Jeffrey Smart | Figures on the Beach
1955
33cm x 42cm
Oil on Canvas board
Jeffrey Smart
Bio
Smart was born in Adelaide in 1921. In the late 1930s he studied part-time at the South Australian School of Arts and Crafts under Marie Tuck and Rupert Bunny while also training at Adelaide Teachers College from 1939 to 1941. He visited the studio of the pioneering modernist painter and printmaker Dorrit Black, whose views on symmetry, line and composition greatly influenced the young artist.
Smart began exhibiting in group shows in the early 1940s and had his first solo exhibition in Melbourne in 1944. Inspired by the poetry of TS Eliot, his early landscape The Wasteland II 1945 was painted during his formative years in South Australia where he began to establish his remote vision of the urban landscape.
Smart travelled to Europe in 1948 and studied under Fernand Léger at the Académie Montmartre in Paris. He also visited Italy and England, seeking out the work of post-impressionist French painter Paul Cézanne, 15th-century Italian painter of perspective Piero della Francesca and northern Renaissance artist Rogier van der Weyden for their treatment of perspective, space and composition.
Returning to Australia in 1951, Smart won the Commonwealth Jubilee Open Art Competition and settled in Sydney, where he lived for the next 12 years, working among artists who included Russell Drysdale, Justin O’Brien and Jean Bellette. He was an art critic for the Daily Telegraph for a short time and a host on the popular children’s radio program The Argonauts Club. He also taught at East Sydney Technical College (now the National Art School).
In 1963 Smart left Australia permanently for Rome. It was during this decade he gained major recognition for his meticulously crafted paintings. Later he moved to Arezzo in Tuscany where he remained for the rest of his career; he died there in 2013.
Smart dedicated himself to the representation of the modern city. He executed each painting with classical precision and included repetitious architectural motifs which reference Renaissance perspective. He saw beauty in everyday scenes, choosing to paint highways, factories, trucks and vacant city lots – as seen in a number of works in the Art Gallery of NSW collection such as Truck and trailer approaching a city 1973.
