267 Church Street, Richmond 3121

P: (03) 9427 0140

gallery@charlesnodrumgallery.com.au

Click image to zoom

Fred Williams

Lilydale Landscape with Blue Train, 1974

SOLD

Enquire




oil on canvas

107.00 x 92.00

signed l.l.

Provenance:

The Estate of Fred Williams (LW1045)

Exhibited:

Fred Williams - 1974, TarraWarra Museum of Art, Melbourne, 2 December 2017 - 11 February, 2018

Literature & references:

Patrick McCaughey, Fred Williams - 1927-1982, Bay Books, Sydney and London, all editions, p 258, plate 154 (and 155 for detail) and on dust jacket (of the 1987 edition).

Note:

This note relates to both the Williams and Shannon landscape paintings (cat. nos. 2 & 18)

“I only use the subject matter as an excuse to hang the picture on.” (1)

This statement goes a long way to explaining the gulf between these two paintings by two Melbourne artists – close contemporaries, both students of the Gallery School at the NGV and George Bell studio – who chose the same subject yet produced such radically different results.

On his regular visits between his home in Melbourne and his weekender near Heathcote, Shannon kept one eye on the road and the other on the lookout for new subjects: these included the spacious landscapes of central Victoria for which he is best known, but also the challenge of the less picturesque.  Quarries – Axedale and Lilydale specifically – hardly qualify as beautiful but he seems to have taken them on rather as he had previously the railway gantries on the city fringe. Both were depicted with cool dispassion – neither glorifying nor denigrating their stark industrial utility.  Similarly, with the quarries: hacked out of hillsides now bereft of trees and life, they rise like soulless walls in front of the viewer.  This work, unlike the starker examples where the rockface occupies most of the picture, allows the eye to roam from a human construct to a natural landscape, yet still made with the subject as central in itself. 

Williams, by contrast, seems less interested in the quarry as an autonomous feature in the landscape, as in how he can use those horizontal striations to structure his painting – in particular, the way they can offer a foil to the nearly parallel blue line of the train but also as a stark contrast to the "empty" sky above and the relatively "empty" landscape in the foreground.

If the results differ it may be that Shannon’s path was to spot a promising feature and then paint it - landscape first and painting second.  Williams seems to work the other way round: he has, in advance, a structure in the back of his mind and then sets out to find a landscape to fit it.  Painting first, and subject second.  However, it may equally be argued that all artists do this all the time.  If they didn't have the "picture" in advance, how would they recognise the subject.

(1) Williams’ diary entry, 5 July, 1970, quoted in Patrick McCaughey, op cit. p 352

View artwork in Exhibition

Further works by the Artist

River Yarra, Abbotsford 111

Fred Williams

1974

oil on canvas, 106.80 x 91.50

SOLD

View More

My Godson

Fred Williams

1960

etching on paper, Proof, 17.50 x 13.00

SOLD

View More

Tumblers II

Fred Williams

1967

oil on canvas, 165.00 x 90.50

POA

View More

A Knoll in the You Yangs

Fred Williams

1964

aquatint, engraving and drypoint on zinc, 18/30

SOLD

View More

Fred Williams

View More

A knoll in the You Yangs

Fred Williams

1964

Aquatint, engraving and drypoint on zinc, ed. 18/30 , 29.00 x 24.00

SOLD

View More

Landscape Quartet

Fred Williams

1962

sugar acquatint, resin acquatint, engraving and drypoint in sepia on Kent paper, 25.00 x 18.00

SOLD

View More

White Cockatoos in the You Yangs

Fred Williams

1963

gouache on paper, 36.00 x 55.00

SOLD

View More

Road, Cottlesbridge

Fred Williams

etching on paper, ed 2/21, 2nd state, 25.00 x 24.50

SOLD

View More

Road and Sapling, Cottlesbridge

Fred Williams

aquatint, drypoint and engraving on paper, ed 5/20, 30.00 x 23.00

SOLD

View More

Goats among Trees

Fred Williams

1965

gouache on paper, 55.00 x 67.00

SOLD

View More

Landscape Diptych Number 2

Fred Williams

1962

Sugar aquatint on zinc printed in sepia on Kent paper; 8th state, ed 6/65, 15.00 x 23.00

SOLD

View More

Waterfalls

Fred Williams

1959 - 1961

relief etching on Kent paper; first state, 1/10, 24.00 x 15.50

View More

Sherbrooke Forest Number 2

Fred Williams

1961

engraving & aquatint, on copper on Kent paper; ; eigth state; 7/30, 13.50 x 13.00

View More

Sherbrooke Forest Number 2

Fred Williams

1961

engraving & aquatint, on copper on Kent paper; ; third state; 5/8, 13.50 x 13.00

View More

Sherbrooke Forest Number 2

Fred Williams

1961

engraving and aquatint on Kent paper; third state; 5/8, 13.00 x 13.50

View More

Landscape with Building

Fred Williams

1959 - 1960

etching on green hand-made paper; third state; 1/16, 15.50 x 21.00

View More

Landscape with Building

Fred Williams

1959 - 1960

etching on paper (flat biting on copper); second state; 8/12, 15.50 x 21.00

View More

Waterfalls

Fred Williams

1959 - 1961

relief etching in sepia on Kent paper; fourth state, 10/20, 20.00 x 13.50

View More

Landscape Triptych Number 1

Fred Williams

1962

sugar aquatint on zinc, printed in sepia on Kent Paper; third state; 24/35, 12.50 x 27.50

View More

Landscape Triptych Number 1

Fred Williams

1962

sugar aquatint on zinc, printed in sepia on Kent Paper; second state; 25/35, 12.50 x 27.50

View More

Landscape Diptych Number 1

Fred Williams

1962

sugar aquatint on zinc on Kent Paper, 8/24, 12.50 x 18.50

View More

Landscape Panel Number 1

Fred Williams

1962

sugar aquatint on zinc, on Kent paper; third state; 11/20, 12.50 x 9.00

View More

Landscape Panel Number 1

Fred Williams

1962

sugar aquatint on zinc, printed in sepia on Kent paper; first state; 7/30, 12.50 x 9.00

View More

Fred Williams

View More

Since its establishment in 1984, the Charles Nodrum Gallery’s exhibition program embraces a diversity of media and styles - from painting, sculpture & works on paper to graphics and photography; from figurative, geometric, gestural, surrealist & social comment to installation & conceptually based work.