Arriving with his family in Melbourne at the age of 14, Max Meldrum studied under Frederick McCubbin and Bernard Hall at the National Gallery of Victoria Art School and was awarded the travelling scholarship in 1899, departing for Europe the following year.
Meldrum made France his home, during which time he studied the Old Masters and exhibited with the Paris Salon. The influence of Velásquez and Rembrandt was strong, evident in the tonal quality of the work he produced there, including The lane, Pacé. After Meldrum returned to Australia, his influential theory of painting as pure science – with tone being the most important component – attracted a dedicated following, and he applied his theory equally to still-life and landscape compositions.
Shown in 2 exhibitions
Referenced in 6 publications
Robert Haines, Paintings and drawings by Max Meldrum, foreward, Sydney, 1974. cat.no. 1
Ursula Prunster, Australian art: in the Art Gallery of New South Wales, 'Home and abroad', pg. 73-74, Sydney, 2000, 102 (colour illus.), 301.
Daniel Thomas, Art and Australia, 'Australian collection', pg. 52-62, Sydney, Jul 1972, 55 (colour illus.).
Max Meldrum and associates: their art, lives and influences, 'Paris and Pacé', pg. 19-24, Victoria, 1996, 44 (colour illus.), 129. titled 'La Ferme (The Farm) (The Lane, Pacé)'; dated 1908
Art Gallery of New South Wales picturebook, Sydney, 1972, 91 (colour illus.).
A retrospective exhibition of Australian painting, Sydney, 1953. cat.no. 90; titled 'The Farm'