Europa and Gold Waterfall   Enlarge
 Oil on Canvas
  Image: 65 x 55 cm
Framed: 90 x 80 cm

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Oil on Canvas

Price subject to change without a prior notice.

• 1971 The Wanderer series (first exhibition) Festival of Arts, Adelaide, South Australia.
  The Adelaide Festival began in the late 1950s with efforts by Sir Lloyd Dumas to establish a major arts festival that would bring to world-class cultural exhibitions.
  The Adelaide Festival held in March is made up of several events, features include opera, theatre, dance, classical and contemporary music, cabaret, new media, literature and visual art.

• 1971 'The Wanderer' Zwemmer Gallery London UK 'The Wanderer' was exhibited in three sections in three concurrent separate exhibitions in London.

• Zwemmer introduced modernism to London, Avant-garde, modernism, Anton Zwemmer (1892-1979)

• 1972 'The Wanderer' Anne Von Bertouch Galleries, Newcastle, New South Wales

• 1972-75 South Yarra Galleries Gallery Melbourne, Victoria, Australia with Joseph Brown a leading art dealer promoting a wide range of Australian artists, both historical and contemporary.
  In May 2004, Joseph Brown donated the major part of his collection of Australian art to the National Gallery of Victoria the most generous single gift of works of art ever made to a public gallery in Australia.
  Displayed at the Ian Potter Centre for Australian art, The Joseph Brown Collection provides a cross section of Australian art. Included are paintings from all major periods from colonial to Heidelberg to Aboriginal and twentieth-century art.

Europa reaching Gold

David BOYD (1924-2011)

Europa Gold Waterfall and White Cockatoos - masterwork

Oil on Canvas Signed Lower left DAVID BOYD

Image: 65 cm x 55 cm

Framed: 90 cm x 80 cm

Price: Enquire

Price subject to change without a prior notice

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David Fielding Gough BOYD (23 August 1924-2011 in Murrumbeena, Victoria) is an Australian artist, and a member of the BOYD artistic dynasty. The BOYD artistic dynasty began with the marriage of Emma Minnie à Beckett (known as Minnie) and Arthur Merric BOYD in 1886.

Both were already established as painters at the time of their marriage. Their second-  son William Merric BOYD married Doris Gough and had five artistic children, Lucy de Guzman BOYD, Arthur Merric Bloomfield BOYD, Guy Martin à Beckett BOYD, David Fielding Gough BOYD, and Mary Elizabeth BOYD.

In 1948 David BOYD married Hermia Lloyd-Jones, the daughter of graphic artist Herman and Erica Lloyd-Jones. Following the tradition of their family, their three daughters Amanda, Lucinda, and Cassandra are artists.

His early career in the 1950s and 60s was the subject of much controversy in Australia as his works focused on the unpopular topics of the legal system The Trial series  of paintings, religion and Aboriginal people the Tasmanian Aboriginals series of paintings. In the 1970s BOYD returned living in France before re-settling in Australia.

David BOYD has won significant international recognition, in 1969 David BOYD was invited by the Commonwealth Institute of Art in London to hold a major retrospective at their Art Gallery. In 1998 he received award MEMBRO ALBO DORO DEL SENATO ACCADEMICO officially recognised by the International Academy of Modern Art Rome in Italy.

David BOYD held exhibitions throughout Australia and overseas from the 1950’s onwards.

In 1969 he was invited by the Commonwealth Institute, London to hold a retrospective exhibition. The introduction to the catalogue written by Professor Bernard Smith the then Professor of Contemporary Art in the University of Sydney summed up the work and position of David BOYD in the Australian art scene when he wrote:- "This exhibition represents a personal victory over fashion.

For ten years David BOYD has painted against the current mainstream and for ten years Australian critics subjected his art to severe criticism. But during the last twelve months or so the hostility has weakened; revised opinions are beginning to appear. What was really at issue was not so much the quality of the paintings as the validity of his position.. Moral values, the human condition, might well have inspired so it was argued, great art in the past.

But painting had now exhausted these positions. They were no longer available for the artist of the nineteen sixties. The criticism has not mattered much. David BOYD has continued to paint in his own personal manner and to find an audience and a growing market for his art in Australia and Britain. He has found that there is still a place for a moral painter.” (The Art of David BOYD, Nancy Benko, Hyde Park Press 1973).

In the 1970’s BOYD and his family travelled to France where he produce some best works The Wanderer series, they stayed for one year.

On their return David BOYD produced most delightful work, combining angels, aborigines and children dancing through his beloved Australian bush. He exhibited a series of these mythological paintings “Orchard of Heaven”. During the next twenty years he travelled and exhibited overseas and in Australia.

BOYD's closely clad children from BOYD's Children series and the beautiful Golden Wombat of his famous Europa series have been favorite with the public. The richly decorated apple trees and the peek-a-boo faces of the children peering out from behind the bushes or frolicking at the water’s edge fill the viewer’s heart with a warm glow. BOYD is a world class artist whose work always causes a definite emotional reaction from his public. Always true to his thoughts and feelings David BOYD (1924-2011) remains the most loved distinguished Australian artist.

David BOYD was a incredibly gifted artist, a superb ceramic artist and painter. His early paintings were full of social comment and created controversy.

Boyd's Explorer Series depicted Aborigines as gentle frightened people not wanting to be deprived of their native homeland. Other Boyd's themes included romanticised works based on historical themes such as The Law, The Church and The State.

A critic once said that there are few painters of the quality of David BOYD who paint about the outrages and crimes of our time.
As David himself says:- “...I believe that man’s place in the universe is much more mysterious than his political environment. I often think of myself as being a spiritual anarchist.

This is the social basis of my art, in very loose terms. But painting, if it is to communicate in a forceful way, works on a number of different levels. The most important for me is its aesthetic merit.

I want to combine the narrative qualities of my work with a definite aesthetic appeal.” (The Art of David BOYD, Nancy Benko, Hyde Park Press 1973).

David BOYD played a significant part in the Antipodean group/movement in Australian Art history. The group was dedicated to the figurative image. The Antipodeans reacted not so much against abstract art, as against the pretentiousness of the many converts to abstract expressionism.

BOYD’s work is full of moral commitment. His paintings are the work of an impassioned humanist. While only in his twenties he had a solid reputation as a painter, potter and ceramic sculptor. Later he became Chairman of the Contemporary Arts Society of Australia. At this time we won an Italian Government Scholarship which allowed him to work and travel in Italy.

Throughout Boyd's career his work has always remained distinctive.

From Italy he moved to England where he exhibited his famous Trail paintings. He received favourable reviews:- “...

There is no denying (BOYD’s ) excellence as a painter, he is a born draughtsman. Drawing can be taught, but draughtsmanship never.” (The Art of David BOYD Nancy Benko, Hyde Park Press, 1973).

VIDEO: ABC TV Australian National News Best of BOYD exhibition in Galeria Aniela, open by Cameron O'Reilly, Dep Chairman National Gallery of Australia

VIDEO (gallery site): ABC TV Australian National News