'A visual journey into the life and legacy of one of Australia’s most celebrated artists, Brett Whiteley. Through archive, drama and visual effects, this raw and intimate film shows Whiteley’s driving passion to express himself through his art.' (Synopsis)
Brett Whiteley : Art, Life and the Other Thing
Melbourne
:
Text Publishing
,
2016
9753181
2016
single work
biography
'When he died in 1992 Brett Whiteley left behind decades of ceaseless activity—some works bound to a particular place or time, others that are masterpieces of light and line.
'Whiteley had arrived in Europe in 1960 determined to make an impression. Before long he was the youngest artist to have work acquired by the Tate. With his wife, Wendy, and daughter, Arkie, Whiteley then immersed himself in bohemian New York. But within two years he fled, having failed to break through.
'Back in Sydney, he soon became Australia’s most celebrated artist. He won the Archibald, Wynne and Sulman prizes in the same year—his prices soared, as did his fame. Among his friends were Francis Bacon and Patrick White, Billy Connolly and Dire Straits. Yet addiction was taking its toll: Whiteley struggled in vain to separate his talent from his disease, and an inglorious end approached.
'Written with unprecedented behind-the-scenes access, and handsomely illustrated with classic Whiteley artworks, rare notebook sketches and candid family photos, this dazzling biography reveals for the first time the full portrait of a mercurial artist.' (Publication summary)
'In 1980, Brett Whiteley completed his famous portrait of Patrick White, Patrick White at Centennial Park 1979–1980, disagreements over which caused a terminal rupture in the friendship between the two men. Of his intentions for the painting Whiteley said, ‘Could I make a vision of the feeling of his literature plus how he lived, and the complexity of him as a person, his humour, his bitchiness, his pronouncements?’' (Introduction)
'In 1980, Brett Whiteley completed his famous portrait of Patrick White, Patrick White at Centennial Park 1979–1980, disagreements over which caused a terminal rupture in the friendship between the two men. Of his intentions for the painting Whiteley said, ‘Could I make a vision of the feeling of his literature plus how he lived, and the complexity of him as a person, his humour, his bitchiness, his pronouncements?’' (Introduction)
