John Perceval

(1923-2000)

Double Sunset, 1972

Footnotes

PROVENANCE
Collection of Anne Perceval, Melbourne
Blue Boy Gallery, Melbourne
Private collection, Melbourne
thence by descent
Private collection, Melbourne


In 1959, with the growing wave of abstract expressionism sweeping the globe, John Perceval was persuaded by art critic and historian, Bernard Smith to join the Antipodeans. This artistic group that included Charles Blackman, Arthur and David Boyd, John Brack and Clifton Pugh, focused on rebelling against the global trend whilst raising the status of figuration and embracing a uniquely Australian perspective. Though Perceval's own methodology was borderline, his subject matter clearly distinguished itself apart, in particular that of his later landscapes, many of which he painted en-plein-air. Fellow artist and good friend Fred Williams was originally excluded from the group, perhaps being perceived as too abstract and experimental at the time, despite an invitation a few months later – which he declined.

'Williams and Perceval first met in the 1940s through their mutual friend, John Brack, and became regular painting companions when the Williams family moved from Upwey to Hawthorn. They lived just around the corner from Anne Hall whom Perceval married (the present work formerly in the collection of Anne Perceval). A number of painting trips were made together between 1969 and 1972 with the Yan Yean swamp becoming a favoured location and affectionately known as 'Perceval's swamp' for its suitability as a Perceval painting.1

An insightful photograph taken during one of their many painting trips by Michael Ingleton, reveals both Perceval and Williams' respective attitudes and approach towards their practice. Williams can be seen in the distance, standing back from his easel, thoughtfully processing the landscape in view, contemplating his next gesture. Meanwhile, Perceval is hunched over his canvas laid against the ground with his painting paraphernalia strewn around him. Demonstrating a far more frenetic, vigorous sense of urgency to capture the landscape in view. Describing the location on 3 April 1972 as having 'an enormous amount of colour', the black and white photograph appears to show the early stages for the present work, Double Sunset.

Alex Clark

1. Traudi Allen, John Perceval, Melbourne University Press, Melbourne, 1992, p. 113