We acknowledge the Gadigal of the Eora Nation, the traditional custodians of the Country on which the Art Gallery of NSW stands.

Title

The progenitors

1938

Artist

Laurence Le Guay

Australia

25 Dec 1916 - 02 Feb 1990

  • Details

    Date
    1938
    Media category
    Photograph
    Materials used
    gelatin silver photograph, toned montage, vintage
    Dimensions
    38.5 x 38.5 cm image/sheet
    Signature & date

    Not signed. Not dated.

    Credit
    Purchased 1979
    Location
    Not on display
    Accession number
    169.1979
    Copyright

    Reproduction requests

    Artist information
    Laurence Le Guay

    Works in the collection

    23

    Share
  • About

    Laurence Le Guay started his photographic career with Dayne Studios in 1935 at the age of 18. In 1938 he was invited to join the Contemporary Camera Groupe which included Max Dupain and Olive Cotton, as well as several older photographers including Harold Cazneaux and Cecil Bostock. The Groupe was committed to practising and promoting a modern Australian approach to photography. Le Guay, like Dupain and other members, was interested in European modernism and wanted to find a way to use this style to create uniquely Australian images.

    ‘The progenitors’ is one of a series of montage works that Le Guay produced on the theme of modernism and the human condition. In the image, the nude man and woman are positioned as massive figures within an industrial landscape. The woman looks skyward with one hand pressed to her temple, while the man is seated at her feet and gazes up at her and the factory towers. The pose of the woman echoes the towers of the factory behind her, while the light and cloud suggest the enlightenment of the industrial world. The implication is that the couple are a modern Adam and Eve, with their ability to produce a new Australian race intrinsically linked to the productive capabilities of the modern industrial machines behind them. As Isobel Crombie has written:
    The title of Le Guay’s work potently suggests the complex mix of issues regarding race, heredity and modernity that circulated during the 1930s … A progenitor can mean a spiritual, political or intellectual predecessor and, in this context, the couple offer the viewer the reassuring promise of future prosperity.1

    1. Crombie I 2004, ‘Body culture: Max Dupain, photography and Australian culture, 1919–1939’, Peleus Press/National Gallery of Victoria, Melbourne p 121

    © Art Gallery of New South Wales Photography Collection Handbook, 2007

  • Exhibition history

    Shown in 4 exhibitions

  • Bibliography

    Referenced in 7 publications

Other works by Laurence Le Guay

See more works