Richard Larter

AGNSW collection Richard Larter Dithyrambic painting no 6 (1965) 52.1972
AGNSW collection Richard Larter Dithyrambic painting no 6 (1965) 52.1972

Larter's vibrant flat canvasses appear utterly fresh and new. In this collection I wanted to look back to find his inspiration, and look forward to see his impact.

AGNSW collection Henri Matisse Three-quarter-length nude, with arms raised (1906) 222.1976
AGNSW collection Henri Matisse Three-quarter-length nude, with arms raised (1906) 222.1976

The main subject is the surface, which has its colour, its laws, over and above the objects.
Bonnard

AGNSW collection Henri de Toulouse-Lautrec Mademoiselle Marcelle Lender en buste (1895) 268.2012
AGNSW collection Henri de Toulouse-Lautrec Mademoiselle Marcelle Lender en buste (1895) 268.2012

[Larter’s] work was abrasive: tough in its open celebration of sexuality, and tough in the intensity of his colour.
Joanna Mendelssohn, review, 1999

AGNSW collection Pierre Bonnard Nannies' promenade, frieze of carriages (1895-1896) 156.1999.a-d
AGNSW collection Pierre Bonnard Nannies' promenade, frieze of carriages (1895-1896) 156.1999.a-d

What interests me most is neither still life nor landscape: it is the human figure.
Matisse

Larter regarded the women who modelled for him, especially his wife Pat, as the expression of positive energy against the negative censorious attitudes of bureaucratic officials.

National Gallery of Australia, 2008

[Larter’s] work was – and is – emblematic of his anti-authoritarianism and progressive personal politics, and it was also a frank celebration of sex and sexuality.
Deborah Clark, obituary, 2014

He’s never been afraid of using and celebrating very graphic content in his work, and I feel that in Australia there’s not a rich enough history of that.

Del Kathryn Barton, interview with Artbank, 2013

AGNSW collection Egon Schiele Poster for the Vienna Secession 49th exhibition (1918) 167.1979
AGNSW collection Egon Schiele Poster for the Vienna Secession 49th exhibition (1918) 167.1979
AGNSW collection Del Kathryn Barton come of things (2010) 74.2010.a-b
AGNSW collection Del Kathryn Barton come of things (2010) 74.2010.a-b

High contrast, high colour and big sexy girls was one way to get attention. It happened in advertising, so why shouldn't an artist use the same sort of thing?
Richard Larter, interview with The Sunday Age, 2002