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Vintage 20th Century Artists Proof print by Australian Peter Bowen
$145
SHIPPING OFFERED
Offered for sale is this vintage 20th Century original Artists Proof print by Australian artist Peter Bowen, estimated as dating from between 1986 to 1988. I’d like to acknowledge the following generously shared information from Peter’s friend and fellow artist Greg Fullerton (who also confirmed its authenticity and provenance as being exhibited in Melbourne alongside a variety of similarly-themed pieces (including a fireman and first aider)).
Peter was a vital, witty and energetic individual who engaged intensely in whatever he was passionate about. Born in 1939 to a Geelong family (that ran a chemicals firm), he was educated at Geelong Grammar as well as completing a Post-Grad Diploma of Education at Rusden (now Deakin University). A learned and knowledgable individual, Coming late to realise his journey as an artist, Peter showed typical commitment to this new passion by selling his Porsche, buying a run-down Holden ute and moved into an old dairy in Fitzroy. Influenced by 1960’s British art (particularly poster and photographic artwork), especially advertising and social/propaganda/community posters Peter however felt drawn to expression through printmaking/lithography. As a mature-age student (and like many Melbourne artists in the 1980’s and early 1990’s) he sought training at the Philip Institute Bundoora (now part of the RMIT), where he was exposed to a variety of tutors (such as Mirka Mora, Robert Drummond, Stanley Spencer, Harry Nankin and Grame Sutherland). This particular example of his output came about through a series of workshops he completed with the Australian Print Workshop (Fitzroy) during 1986 to 1988 (conducted variously by Dom De Clario, Peter Booth, Dale Hickey, Mike Brown and Nick Mortakis). His other great joy in life was sailing. Showing great artistic flair and obvious talent as a print-maker, unfortunately Peter passed away in October 1995 at the early age of 56.
In a naive, almost childlike-style (and strongly referencing his interest in social/propaganda posters) Peter has crafted an image of a bearded farmer working on a tractor. With its bold primary colours, at first viewing this can be taken as a simple, bright and fun expression of rural, hardworking Australian outdoor life. Because there is a motif (that also appears in his other contemporary pieces) which anchors the work as purely Australian – the rising sun. The localised use of this dates from the early-19th Century onwards, symbolising and galvanising the concept of ‘Advance Australia’ (and famously selected for Australian military use). So with further interpretation it suggests Peter is asking us to consider ideas around work, idealised rural life and wider concepts such as masculinity, mateship. With the sun on his back and sporting a bold, chiselled jawline and hairy chest, this wryly smiling farmer offers an image of strength, reassurance ...
Then begins the opportunity to investigate the more playful, hidden-in-plain-sight elements – where perhaps Peter’s trademark sense of humour is creeping in. Like placement of the sun behind the farmer’s head, like a halo framing him in modern expression of Sainthood, Jesus Christ and the Godhead. Expanding upon a simple motif to touch on classical, orthodox representations of Christianity and the divine.
The “brand” of the tractor (with a lightning bold logo – ‘aha’!); ‘Façadia’ - a nonsense word as no actual tractor maker has ever existed with this name. In all likelihood this is a play on the word ‘facade’. Adding to this is our farmer’s hat with its unusual radiating ‘petals’ around the brim – unlike any Akubra ever made! So at the same time as creating a powerful image of Australian rural life and masculinity, Peter is posing the important question: ‘Are you so sure about this blokey, idealised manhood stuff? It’s all a front mate. A facade, a farce. Look a bit deeper and you’ll see fragility. Perhaps something real.’.
As an Artists Proof copy this one-off example of Peter’s work is a s
Peter was a vital, witty and energetic individual who engaged intensely in whatever he was passionate about. Born in 1939 to a Geelong family (that ran a chemicals firm), he was educated at Geelong Grammar as well as completing a Post-Grad Diploma of Education at Rusden (now Deakin University). A learned and knowledgable individual, Coming late to realise his journey as an artist, Peter showed typical commitment to this new passion by selling his Porsche, buying a run-down Holden ute and moved into an old dairy in Fitzroy. Influenced by 1960’s British art (particularly poster and photographic artwork), especially advertising and social/propaganda/community posters Peter however felt drawn to expression through printmaking/lithography. As a mature-age student (and like many Melbourne artists in the 1980’s and early 1990’s) he sought training at the Philip Institute Bundoora (now part of the RMIT), where he was exposed to a variety of tutors (such as Mirka Mora, Robert Drummond, Stanley Spencer, Harry Nankin and Grame Sutherland). This particular example of his output came about through a series of workshops he completed with the Australian Print Workshop (Fitzroy) during 1986 to 1988 (conducted variously by Dom De Clario, Peter Booth, Dale Hickey, Mike Brown and Nick Mortakis). His other great joy in life was sailing. Showing great artistic flair and obvious talent as a print-maker, unfortunately Peter passed away in October 1995 at the early age of 56.
In a naive, almost childlike-style (and strongly referencing his interest in social/propaganda posters) Peter has crafted an image of a bearded farmer working on a tractor. With its bold primary colours, at first viewing this can be taken as a simple, bright and fun expression of rural, hardworking Australian outdoor life. Because there is a motif (that also appears in his other contemporary pieces) which anchors the work as purely Australian – the rising sun. The localised use of this dates from the early-19th Century onwards, symbolising and galvanising the concept of ‘Advance Australia’ (and famously selected for Australian military use). So with further interpretation it suggests Peter is asking us to consider ideas around work, idealised rural life and wider concepts such as masculinity, mateship. With the sun on his back and sporting a bold, chiselled jawline and hairy chest, this wryly smiling farmer offers an image of strength, reassurance ...
Then begins the opportunity to investigate the more playful, hidden-in-plain-sight elements – where perhaps Peter’s trademark sense of humour is creeping in. Like placement of the sun behind the farmer’s head, like a halo framing him in modern expression of Sainthood, Jesus Christ and the Godhead. Expanding upon a simple motif to touch on classical, orthodox representations of Christianity and the divine.
The “brand” of the tractor (with a lightning bold logo – ‘aha’!); ‘Façadia’ - a nonsense word as no actual tractor maker has ever existed with this name. In all likelihood this is a play on the word ‘facade’. Adding to this is our farmer’s hat with its unusual radiating ‘petals’ around the brim – unlike any Akubra ever made! So at the same time as creating a powerful image of Australian rural life and masculinity, Peter is posing the important question: ‘Are you so sure about this blokey, idealised manhood stuff? It’s all a front mate. A facade, a farce. Look a bit deeper and you’ll see fragility. Perhaps something real.’.
As an Artists Proof copy this one-off example of Peter’s work is a s
- Date Listed:29/08/2023
- Last Edited:29/08/2023
- Condition:Used
- Shipping:Shipping & Pickup
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