(Australia 06 Sep 1888 – 09 Dec 1958)
91.5 x 122.5 cm stretcher; 119.5 x 150.5 x 6.5 cm frame
'John Moore showed some discontent with the prevailing outlook in Australian landscape painting soon after his return from Europe after the war ... [he] showed an unusually strong interest in nature in its more dramatic moods ... a weariness with perpetual sunshine and the unchanging mood which was thought to be proper to the typical Australian landscape.'
- Basil Burdett, 1933
Although practising as an architect, Moore also maintained his career as a painter. Like his fellow artists in the Contemporary Group founded by George Lambert and Thea Proctor, he contributed to the development of the modern movement in Sydney through an approach which emphasised formal construction. Using the framework of architecture, Moore's view of 'Sydney Harbour' was taken from the balcony of his house in the eastern Sydney suburb of Vaucluse. His well-regarded landscapes, more often in the medium of watercolour, arose from a love of sketching out-of-doors and for the watercolours of English artists John Sell Cotman, Constable, James Innes and Wilson Steer.
Herbert Badham, A gallery of Australian art, 'Introduction', pg. v-vii., Sydney, 1954, xiii, (illus.). plate no. 27
Herbert Badham, A study of Australian art, Sydney, 1949, (illus.). plate no. 40
Alan Close, Good Weekend, 'Ode to Sydney', pg. 55-56, Sydney, 15 Apr 2000, 55 (colour illus.).
Alan Close, Reader's Digest, 'Ode to Sydney', 29-31., Surry Hills, Sep 2000, 29 (colour illus.).
Peter Emmett, Sydney: metropolis, suburb, harbour, 'Harbour', pg. 123-124, Glebe, 2000, 151, 152 (illus.).
Ernestine Hill, Australia Land of Contrasts, Sydney, pre 1949, (colour illus.).
Bruce James, Art Gallery of New South Wales Handbook, 'Australian Collection: Painting and Sculpture', pg. 102-181, Sydney, 1999, 145 (colour illus.).
Barbara Konkolowicz, Look, 'Big Blue Sydney Harbour Through The Eyes of Artists', pg. 20-21, Heidelberg, May 1997, 20 (colour illus.).
Lionel Lindsay, 150 years of Australian art, Sydney, 1938. cat.no. 62
Hal Missingham, A retrospective exhibition of Australian painting, Sydney, 1953. cat.no. 143
Ian North, Expanse: Aboriginalities, spatialities and the politics of ecstasy, Adelaide, 1998, frontispiece (colour illus.), 26.
Barry Pearce, Australian art: in the Art Gallery of New South Wales, 'Earth, sky and paint', pg. 149-150, Sydney, 2000, 152 (colour illus.), 301.
John Slater, Through artists' eyes: Australian suburbs and their cities 1919-1945, 'Continuity and change', pg. 35-70, Melbourne, 2004, 65, 66 (colour illus.). illus.no. 48
Howard Tanner and Inara Walden, Thoroughly modern Sydney: 1920s and 30s glamour & style, Sydney, 2006, 10. List of works.
The Brett Whiteley Studio (Editor), Big blue: the painted harbour (list of works), Sydney, 1997.
Sydney Ure Smith (Editor), Art of Australia 1788-1941, New York, 1941, 41. cat.no. 87
Kenneth Wilkinson (Editor), Art in Australia [series 3, no. 70], Sydney, Mar 1938, 35 (colour illus.).
Editor Unknown (Editor), The Home annual: Australian life and scenery, Sydney, Oct 1938, 29 (colour illus.).
Society of Artists Annual Exhibition (1936), Education Department Gallery [Loftus Street], Sydney, 04 Sep 1936–02 Oct 1936
150 years of Australian art (1938), National Art Gallery of New South Wales, Sydney, 27 Jan 1938–25 Apr 1938
Golden Gate International Exposition:
Art of Australia 1788-1941:
A retrospective exhibition of Australian painting, Art Gallery of New South Wales, Sydney, 25 Sep 1953–25 Oct 1953
Sydney Harbour 1794-1979, S.H. Ervin Gallery, Sydney, 03 Aug 1979–26 Aug 1979
Big Blue - the painted harbour (1997), Art Gallery of New South Wales, Sydney, 21 Jun 1997–29 Mar 1998
Expanse: Aboriginalities, spatialities and the politics of ecstasy, Anne & Gordon Samstag Museum of Art, Adelaide, 04 Sep 1998–03 Oct 1998
Harbour, Museum of Sydney, Sydney, 05 Aug 2000–03 Dec 2000
Thoroughly modern Sydney, Museum of Sydney, Sydney, 01 Jul 2006–15 Oct 2006