As in Pears, his paintings and prints are so talkative, even if still and silent. Up in the Air, 1973 John Brack captures his skaters in an eye-catching but risky move. His highly cerebral, smooth and hard-edged painting style was unique in the context of both the expressive figuration of … Deutscher and Hackett is a leading and respected Australian fine art auction house. AUD40,000 - AUD60,000, Description: Strong diagonals lead the eye from the base of the picture towards the centre where the texture of the rug and the model’s curly hair contrast with the crisp lines that define the walls and floorboards. 35 Please enter a valid email address (name@host.com), Lot 1: JOHN BRACK (1920-1999) Spectators 1956 etching, Lot 1: JOHN BRACK (1920-1999) Head of a Woman 1954, Lot 4: JOHN BRACK 1920 - 1999, PEARS, 1957, oil on canvas, Lot 4: JOHN BRACK, (1920 – 1999), STILL LIFE WITH SLICING MACHINE, 1955, oil on canvas, Lot 5: JOHN BRACK (1920-1999) Jockeys Returning, Lot 5: JOHN BRACK (1920-1999) Jockey and Trainer 1956, Lot 5: JOHN BRACK 1920 - 1999, STUDY FOR ON THE RINGS, 1975, conté on paper, Lot 5: JOHN BRACK 1920-1999 First Daughter 1955 oil on canvas on composition board, Lot 5: JOHN BRACK , (1920 – 1999) , NUDE WITH NIGHTGOWN, 1957 , oil on canvas, Lot 6: JOHN BRACK 1920-1999 Study for First Daughter (1955) ink on paper, Lot 6: John Brack (1920-1999) - The Walking Frame 1966, Lot 6: JOHN BRACK 1920-1999 Pantomime 1988-1994 oil on canvas 91 x 137 cm, Lot 6: JOHN BRACK 1920-1999 Laughing Child 1958 oil on canvas 45.8 x 40.8 cmframe: original, John Brack, Melbourne, Lot 9: JOHN BRACK, (1920 - 1999), SKETCH FOR BACKS AND FRONTS, 1969, conté on paper, Lot 10: John Brack 1920-1999 FLOWERING GUM 1958 oil on composition board, Lot 10: JOHN BRACK, (1920 –- 1999), STUDY FOR THE RED CARPET, 1970, conté on paper, Lot 11: JOHN BRACK 1920-1999 To the Water (1961) oil on composition board, Lot 11: JOHN BRACK, (1920 – 1999), NEVER, 1989 – 90, oil on canvas, Lot 12: John Brack 1920 - 1999, STUDY FOR 'STANDING NUDE', 1970 conté on paper, Lot 13: JOHN BRACK (1920-1999) - Nude in Profile 1978 lithograph, edition: 300/300, Lot 13: John Brack (1920-1999) (Untitled) 1982 lithograph, Lot 13: John Brack 1920 - 1999, STUDY FOR 'THE MERTZ NUDE', 1965 conté on paper, Lot 13: JOHN BRACK , (1920 – 1999), YELLOW LEGS, 1969 , oil on canvas, Lot 14: John Brack (1920-1999) La Traviata 1981 lithograph, Lot 14: John Brack 1920-1999 JOURNEY 1980 oil on canvas, Lot 14: JOHN BRACK (1920-1999) La Traviata 1981 colour lithograph edition 56/150, Lot 15: JOHN BRACK 1920-1999 Junior Latin American 1969 oil on canvas, Lot 15: JOHN BRACK (1920-1999) Arabesque 1977 lithograph edition 15/25, Lot 16: John Brack 1920-1999 WE, US, THEM 1983 pen and ink, watercolour and gouache, Lot 16: JOHN BRACK (1920-1999), Standing Nude 1965, Lot 16: JOHN BRACK, Title: "The Bar", Medium :off-set lithograph, Lot 16: JOHN BRACK 1920-1999 Nude in Profile 1978 lithograph on paper 65 x 47.5 cm (image), Lot 17: § John Brack 1920-1999 OUTING 1978 oil on canvas, Lot 19: JOHN BRACK 1920-1999 La Traviata 1981 lithograph on paper 66 x 49 cm (image); 76 x 57 cm (sheet). Grishin, S., Christie’s, Sydney, 4 October 1972, lot 486 While he undertook a handful of commissions during these years and was represented in exhibitions including Required fields are marked *. Rudy Komon Gallery, Sydney AUD150,000 - AUD250,000, Description: Indicative of the powerful statements about urban experience that Brack exhibited in his initial solo shows in 1953 and 1955, the painting illustrates the artist’s strategy of drawing viewers into his work by positioning them as direct and close observers of his subjects rendered in acid sharp colour. John Brack (1920-1999) On the Rings, 1976 lithograph, edition A/P, aside from an edition of 5, signed, dated, inscribed and numbered below image 'A/P, On the Rings, John Brack, 1976' Rex Irwin Art Dealer, Woollahra, Estimate: Think of the modern achievements of Paul Cézanne, Pablo Picasso or Giorgio Morandi, or look back to Caravaggio, and the seventeenth century Dutch painters of extravaganzas who made visual feasts out of fruit and other such gastronomic delights. Estimate: iconic images. They are very sparse compositions where the figures remain the dominant elements but no longer occupy most of the picture space. Close study of his oeuvre reveals references to the work of masters of Western art, from Ingres and Seurat to Bernard Buffet, which range from the obscure to the obvious. JOHN BRACK (1920-1999) La Traviata 1981 colour lithograph edition 56/150 signed and dated lower right: John Brack 81 titled lower centre editioned lower left 65.5 x 49.5cm PROVENANCE: Private collection, Melbourne LITERATURE: Grishin, S., The Art of John Brack, Oxford University Press, Melbourne, 1990, vol. The Art of John Brack, Oxford University Press, Melbourne, 1990, vol. The way the light falls and casts its shadows is merely … a hindrance unless it helps me to show these things.’ ESSAY: o311, p. 40, p. 187 (illus.) Jun 27, 2016 - Explore Kevin Crawshaw's board "John Brack", followed by 334 people on Pinterest. AUD90,000 - AUD120,000, Description: The nude returned as a major subject within his oeuvre during the 1970s and 80s and in these works, a certain restrained sensuality and pleasure in depicting the female form is apparent. )PROVENANCE: Laurence Course, Melbourne, a gift from the artistThence by descentPrivate collection, MelbourneRELATED WORKS: Standing Nude, 1970, oil on canvas, 129.5 x 96.5 cm, private collection, illus. Brack's widow, Helen Maudsley, an artist in her own right, attended the opening and commented that Brack was not concerned with the social standing of the sitter, but rather the artistic merit of their participation in the piece. Notwithstanding Brack’s obvious fidelity to his sources, however, Grishin astutely notes that ‘…upon closer examination it could well be the same man or the same woman being presented from the back and front – thus possibly highlighting the faceless ritual involved in the pursuit.’3For indeed, beyond a purely literal analysis of Brack’s design exists an arguably more compelling commentary upon the dance here as a visual metaphor for life itself – an allegory of the human condition in the vein of great European masters such as Goya and Munch. Using these everyday props to construct subtle visual metaphors, Brack’s new approach ‘[permitted] him to express the whole complexity of social interconnections’2 and his perspective on the perennial forces of human nature was transformed from the local to a broader universal view.