(Australia 28 May 1890 – 21 Apr 1979)
42.0 x 32.4 cm sheet
'We were united in the one belief, the constructive approach to painting, and this insistence of the abstract elements in building a design was the keynote of teaching with both Lhote and Gleizes ... Although the model was used in the class, the student was discouraged from making merely a faithful record of a nude, a draped figure or a portrait. The abstract elements in line, shape and colour were introduced in order to induce the student to construct from it a design within a given space.'
Grace Crowley, 1966
This drawing was made during the artist's time in Paris, where she studied under André Lhote a leading teacher of the Cubist movement. Her strongly delineated contours and volumetric modelling of the body accords with Lhote's emphasis on the simplification of forms into basic geometry. The drawing also reveals Crowley's strong grasp of anatomy, acquired through earlier academic training at Julian Ashton's Sydney Art School.
Nicolas Draffin, Three years on: a selection of acquisitions 1978-1981, 'Prints and Drawings - Australia, European and American', pg. 47-66, Sydney, 1981, 62 (illus.). cat.no. 30
Hendrik Kolenberg, The portrait and the nude: Australian drawings from the collection, Sydney, 1990. cat.no. 19
Hendrik Kolenberg, Australian drawings from the Gallery's collection, Sydney, 1997, 42 (illus.). cat.no. 30
Elena Taylor, Grace Crowley: being modern, Canberra, 2006, 17 (colour illus.), 59. NOTE: date of work (circa 1928)
Daniel Thomas (Curator), Project 4: Grace Crowley, Sydney, 1975. cat.no. 17
Project 4 - Grace Crowley (1975), Art Gallery of New South Wales, Sydney, 10 May 1975–08 Jun 1975
The portrait and the nude: Australian drawings from the collection, Art Gallery of New South Wales, Sydney, 18 Aug 1990–28 Oct 1990
Australian drawings from the Gallery's collection, Art Gallery of New South Wales, Sydney, 13 Dec 1997–15 Mar 1998
Bodyline, Hazelhurst Regional Gallery and Arts Centre, 03 Feb 2001–08 Apr 2001
Grace Crowley: being modern: