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

🛈 Find out what you need to know before visiting


Study for 'Untitled'



Normana Wight


1936 –

No image
  • Details

    Media category
    Materials used
    gouache on irregularly shaped paper affixed to sheet of thick paper
    20.8 x 10.5 cm image (irreg.); 27.9 x 19.1 cm backing sheet
    Signature & date

    Not signed. Not dated.

    Purchased with funds provided by the Australian Prints, Drawings and Watercolours Benefactors' Fund 2014
    Not on display
    Accession number
    © Normana Wright
    Artist information
    Normana Wight

    Works in the collection


  • About

    Normana Wight was one of only three women artists included in the landmark 'The Field' exhibition of 1968 (NGV, AGNSW); this gouache is a preparatory study for the painting she exhibited ('Untitled' 1968, cat. 74). The painting was destroyed by the artist in the early 1970s.

    Born in Melbourne in 1936, Normana Wight studied painting at RMIT (1954-57) and etching in London at the Central School of Arts and Crafts (1962-63). In 1964 she was teaching in Sydney and by the time of 'The Field' had exhibited in a solo show at Pinacotheca (Melbourne, 1967) and also at Central Street Gallery (Sydney, 1968). Between 1966-1980 she had eight solo exhibitions in Melbourne and Sydney, as well as group exhibitions of the Print Council of Australia and Contemporary Art Society, and she lectured in printmaking at the University of Southern Queensland from 1981 - 1998. Her work is in the NGA, numerous state/ regional and university collections, and she now lives in Queensland.

    Wight's work combined printmaking and painting techniques to create minimalist hard-edged works with shaped canvases, akin to those of many of her contemporaries who, influenced by the writings of Clement Greenberg, began creating highly refined works of reductive formalism, or 'post painterly abstraction' in the 1960s. 'The Field' presented these artists together in a forceful and unambiguous statement on a new Australian avant-garde that was international in its outlook and assertive of its centrality to contemporary Australian painting.

  • Bibliography

    Referenced in 1 publication

    • Clare Temple, Foundation Newsletter #24, 'Curators' and coordinators' reports', pg. 8-11, Sydney, Jul 2014, 10 (colour illus.).

Other works by Normana Wight

See all 5 works