Max Dupain put his lack of clannishness down to a temperament which inclined to the stoic and an early life as an only child. The camera was acquired from the Max Dupain studio when Dupain downsized and moved his studio into the L&P Photographics Building at 96 Reserve Road, Artarmon. 0000008419 00000 n The image recalls Dupain’s earliest documentary images in Sydney of homeless men, victims of the Depression, living in the Domain and parks in Sydney well into the late 1930s and early 1940s. We pay our respect to Aboriginal and Torres Strait Islander cultures and to Elders both past and present.
Certainly Dupain’s war time portraits, including those of New Guinea native bearers and those from his last active pursuit of portrait commissions in the 1950s, are powerful and direct. H�lWM��'���E�։ee���d1=Q��_�3`��L���z��0��k�H���8��C�
The accessories were made by various makers including Kodak Pty Ltd, Sangamo Weston Ltd and Dallan.Camera, 'Linhof Technika', metal / plastic / glass, made by Linhof, Germany, c. 1959, used by Max Dupain, Sydney, New South Wales, Australia, 1959-1980sSportsfinder for 'Linhof Technika' cameraThe Museum of Applied Arts and Sciences acknowledges Australia’s First Nations Peoples as the Traditional Owners and Custodians of the land and gives respect to the Elders – past and present – and through them to all Aboriginal and Torres Strait Islander peoples. Dupain used this camera for many years, mainly for architectural photography. In 1954, in the composition of his portrait of the young Harry Seidler and visiting master of modernism Walter Gropius, Dupain leaves a tense space and sense of the historic moment; Dupain would go on to be Seidler’s photographer of choice for the next thirty years. The camera also comes with a silver metal cable release, a black plastic Leica lens cap and an aluminium sports finder.Aboriginal and Torres Strait Islander peoples are advised that the MAAS website contains a range of Indigenous Cultural Material.
Facing Memory: Headspace 4 provides us with valuable insights into the thoughts, creative processes and art-making practices of secondary students from Year 7 to Year 12 from sixty-two schools in the Australian Capital Territory, regional New South Wales and Victoria Max Dupain, in full Maxwell Spencer Dupain, (born April 22, 1911, Sydney, New South Wales, Australia—died July 27, 1992, Sydney), Australian photographer who developed an influential style of commercial photography that emphasized the geometric forms of his architectural and industrial subjects.. Dupain, who exhibited his first landscape photographs while attending grammar school, … 121 0 obj <> endobj xref 121 21 0000000016 00000 n Philosophically, Dupain mixed rationalism with a less defined alliance with the passionate exhortation to live directly in one’s environment, body and heart. This includes artworks, artifacts, images and recordings of people who may have passed away, and other objects which may be culturally sensitive. 0000001293 00000 n
Although perceived to be a recent phenomenon, the 'Aussie invasion' of Hollywood can actually be traced as far back as the early 1900s Find a particular geographical area that is important to you. Dupain’s best portraits of these decades combine a dramatic boldness in composition and lighting, with telling inclusions of foreground or background elements as in the portrait of artist Hal Missingham (also Director of the Art Gallery of New South Wales and a fellow photographer), his hand raised in the air eloquently but inexplicably; or in the view of Robert Emerson Curtis drawing a profile of Clem Seale in 1945. This Linhof Technika bellows camera and accessories were owned and used by Max Dupain, one of Australia's most notable modern architectural photographers.
Dupain began using the camera in 1959, whereupon it quickly become his 'go to' camera for architectural photography, and he continued using it through until the 1980s.
Max Dupain is synonymous with the ascendancy and acceptance of modern photography in Australia. The elderly poet Mary Gilmore is shown in half-light, seemingly in mid sentence, firing with undiminished vitality. trailer <<5C6ECC0225C3427AA8F85ADD4FD82654>]/Prev 535177>> startxref 0 %%EOF 141 0 obj <>stream Max Dupain was Australia's most respected and influential black & white photographer of the 20th century. So why did their marriage crumble less than three years later? Max Dupain is synonymous with the ascendancy and acceptance of modern photography in Australia. 0000001909 00000 n His work has been collected by most of the major galleries around Australia and as well by private collectors world-wide. He adapted very quickly and was soon patronised by Sydney Ure Smith as the hot, sharp, dramatic, sexy look in modern photography. In 1924 his uncle Clarence Farnsworth, an amateur photographer, gave him his first camera. Other contacts and introductions in these early years led Dupain to d work for the Australian Broadcasting Commission as well as for David Jones department stores. 0000004656 00000 n Ure Smith was the doyen of art and lifestyle publishing. ��Xj�֍)�V%lE�XQb3���2�����*�X��EL%f��� Max Dupain is one of Australia's most revered photographers. This philosophy was espoused by poets and writers such as D.H Lawrence, from the movement known in the 1920s and 1930s as Vitalism.Aboriginal and Torres Strait Islander viewers are warned that this website contains images of deceased persons. 0000000716 00000 n