia |
1987 |
New South Wales House, London, England |
1988 |
Boundary Gallery, London, England
Savill Gallery, Sydney, N.S.W., Australia
Schubert Gallery, Surfers Paradise, Queensland,
Australia
New South Wales House, London, England |
1989 |
Palazzo Strozzi, Florence, Italy
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1990 |
Boundary Gallery, London, England
Beaver Gallery, Canberra, A.C.T., Australia
Christchurch Mansion, Ipswich, England |
1992 |
Gillian Jason, London, England |
1993 |
Aviva Campbell Gallery at the Windsor Hotel,
Melbourne, Victoria, Australia |
1994 |
Corbally Steurton, London, England |
1995 |
Chappel Galleries, Essex, England
Eva Breuer, Sydney, N.S.W., Australia |
1996 |
Stair Gallery, London, England
Galleria Aniela FINE ART, Kangaroo Valley, N.S.W.,
Australia
"People, Places, Landscapes", Aviva
Campbell Gallery, Melbourne, Victoria, Australia |
1997 |
"Reaching Beyond Time", Galleria Aniela
FINE ART, Kangaroo Valley, N.S.W., Australia
"Encouters with Prints", Aviva Campbell
Gallery, Melourne, Victoria, Australia |
1999 |
Savill Gallery, Sydney, N.S.W., Australia |
2002 |
Rebecca Hossack Gallery, London
Greythorn Galleries, Melbourne, Australia |
2004 |
Greythorn Galleries, Melbourne, Australia |
2005 |
Chappel Galleries, Essex, England |
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WORKS IN PUBLIC COLLECTIONS |
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Tavistock Centre, London
National Gallery of Victoria
Council of Adult Education
Artbank Australia
University of South Australia
University of Western Australia
Queen Victoria Museum & Art Gallery, Launceston,
Tasmania
B.H.P. Australia
Boxer Collection, Australia
Guildhall School of Music & Drama, London |
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PUBLICATIONS |
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Dictionary of Australian Art, Alan McCulloch
Australian Art 1975-80, Kim Bonython
The Art of the Boyds, P. Dobrez / P. Herbst
Creating a Self Portrait, T. Coates / M. Beazley
New Art Four, Nevill Drury
An Antipodean Connection, G. Prampolini / M
C / Hubert / Slatkine / Geneve
Modern Painters Autumn '92 |
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