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JAMIE BOYD
Journey Through Landscape & Myth

Private View Saturday 2nd April 2005 noon - 5.00pm
Wine served - All Works for Sale
Exibition Finishes Sunday 24th April 2005

Where enquiries of prices are made on the gallery, the work is subject to availability and the price to change.

 

The Lesson of the Master

Manic emptiness - the dissociation of sensibility, an omnipotent and excessive defence
against the anxiety of influence, novelty for novelty's sake, sensation for the sake of sensation - has dominated the British art world, under its sharp-suited and short-sighted apparatchiks (Nicholas Serota of the Tate and the Saatchi brothers) for far too long. In a "scene" such as this, the fable of the Emperor's New Clothes has been forgotten and an unmade bed is mistaken for a painting or sculpture of an unmade bed. (I know she was supposedly "making a statement"; but police officers or criminals can do that rather better.) In this infantalised and unseemly context a genuine artist such as Jamie Boyd who, in the lineage of illustrious predecessors - whether Giorgione, Rembrandt, Manet or Kokoschka ­still manages to be a magnificent craftsman, colourist and see-er, is especially valuable.

And because of ineluctable swings of the pendulum there is reason to suppose, and certainly to hope (where there's death there's hope), that in the fullness of time his patient, painstaking, unshowy, exhilarating visions, whether here of Narcissus and Echo, of Suffolk landscape, or of Australian landscape worked on and completed in Suffolk, will eventually prevail over work by his less gifted, more exhibitionistic contemporaries.

Moreover, there is an additional reason why we should pay attention to his work here at the Chappel Galleries: Jamie Boyd has been working in this area of England for thirty years and, although international in his stature - with roots in Australia, Italy and London as well as in Ramsholt - probably every landscape he does, whether the originating impulse comes from an Australian river, an observation in Tuscany or something mythological, is touched by the light and atmospherics of the River Deben. (In this exhibition two of the paintings I like best are actually of the Deben: a sunset and a stormy sky.) If Turner were alive today and could award his own Prize (the Prize that currently takes his name in vain) I am sure
that he would give it to Jamie Boyd; and that Constable too would be glad to be in and of his company: that of an artist who in the face of an art world which has become a branch of the fashion industry keeps alive the traditional role of painting, which is not to viciously shock (any fool can do that) but to show with a jolt, to open our eyes to the fullness of reality.

James Greene

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JAMIE BOYD
     
1948
Born Melbourne
     
EXHIBITIONS
     
1966
Bonython Galleries, Adelaide, South Australia
1967
Australian Galleries, Melbourme, Victoria, Australia
1968
Bonython Galleries, Sydney, New South Wales, Australia
1969
Drian Galleries, London, England
Von Bertouch Galleries, Newcastle, N.S.W., Australia
1970
Australian Galleries, Melbourne, Victoria, Australia
Bonython Galleries, Sydney & Adelaide, Australia
1971
Clytie Jessop Gallery, London, England
Von Bertouch Gallery, Newcastle, N.S.W., Australia
1972
Drian Galleries, London, England
Australian Galleries, Melbourne, Victoria, Australia
1973
Skinner Galleries, Perth, Western Australia
1976
Von Bertouch Gallery, Newcastle, N.S.W., Australia
Gallerie Kuppers, Neuss, Germany
1977
Gallerie d'Eendt, Amsterdam, Holland
1978
Fine Arts Gallery, Perth, Western Australia
1979
Rex Irwin Gallery, Sydney, N.S.W., Australia
1980
Australian Galleries, Melbourne, Victoria, Australia
New South Wales House, London, England
David Ellis Fine Art, Ballarat, Victoria, Australia
1981
Philip Bacon Gallery, Brisbane, Queensland, Australia
1982
Australian Galleries, Melbourne, Victoria, Australia
Holdsworth Gallery, Sydney, N.S.w., Australia
Bonython Galleries, Adelaide, South Australia
1984
Barry Stern Gallery, Sydney, N.S.W., Australia
1985
David Ellis Fine Art, Ballarat, Victoria, Australia
Carriaggio Gallery, Palaia, Italy
1986
Bonython-Meadmore Gallery, Adelaide, South Australia
Beaver Galleries, Canberra, A.C.T., Australia
1987
New South Wales House, London, England
1988
Boundary Gallery, London, England
Savill Gallery, Sydney, N.S.W., Australia
Schubert Gallery, Surfers Paradise, Queensland, Australia
New South Wales House, London, England
1989
Palazzo Strozzi, Florence, Italy
1990
Boundary Gallery, London, England
Beaver Gallery, Canberra, A.C.T., Australia
Christchurch Mansion, Ipswich, England
1992
Gillian Jason, London, England
1993
Aviva Campbell Gallery at the Windsor Hotel, Melbourne, Victoria, Australia
1994
Corbally Steurton, London, England
1995
Chappel Galleries, Essex, England
Eva Breuer, Sydney, N.S.W., Australia
1996
Stair Gallery, London, England
Galleria Aniela FINE ART, Kangaroo Valley, N.S.W., Australia
"People, Places, Landscapes", Aviva Campbell Gallery, Melbourne, Victoria, Australia
1997
"Reaching Beyond Time", Galleria Aniela FINE ART, Kangaroo Valley, N.S.W., Australia
"Encouters with Prints", Aviva Campbell Gallery, Melourne, Victoria, Australia
1999
Savill Gallery, Sydney, N.S.W., Australia
2002
Rebecca Hossack Gallery, London
Greythorn Galleries, Melbourne, Australia
2004
Greythorn Galleries, Melbourne, Australia
2005
Chappel Galleries, Essex, England
   
WORKS IN PUBLIC COLLECTIONS
   
Tavistock Centre, London
National Gallery of Victoria
Council of Adult Education
Artbank Australia
University of South Australia
University of Western Australia
Queen Victoria Museum & Art Gallery, Launceston, Tasmania
B.H.P. Australia
Boxer Collection, Australia
Guildhall School of Music & Drama, London
   
PUBLICATIONS
   
Dictionary of Australian Art, Alan McCulloch Australian Art 1975-80, Kim Bonython
The Art of the Boyds, P. Dobrez / P. Herbst Creating a Self Portrait, T. Coates / M. Beazley New Art Four, Nevill Drury
An Antipodean Connection, G. Prampolini / M C / Hubert / Slatkine / Geneve
Modern Painters Autumn '92

 

 
 
 
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