(Scotland, Australia 29 Sep 1891 – 20 May 1974)
73.6 x 97.8 cm board; 82.8 x 108.0 x 6.3 cm frame
"Am sending today one package of paintings ... They are also (mostly) without titles - for they really refer (mostly) to nothing in particular - sort of soliloquies - I suppose will have to come under the heading of abstracts."
- Ian Fairweather 1959
The spiritual aspect of the Chinese aesthetic, which encompasses the idea that a finished work should 'emerge' from the sheet, impressed Fairweather profoundly, and directed his method of making pictures.
'Caresse de l'astre' was painted at Bribie Island off the coast of Brisbane, where Fairweather settled permanently in 1953. Around the middle of the decade, his work began to evolve from clear figuration to being almost completely abstract by 1959-60.
© Australian Art Department, Art Gallery of New South Wales, 2000
Art Gallery of New South Wales, Art Gallery of New South Wales picturebook, Sydney, 1972, 122 (colour illus.).
Murray Bail, Ian Fairweather, 'The necessity of movement', pg. 130-140, Sydney, 2009, 138 (colour illus.), 256. plate no. 119; cat.no. 160
Murray Bail, Mary Eagle, Drusilla Modjeska, Martin Armiger, Joanna Capon and Pierre Ryckmans, Fairweather, Australia, 1994, 109 (colour illus.), 143. plate no. 37
Paula Dredge, Margaret Sawicki, Steven Miller and Lindsay Parker, S.A. Parker Framing Works, 'Works in the collection with known Parker frames', pg. 27-68, Sydney, 2004, 68 (illus.).
Queensland Art Gallery (Curator), Fairweather: a retrospective exhibition, South Brisbane, Jun 1965. cat.no. 38; not paginated
Editor Unknown (Editor), Art Gallery of New South Wales Quarterly, Sydney, Jul 1965, 244.
Fairweather: a retrospective exhibition (1965-1966):