Should this be seen as an indictment of Olley’s art, or of Art History and the emphasis on innovation and ‘progress’? Vibrant and beautiful, they invite you to spend time with them, to explore the world so lovingly shown. Margaret Olley gained early fame when she sat for this prize-winning picture in 1948. Read more: A noisy, passionate show from an artist in a hurry, Quilty has just one emotional pitch Portrait in the mirror (1948) by Margaret Olley. For more information, see our Still Life Fruit and Flowers - Margaret Olley Min Please note that this site uses cookies. Read the latest visit information, including hoursWe acknowledge the traditional custodians of the Country on which the Gallery stands, the Gadigal of the Eora Nation, and recognise their continuing connection to land, waters and culture. Rosebery´s Fine Art Auctioneers She incorporated small dried arrangements in Portrait in the mirror 1948 but it was not until the early 1970s that Australian wildflowers began to be included in her repertoire ― and she always designated them wildflowers, not native flowers. Margaret Olley AC (1923-2011), painter, was born in Lismore and studied art at East Sydney Technical College and the Grande Chaumière in Paris. estimates To its right is the 1948 Archibald-winning portrait of Olley by William Dobell. Margaret Olley Portrait in the mirror 1948 454.2001. On the left is the 2011 Archibald-winning portrait of Olley by Ben Quilty (see my analysis 13-Apr-2014). Marigolds and Fruits - Margaret Olley Margaret Olley … She was well-known on the Sydney post-war art scene and her portrait was painted by both Russell Drysdale and William Dobell. Margaret Olley Backbuildings 1948 453.2001. It was also visible to the general public through artworks by Olley herself and by other artists such as R. Ian Lloyd (see Enter your email address to follow this blog and receive notifications of new posts by email.Fill in your details below or click an icon to log in:http://www.smh.com.au/entertainment/art-and-design/a-colourful-life-celebrated-frame-by-frame-20110726-1hyhw.htmlNelson (2011) wrote “Olley defied time, progress, change and innovation; yet even in an epoch impatient with orthodoxy and tradition, her work miraculously escaped the stigma of being labelled conservative… Each picture, though in some sense a bit like many others, has required the artist to make fresh and independent decisions about the logic of the colours that wrap around the volumes or spread themselves over the planes.”There is a huge amount of material about Margaret Olley available on the internet, including:http://sydneylivingmuseums.com.au/exhibitions/margaret-olley-homehttp://www.theage.com.au/victoria/the-magic-of-margaret-olley-20110728-1i20h.html http://www.artgallery.nsw.gov.au/collection/works/454.2001/http://www.artgallery.nsw.gov.au/collection/works/8164/UA1-WA:P4-p3-Exercise: Visit a cast gallery | Fibres of BeingThis continuity could itself be a cause for concern. Olley was keenly aware of modern thought in art, but she was not distracted in her own artistic purpose.Maunder, P. (2011) “A colourful life, celebrated frame by frame” http://www.theguardian.com/artanddesign/2011/aug/25/margaret-olley-obituaryUA1-WA:P4-p2-Research Point: Artists’ self-portraitsAlthough there is a clutter of objects there is also a sense of space and calm. Max Christopher Allen. Margaret Olley Chinese screen and yellow room 1996 551.1996. 1948 Painting: oil on cardboard In this early self-portrait, Margaret Olley surrounds herself with the things that would preoccupy her throughout her career: the fruits, flowers and exotic objects that she collected about her at home. Her paintings seemed somehow too decorative, almost http://australia.gov.au/about-australia/australian-story/margaret-olleyhttp://www.nag.org.au/collection/interpreting_ READ NOW: Garden Flowers… ... Margaret Olley's 1948 self-portrait, titled Portrait in the Mirror.