1999

Richard Dunlop’s show at Ray Hughes Gallery gently envelopes you as you walk in, inducing a mild, pleasurable sensation of which Matisse might have approved. The overlay of lianas dividing the surface into Matissean arabesques works well, as do the fine lines etched into the leaves with a nail.” – Sebastian Smee, 1999

“Since 1992, I’ve strived to conceive images which I regard as a fresh contribution to the Australian landscape painting tradition, drawing on ‘Asian’ verticalised views of landscape rather than a rather hackneyed European panoramic view. So many of my pictures are intended to be ‘read’ from the bottom up, and with a tension between macro view and micro-details like the best of neo-Romantic painters or 19th century botanists. But it’s not an exclusive interest. I dislike artists that have as an overarching goal the creation of a strong ‘brand’ which taps some current fashion or pot of money. The best painters in history ignored that stuff, maintaining long-distance eyes both to the future and past. The sediments of time revealed their voices to be almost inadvertently distinctive of their age.” – Richard Dunlop, Catalogue for Hinterland, Ray Hughes Gallery, 1999

“Mondrian died in New York in 1944 at the age of seventy-four, before he could finish his Victory Boogie-Woogie. The highest price he ever received was $600 for Broadway Boogie-Woogie… Out of the exhibition of deKooning’s Women, only one or two sold, and those for around $1800. Pollock never enjoyed the sweet smell of success; an eighteen-foot painting called One was sold in 1952 for $8,000, which was to stand as the greatest amount we received for a Pollock during his lifetime.” – Sidney Janis, The Art Dealers