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Australian art

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White lines (vertical) on ultramarine



Tony Tuckson

Egypt, England, Australia

18 Jan 1921 - 24 Nov 1973


If we consider the several components manifested in a work of art ... foremost is man himself, the artist ... but equally important is the use of his intuitive faculties - the influence of the unconscious.

Tony Tuckson 1964

It is for his later paintings such as 'White lines (vertical) on ultramarine' that Tony Tuckson is admired as one of Australia's finest abstract expressionists. From the late 1950s, he used increasingly simplified forms and restricted colour to concentrate on the act of painting. While absorbing developments in European and American abstraction and admiring the work of fellow Australian artist Ian Fairweather, Tuckson's approach is perhaps most strongly allied to his lifelong interest in Aboriginal and Melanesian art.


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Materials used

diptych: styrene-based house paint, polyvinyl acetate and pigment on hardboard


213.5 x 244.6 cm board overall :

a - left panel, 213.5 x 122.3 cm, board

b - right panel, 213.5 x 122.3 cm, board

Signature & date

Not signed. Not dated.


Gift of Annette Dupree 1976

Accession number


Artist information

Tony Tuckson

Artist profile

Works in the collection


Shown in 6 exhibitions

Exhibition history

Referenced in 16 publications


Susan Borham (Editor in Chief) and Michael Hutak (Editor), Australian art collector, Sydney, Apr 2001-Jun 2001, 60 (illus.).

Deborah Edwards, Two centuries of Australian painting: a selection from the Art Gallery of New South Wales, 'Introduction', pg. 8-14, Sydney, 1986, 40 (illus.). 44

Renée Free, Geoffrey Legge and Daniel Thomas AM, Tony Tuckson, Sydney, 2006, 140 (colour illus.), 200. plate no. 153

Sasha Grishin, Australian art: a history, 'There is no art capital in Australia', pg.492-501, Carlton, 2013, 498, 499 (colour illus.), 553, 569. plate no. 45.5

Bruce James, Art Gallery of New South Wales handbook, 'Australian Collection: Painting and Sculpture', pg. 102-181, Sydney, 1999, 165 (colour illus.).

Jonathan Jones and Sherman Contemporary Art Foundation, Jonathan Jones: the tyranny of distance, 'Jonathan Jones in conversation with Hetti Perkins', pg. 12-19, Sydney, 2008, 14 (colour illus.).

Susan McCulloch, Alan McCulloch and Emily McCulloch Childs, The new McCulloch's encyclopedia of Australian art, 'A prophet in his own country', pg. xi, Carlton, 2006, xi, 967-968.

Ewen McDonald, AGNSW Collections, 'From Colonialism to late Modernism', pg. 7-106, Sydney, 1994, 87 (colour illus.).

Sandra McGrath, Art and Australia (vol. 12, no. 2), 'Tony Tuckson', pg. 156-166, Sydney, Oct 1974-Dec 1974, cover (colour illus.). dated c.1972-73.

Denise Mimmocchi (Editor), Tony Tuckson, Sydney, 2018, cover (colour illus.) (detail), 48, 49, 74, 75, 76 (colour illus.), 77, 78-79 (colour illus.) (detail), 132-33 (colour illus.), 209, 223.

Barry Pearce, Australian art: in the Art Gallery of New South Wales, 'Landscape and gesture', pg. 239-240, Sydney, 2000, 259 (colour illus.), 302.

John Saxby (Editor), Look, 'Art that made me: Ildiko Kovacs', pg. 14-15, Sydney, Apr 2016, 15 (colour illus.).

Daniel Thomas AM, Tony Tuckson 1921-1973, Sydney, 1976, 29, 40 (illus.).

Aida Tomescu, Look, 'Fluid construction', Sydney, Jan 2019-Feb 2019, 62, 63 (colour illus.).

Nick Waterlow (Director), The 1988 Australian Biennale: from the Southern Cross: a view of world art c.1940-88, List of works in the exhibition 276-282, Sydney, 1988, 282.

INK: Whiteley and Others, Sydney, 2006. List of works