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He is represented in the collections of all the large Australian galleries, and was twice winner of the Archibald, Wynne and Sulman prizes. Reading from left to right, it begins with an exploding sun from a portrait of Yukio Mishima that Whiteley had started but never completed. It has been regarded as a self-portrait, a giant outpouring of energy and ideas brought forth over a long period of time. He began a relationship with Janice Spencer, with whom he travelled to Japan, among other countries. His paintings during these years were influenced by the modernist British art of the sixties – particularly the works of William Scott and Roger Hilton – and were of brownish abstract forms. [4] He painted Woman in bath (1963)[5] as part of a series of works he was doing of bathroom pictures. It was added to the New South Wales State Heritage Register on 23 March 2018. [citation needed], In 1967 Whiteley won a Harkness Fellowship Scholarship to study and work in New York. ", Whiteley became increasingly dependent on alcohol and also became addicted to heroin. He started drawing at a very early age. He won the Wynne Prize again, in 1984, with The South Coast after rain. Difficult pleasure is how he described painting, or creating art stating, "Painting is an argument between what it looks like and what it means. He also showed his large T-shirt collection, and talks about his sculpture, which he said is an aspect of his work that many people do not take seriously. He painted abstracted images of bush scenes such as The bush (1966)[12] and also images which resulted from experimentation with various drugs, such as alcohol in the humorous Self portrait after three bottles of wine (1971).[13]. Before this, his previous highest-selling work was The pond at Bundanon for A$649,500. These are amongst the most prestigious art prizes in Australia. It has primarily black on one side and has an image of his wife Wendy in a bathtub, seen from behind. Your contribution is much appreciated! It was written with unprecedented behind-the-scenes access, and illustrated with classic Brett Whiteley artworks, rare notebook sketches and candid family photographs. Whiteley loved painting Sydney Harbour views in the 1970s such as in his paintings The balcony 2 (1975)[10] and Interior with time past (1976),[11] which show an interior and exterior view starting with a room that leads through open windows to the harbour full of boats outside. Artist Brett Whiteley and his daughter Arkie in 1965. As with other works, there is evidence of Whiteley's love for Matisse, ultramarine blue, the Sydney Harbour location and for collected objects. Wendy Whiteley (who divorced Brett three years before his death in 1992) discovered 197 drawings after I'd finished numbering the catalogue." He was an actor, known for Fanta (1972), Sunshine City (1973) and Release (1967). It is also known as Brett Whiteley House and Visual Curtilage and Lochgyle. He was the youngest living artist to have work purchased by the Tate, a record that still stands. He was married to Wendy Whiteley.He died on June 15, 1992 in Thirroul, New South Wales, Australia. [8] He took the van Gogh painting and stretched the lines of the room to a single vanishing point, creating an image which appears fast moving and extremely vibrant and dynamic. The famed author Mishima had committed seppuku in 1970 and the literary mythology that arose of his apparent final vision of enlightenment in the form of the exploding sun, as he pressed the knife into his body, inspired and became the basis for this work. Growing up in Longueville, a suburb of Sydney, Whiteley was educated at Scots School, Bathurst[2] and Scots College, Bellevue Hill. 1978 was the only year in which all three prizes have been won simultaneously by the same person. It took a great deal of his time and effort, taking about a year of full-time work. Brett was 53 years old at the time of death. [24], In August 2018, Opera Australia announced that it had commissioned an opera to be based on the life of Brett Whiteley. In 1959 he won an art scholarship sponsored by the Italian government and judged by Russell Drysdale. The painting which was finally produced was made of a fantastic array of elements, including collage, photography and even flashing lights, with a total length of nearly 22 metres. Whiteley's intention was to portray the violence of the events, but not to go too far in showing something which people would not want to see. He painted a view of his friend Patrick White as a rock or a headland in Headland; White had told Whiteley that in the next life he would like to come back as a rock.

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