Reclining Nude

Category: SKU: INV-HALA-0001 Tag:

Oil on canvas

Dimensions: 120.0 x 96.0 cm

Framed: -

Description

Born in Melbourne in 1945 studied painting at R.M.I.T. from 1960 until 1963. First solo exhibition at South Yarra Gallery in 1968 followed by shows ay Sydney’s Holdsworth Gallery in 1970, the Bonython Art Gallery, Adelaide in 1971 and again in that same year at South Yarra Gallery. In 1975 a retrospective of her work was mounted at Avant Galleries. Melbourne. A further large exhibition of Hall’s drawings paintings and ceramics was held at the Powell Street Gallery in 1981.
She married fellow arist John Perceval (1923-2000) and became part of his turmultuous life. In 1976 she painted a noted portrait of Perceval. Her work drew attention from the critics. Art commentator Alan McCulloch described her paintings and drawings from this period as ” highly imaginative and strong in observation of character and understanding of distortion”. In 1971 the art critic for The Age, Patrick McCaughey, assessed her show at South Yarra Gallery as a reflection of the influence which German Expressionism was having upon Australian art at that time. McCaughey commended Hall’s treatment of her subjects – for taking animals and familiar domestic surroundings and weaving them into what he described as ” heraldic decorativeness”. McCulloch also comments on the major influence upon Hall’s work by artist John Perceval who, after their initial meeting in 1967, she married in 1972.

Barrett Reid in his 1992 biography, Of Dark and Light:The Art of John Perceval, records that Perceval’s first wife, Mary Boyd, left him to live in England in 1967 as the artists alcoholism worsened. Not only did Hall become Perceval’s wife but, in a previously little credited role, she also became his creative partner. A partnership with a troubled painter, an artist who has been described as the Vincent van Gogh of Australian art. A second Perceval biographer, Traudi Allen, writing in her 1992 work John Perceval, credits Anne Hall for playing a role in the creation of Perceval’s major 1967 painting, Veronica and the Conspirators. The painting was based on Dutch Master Hieronymus Bosch’s acclaimed work Christ Carrying the Cross. Perceval had Hall copy the right corner detail of the Bosch painting, which he then continued his work around. When art historian Margaret Plant described this work in her 1978 study of the artist, entitled John Perceval, she reveals an indication of the intrinsic value of Hall’s contribution.

Additional information

Dimensions 120.0 × 96.0 cm
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Paintings Gallery

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Oil on canvas