(Australia, England 23 Jan 1927 – 22 Apr 1982)
152.6 x 183.3 cm; 154.8 x 185.2 x 5.1 cm frame
"I repaint other people's paintings. See that there? That's 'Bailed up'. You know, Tom Roberts. I've just taken the figures out and repainted the background."
- Fred Williams 1969
One of Williams' greatest works, 'My garden' was painted in direct response to Tom Roberts' 'Bailed up', underlining Williams' strong allegiance to the Heidelberg School and especially to Tom Roberts, the Australian painter he loved most of all. In a singularly profound homage from one artist to another, Williams transmuted the golden glare of a relatively gentle New England landscape into his own painterly expression of the hot red heart of the continent; acting out his long-held declaration that 'Bailed up' was the most important landscape painting in this country.
Australian Art Department, AGNSW, 2000
Art Gallery of New South Wales, Art Gallery of New South Wales Annual Report 2000, 'Year in review', pg. 8-20, Sydney, 2000, 8, 9 (colour illus.).
Edmund Capon, Art Gallery of New South Wales: highlights from the collection, Sydney, 2008, 102 (colour illus.).
Joan Chambers, Art of the land, Brookvale, 2002, 52 (colour illus.). Children's activities book
David Hansen, Australian Impressionism, 'National Naturalism', pg. 281-287, Melbourne, 2007, 281, 282 (colour illus.).
Deborah Hart, Fred Williams: infinite horizons, 'Dialogues across series', pg. 80-89, Canberra, 2011, 81, 82, 83 (colour illus.), 209, 227.
Hendrik Kolenberg, Look, 'Celebrating Fred Williams', pg. 24-25, Newtown, Nov 2004, 24.
Patrick McCaughey, Fred Williams 1927-1982, 'Upwey derivatives: major landscapes 1966', pg. 171-180, Kensington, 1980, 172, 180, 181 (colour illus.), 371. plate no. 89
Patrick McCaughey., Age, 'A painter apart', Melbourne, 27 Sep 1967, page unknown.
John McDonald, Art of Australia. Vol. 1: Exploration to Federation, ‘Individual and national feeling’, pg. 545-610, Sydney, 2008, 582 (colour illus.), 583.
Craig McGregor, In the making, Australia, 1969, 103 (colour illus.), 102-107.
James Mollison, A singular vision: the art of Fred Williams, 'Painting in the Dandenongs: The Upwey and Lysterfield Series', pg. 86-113, Canberra, 1989, 86 (colour illus.), 87, 89, 91, 158, 253.
James Mollison (Curator), Fred Williams: a retrospective, Canberra, 1987, 12 (illus.). cat.no. 59
Barry Pearce, Look: 1953-2003 celebrating 50 years, 'Presenting our own artists: how the AGS put balance into the Australian collection', pg. 42-44, Newtown, May 2003, 44 (colour illus.).
Barry Pearce, The Weekend Australian, 'Time makes its judgment', pg. 2-3, Surry Hills, 12 Aug 2000-13 Aug 2000, 3 (colour illus.). This colour supplement is a 'Review Special' published for the 'Weekend Australian'. It consists of a four-page, colour wrap-around for the 'Weekend Australian Review'. 'The Australian' was the media sponsor for the AGNSW Exhibition 'Australian Icons', for the Olympic Arts Festival 2000.
Barry Pearce, Australian art: in the Art Gallery of New South Wales, 'Introduction', pg. 10-16, Sydney, 2000, 11 (colour illus.), 16, 302.
Judith White, Look, 'An artist's homage', pg.18-20, South Yarra, Feb 2000, cover (colour illus.), 5 (colour illus.), 18 (colour illus.), 19, 20.
Judith White, Look, 'A generous gift', pg. 13, Newtown, Oct 2007, 13 (colour illus.).
Festival invitation art prize, Skinner Galleries, Perth, Perth, 14 Feb 1967–04 Mar 1967
John Brack - Fred Williams (1967), Albert Hall Canberra, Canberra, 01 Aug 1967–13 Aug 1967
Fred Williams (1967), Georges Gallery, Melbourne, 25 Sep 1967–14 Oct 1967
Fred Williams: a retrospective:
Australian icons: twenty artists from the collection, Art Gallery of New South Wales, Sydney, 04 Aug 2000–03 Dec 2000
Fred Williams: infinite horizons: