ART GALLERIES SCHUBERT

1922 Born Chippendale Sydney

1937 Timber cutter Gloucester, NSW

1940-42 W.W.IIA.I.F. Middle East

1943-45 Commando New Guinea, New Britain, oil painting

1946-48 National Gallery School of Victoria, Melbourne, under Commonwealth Rehabilitation Scheme

1950-51 Cane cutting, North Queensland

1953-54 N.T, Meekatharra, Marble Bar, "The Butcher"

1954-55 Perth, house and fence painting, portraits

1956-59 Derby Waterfront, Pilbara head stockman, PortHedland, Gold Prospecting, Guest of McLeod Native Studio at Pilgongoora, Mining Pilbara.Built storm-tidal dam on The Ashburton River, W A

1960-61 Broadway Studio Sydney, Mining paintings, "Ruth Bergner, Dancer", "The Citizens", Figurative paintings of aboriginals, "Girl & Galah", "Death in the Afternoon"

1963 Cobar, Western NSW - shearing

1964-65 Melbourne. Darling River studio -Wychooka "Murray Cod"

1965 Brisbane "Emu & Aeroplane", Portrait of J Wigley, Marries Janice-Eumundi. Buderim-Portrait Dr Behan

1967 Janice dies. England. Cooroy Paintings

1968 Buderim. "Phoenix" series

1969 Collins St, Melbourne Studio portraits. Pencil drawings

1970 Buderim, "Estuarine", "Nambucca Heads", "Ernestine Hill" "Cane Fields from Mt Coolum"

1971 New Farm Brisbane, "The Mermaid as Bride", "Girl with Possum", "Poincianas", "Old Man with Possum"

1972 Sold Buderim moved to East Brisbane, Racing themes, Flowerpieces, Landscapes

1973 Brisbane and Kin-Kin watercolours (background p2).

1977 Pittsworth, Frank Chianta portrait

1978 Portrait of Governor General, Sir John Kerr

1979-81 Circus pictures, "Brisbane River", Portrait John Colwill, Pat Brown, Portrait Pat Murray, shearer series, "TheVisitation", "Loaves and Fishes"

1982 Moves to property "Crosshill" Darling Downs, Koalas

1983 Marries Mary Jane, USA

1984-86 NY, Ohio, Commutes USA-Darling Downs, Portrait Jim Parkes, "Agony in the Garden", "Empathy"

1987 Woollahra Sydney Studio, Portrait lan Joy, "Bondi Virgin", "Marloo", "Japanese Tourist"

1989 New York Exhibition

1990 Commuting Darling Downs, Sydney, Portrait Reg Grundy, Landscapes, Portrait Lily Tornkins

1992-5 Melbourne, St Kilda Studio, "Pink Still Life". Commuting to Darling Downs, Gold Coast, Melb.

Quotes

I acquired my first Fullbrook thirty years ago, and it has never lost its haunting appeal. For me, it was the beginning of a love affair with the man's magic.Sam has unerringly followed his personal vision, uninterested in the avant garde, keeping his integrity and looking on with detached quiet amusement while many of his fellow artists in Australia were being seduced by overseas trends. When I told Sam he was regarded by a great number of his contemporaries, including me, as the best painter in Australia, he replied rather gruffly that there is no such thing as best painter, only good paintings. Well they count the good paintings. Robert Juniper

He is the master. Gordon Shepherdson

His style is extremely lyrical for he believes that children or unsophisticated people like lyrical prettiness best, and that therefore it is one of the most democratic styles. Daniel Thomas

Sam Fullbrook's art is pure painting in the genuine classical tradition. Underneath his brilliant management of colour is a sound foundation of tonal construction. Were that not so, his colours could not sing as they do. Sir William Dargie, C B E

Fullbrook's work has a basic simplicity combined with a delicate edge, a tenderness, a sensitivity - though an articulate and complex man. Pamela Bell

The amazingly deft brushstrokes are a true indication of Sam's genius. The magical quality which gives Sam Fullbrook's art a universal appeal lies in its essential simplicity and warmth. Bettina McAulay

His paintings seem slight, but they are as concentrated as haiku, colour and tone balanced to a hair's breadth. Betsy Brennan

Fullbrook's vision is that of a true and sentimental bushman. His pictures are serene - the detail being suppressed in theevocation of a poetic mood by the use of colour. Sandra McGrath & John Olsen

Fullbrook's sense of humour translates in his paintings in a palette where high translucent colour equals emotion. Kate Collins

"..a walking encyclopaedia of colour." Dr Norman Behan

Fullbrook's deep emotional attachment to Australia, its bushland, animals and aboriginal people finds expression in all his paintings. Graeme Norris

Fullbrook keeps in direct touch with daily life without a complicated aesthetic to explain it. He has an instinctive feeling for colour and design which are both compelling without being assertive. Bernard Smith

Sam has that rare quality of humour. This informs all his work. Noni Durack

It is a luxurious handwriting, especially when used with colours that are in combination the epitome of lightness and charm. Fullbrook has the visionary power to grasp something so ephemeral in a manner so sensitive. Ronald Millar

He's a man of substance who looks and sounds what he is-a no-nonsense worker who has reached the top in his field. Robert Layton

I was overawed by him Clifton Pugh

Freshness is always maintained. Perhaps when artists regain the individuality of spirit and style which characterises Fullbrook there will be another Golden Age.
John Millington

Fullbrook is Australia's most international artist. The best of Fullbrook would stand up in Paris next to Renoir. Rex lrwin

From those large hands flow the most sublime, meditative, elemental paintings. Fullbrook in full stride is a profound philosopher elder. Adrian McGregor

His high-toned compositions are restrained and classic in feeling. Alan McCulloch

Simply Beautiful Fullbrook. Michael Richards

Daddy, I like this one the best. Child pointing to Fullbrook's "Surfie"

Published by Art Galleries Schubert. Sponsored by Win Schubert. Research,
Writing, Design and Photographs - ©Jo Ulrick 1995 (imp! 95-949)
Inserted in ART and Australia Quarterly Journal Volume 32 Number 4.

Major Art Prizes

1963 Wynne Prize "Sandhills on the Darling"

1964 Wynne Prize (shared - D Strachan) 'Trees in a Landscape"

1966 David Jones Art Prize
1967 H C Richards Memorial Prize (Painting), Townsville Prize

1969 H C Richards Memorial Prize (Painting) L J Harvey Memorial Prize (Drawing)

1970 Maude Vizard - Wholohan Prize

1974 Archibald Prize "Jockey Norman Stephens"

Exhibitions

1948 Tyes Gallery, Melbourne, Victoria

1951 Waterside Workers Rooms, Sydney (1st exhibition in a Union Building in Aust.)

1955 Adult Education Gallery, WA

1960 Australian Galleries, Melbourne

1961 Moreton Galleries, Bris. Clune Gallery, Syd. Bonython Gallery, Adelaide. Raymond Burr Galleries, California, USA

1962 Johnstone Gallery, Bris. Clune Gallery, Syd. Moreton Galleries, Bris. Skinner Gallery, Perth. Macquarie Galleries, Syd

1964 South Yarra Galleries, Melbourne

1965 Moreton Galleries, Brisbane

1966 Clune Gallery, Double Bay

1967 Moreton Galleries, Old

1968 Macquarie Galleries, Sydney

1970-71 David Jones Gallery, NSW. Gallery III. Brisbane

1973 Grand Central Galleries, Brisbane

1976 Queensland Art Gallery Retrospective

1978 Rex lrwin, Sydney, NSW

1979 Bonython Gallery, Adelaide. SA Australian Galleries. Melbourne

1980 Phillip Bacon Galleries, Brisbane

1982 Lister Gallery, Perth

1982-83 Rex lrwin, Sydney NSW

1983 Realties Gallery, Melbourne

1984 Phillip Bacon Galleries, Brisbane

1985 Australian Galleries, Melbourne

1986 Cooks Hill Gallery, Newcastle

1987 Gallery 52, Perth. Brisbane City Hall. Queensland Art Gallery - Manton Prize

1989 112 Greene Street, Soho, New York. Phillip Bacon Galleries, Brisbane

1991 Holdsworth, Sydney

1992 Gold Coast City Art Gallery

1992-94 Art Galleries Schubert, Gold Coast "The Art of Pastel", "Still Life", "Birds Animals Landscape"

1994 Niagara, Melbourne

1995 National Gallery of Victoria, Retrospective

1995 Art Galleries Schubert, Gold Coast

Represented

National Gallery of Australia, Canberra

All State Galleries

Parliament House, Canberra (7 works)

NT Museum of Arts & Sciences, Darwin

Museum of Contemporary Art, Brisbane, Qld

Brisbane City Hall Art Gallery & Museum, Qld

Rockhampton City Art Gallery, Qld

Toowoomba Art Gallery, Qld,

Stanthorpe Art Gallery, Qld

Wagga Wagga City Art Gallery, NSW

Queen Victoria Museum & Art Gallery, Launceston

Tasmanian Museum & Art Gallery, Hobart

Gold Coast City Art Gallery, Qld.

Mornington Peninsula Arts Centre, Vic

Bendigo Art Gallery, Vic. Horsham Art Gallery, Vic

Spencer & Gillen Gallery, Alice Springs, NT

University Collections Old, Melb., SA, WA, Curtin,

QUT, LaTrobe, Townsville, Monash, Deakin

The Brisbane Club,- Brisbane, Qld

Mertz Collection, USA . Art Museum Phoenix, USA

Commercial and private collections Australia, USA, Canada, China, Japan, UK, NZ, Europe, Malaysia

Bibliography

Juniper Robert Lister Gallery Cat. Foreword '82

Thomas, Daniel Outlines Of Australian Art:The Joseph Brown Collection, Macmillan.Aust., 1973. 46

Dargie, William A Tribute To Sam Fullbrook, Foreword. Qld Art Gallery 1976

Bell, Pamela "The Behan Collection". Art and Australia, Vol. 11. No.2 1973.148

MeAulay, Bettina A Tribute To Sam Fullbrook, Qld Art Gallery 1976. 7,11. The Jack Manton Prize 1987 Qld Art Gallery. 1987. 18-19

McGrath, Sandra & Olsen, John The Artist And The Desert, Bay Books. Sydney. 1981.106

Norris, Graeme Australian Artists Today 3rd ed. Norris. Cariton. 1984. 149

Smith, B & T Australian Painting 1788-1990, Oxford Uni Press. Melb. 1991.410

Brennan, Betsy Vogue Living. August 1991.108-11

Collins, Kate The Courier Mail Art. 18.6.1989

Smith, Bernard The Critic As Advocate. Oxford Uni Press. Melb. 1989.199

Durack, Noni A Changing Landscape Downs Artist. D D I P. 1985.118

Millar, Ronald Civilized Magic.Sorrett. Toorak. 1974.77-79

Millington, John Gold Coast Bulletin. Review II

Layton, Robert 23.5.1992.18.

McGregor, Adrian Sam Fullbrook's True Colours. Good Weekend. SMH 26.8.1989. inc quote Rex lrwin. 94

McCulloch, Alan Encyclopedia of Aust Art. 219

Richards, Michael The Courier Mail. 21.6.1989

Thomas, Laurie The Most Noble Art Of Them All. Uni Queensland Press 1976. 56,97

Horton, Mervyn Present Day Art In Australia. 74 Australian Paintings Of The 70's. Ure Smith. Syd. 1969:1975. 26

Bruce, Jean Artist's Chief Pride: "I'm A Good Tradesman". AWW 26.2.75.8-9

Ulrick, Jo Q A G Society News. 5.1982. 6. The Courier Mail. 7.12.78

Williams, Pamela Koala's Eye View Of A Larrikin Life. B.R.W. 12.7.1991.76-77.

Robb, Gwenda & Smith Elaine Concise Dictionary of Australian Artists. Melb. Uni. Press. '93. 95

General Information

One of the earliest paintings Port Arthur Convict (1960) contains all the hallmarks of the individual Fullbrook style - the balanced modulation of colour, tone, line; the figurative skill which has been made manifest in subsequent fine portraits; the land and sea scapes of the country he has so well travelled, worked and loved; and the hint of sharks, a theme he has continued - man coming to terms with his environment.

Sam has never been shackled to any but his own distinctive style. A nomadic temperament, as his biography shows, is picture - translated into a corroboree of colour and organically evolving space where the harshness of brown is knocked out with green-blue. Girl with Galah (1958) epitomises Sam's deep respect for aboriginal people, their and his self-awareness and one-ness with the land and its creatures. The girl is helping the injured galah return to its mates waiting with concern in the tree - a gesture of love, the earth-coloured cooling hand of kindness in a barren lonely vast landscape. Death in the Afternoon (1960-61) Q.A.G. is set in a similar distancing landscape, the dead tree bearing one green leaf suggesting regeneration, and the sympathy for the dead by the living, regardless of race. "Only in joy and love can understanding take place. There is indeed a romantic dreaming which inhabits the silence of Fullbrooks landscape." (Thomas.L. 56). A state of grace emanates from these quiet pictures. "From the 1960's Fullbrook developed a more atmospheric romantic manner verging on abstract expressionism." (Robb, Smith 95).

Red Landscape, Pilbara (1960) celebrates the alluring visual richness of the archaic continuum of fertile mother - earth wilderness. It is a hymn of praise and love for this sunburnt country in all its dappled beauty. "You have to travel and take back bags of new soil to make blossoms blossom".* After the stillness and heat, the deep-rooted sense of place, the timelessness of this land and its aboriginal culture in his West Australian paintings, the Darling River Series features a less harsh landscape. Plain Turkey (1963) has plenty of grass and is independently happy running across his immediate arena. Another painting gestated during this period Emu and Aeroplane (1964) also reflects movement, the freedom of flight, going forward, flux. Birds are symbols of peace, reassurance, wisdom and freedom for Sam, recurring metaphors throughout his work. The Phoenix (1968) heralds the rise from the ashes of sorrow (caused by the death of Sam's first wife) with its brighter optimistic colours. The lightening of his spirit is seen in the crowning golden glow of the Girl with Possum (1971) running through fecund green in her diaphanous dress.

Magically ripe with tender pinks Mermaid as Bride (1971 ) overflows with osmotic sensuality and heightened beauty, poetry and romance of flowers, the bluebird of happiness, the arrival of husband/ lover as groper - above all the delicate canary song of love. Sam has secreted himself below in the water, partly participant in this fervour. The joy Sam experienced at Buderim and New Farm and the tush richness induced by the climate oozes from his canvas.

The slash of translucent red in the Ernestine Hill Portrait (Q A G) (1970) is extended in the Archibald prize winning portrait of Jockey Norm Stephens (1974 Brisbane Club) and Heroic Lad, Bundamba (1975) painted when Sam moved to bast Brisbane in 1972. Swapping a flower piece for a filly began a life- long association with the racing fraternity and a love of horses; his favourite, the black mare, Woolloongabba.

Birthday Still Life (1982) painted later on the Downs, pays tribute to her two year old foal. The little greenhide has two candles lit above , sunflowers and sorghum were ripening and the prospect of winning a race would lead Sam out of the blue and into the pink. The humorous Winning - Where is Everyone is Gunsynd, the Goondiwindi grey, who endeared everyone with the confident larrikin habit of winning races, grinning at the rest of the field.

His masterpiece portrait of Sir John Kerr (1978) unwarrantedly attracted much controversy at the time . Needless to say, it now hangs in the new Parliament House, Canberra. "Sam Fullbrook has brought a lyrical form of expressionism to portraiture." (Smith, B 410) Brisbane continued to be the crucible for sumptuously delicious pictures that vibrate with positive joy and beauty. The sensual opalescent curve of The Brisbane River(1980,,, Brisbane City Hall); the iridescent consummate affair with the canvas Big Nude alias "Sow in a Swamp" 1980 "Is art erotica, is pleasure solo?" * , and the tantalisingly edible watermelon gelati coolness of rain soothing steamy subtropical summer in RainBird. Like the elusive shiny plumed rainbird who only makes an omen of goodwill appearance during gentle soaking rain, Sam was then the nucleus of the art community in Brisbane. Painters, writers and musicians gathered around the philosopher tribal elder for enrichment.

John Colwill The Pianist regularly played on Sam's BIüthner with Opera singer Pat Brown. Sam's interest in the performer "the magnificence in others", "Love is giving,"* continued with The Trapesist from his circus series - filial love between father and daughter, skill being passed down through the generations, the strong bond of a common goal between a mentor and pupil.

The Visitation (1981) has the galah promising a good season next year to the shearer who performs well for his own sake and for the well-being of his provider - the sheep. From Brisbane Sam moved to the Darling Downs (1982) taking his horses with him. Arriving during the coldest winter for 40 years Sam built a home and orchard, fenced paddocks, and painted the landscape in all its seasons and moods. The soft pink hush of dusk in Gowrie Landscape (1994) the more vibrant Crustal, and the green and earth tones merging in DOWS at Oakey (1984) reveal this man's natural affinity with the land. 14 Koalas, each in their own box- gum tree, independent like their future portraitist, were sighted. Under Big Bear Sam's brush the koala was personified into Politician, Debutante, husband and wife. Man and Bear (1982) p2 is a self-portrait showing his large-handed capacity for caring for those who sought his love and protection. Biblically titled, Loaves and Fishes and Agony in the Garden are pictures full of pathos, tragedy, faith and love. In the latter, the wife has brought forth a child, the Murray cod, the result of an extra-marital liaison. The husband has been hurt by the betrayal. A grey shadow has fallen over their me. "One of the tragedies of life is an awareness that so little is truly shared."*

Empathy is the sequel. The husband has come to terms with the wife's unfaithfulness, maintaining the family unit through love. The golden band has been strengthened. In 1983 Sam visited America and married Mary Jane.

M J and Koala shows that even independent bears with eucalyptus exteriors can enjoy the comfort of sharing. The Skater was drawn in America. Still Life such as Franz Marc became more vibrant in colour because of the clearer light in the US, contrasting with the bleaching Queensland sun's effect.

In 1987 from his studio in Sydney Sam painted Bondi Virgin ( P2), lan Joy's Portrait and Big Red or Marloo with Sturt's Desert Pea inspired by a red kangaroo which came up to his Downs house. Marloo, the strong courageous independent nomad with a poetic soul, typifies Sam, the man.

In the 90's visits to the Gold Coast inspired such modern figurative masterpieces such as Mermaid Rhapsody (front cover), (1992-4), Lifesaver (1994), Girl with Gull and Surfie which also could be Sam for he used to ride a board and is still a good swimmer. As "observation is my business" *, the figures on the beach provide ready-made life classes. Girl with Gull, (1993) with Sabrina curvaceousness is ambiguous. The gull is tempting the girl offering the symbolic cherry or like the scavenging seagull has he taken the girl's cherry? the bright summer colours of the beachside are toned perfectly.

This control of form is superbly seen with the exquisite simplicity of Pink Still Life (1993) painted in Melbourne's sorter light, tone and half-tone work in synchrony. Minimal line is used to magnify the concept that less is more. the secret lies in the emptiness, the space to contemplate, "the avenue of the unspoken."* The serenity comes from not overstocking but allowing the eye to dance. The free spirited Mermaid Rhapsody (front cover) (1992-4) is a playful choric harmony of uplifting delight.

Sam concentrates on the sweeter side of human nature, typically Australian.

Whilst most of Sam's themes are seasonal he also draws on the webs of memory. Girl with Platypus (1994) recalls his only sighting of the shy elusive monotreme near Tully Falls whilst cutting cane in Northern Queensland.

The heart of good pictures is drawing. "The immediacy of drawing - the richness you can get into a few strokes". Seated Male Nude (1985) is muttilayered expressiveness; compassionate/ haughty, confident/ pensive, drawn with marvellous lightness of touch and economy. Foster Mother (1992) is smilingly giving to the fish supplicants, one leaving, well - pleased. With just a calligraphic line hinting at the form as in Surfers Bather (1992) or on the broader sweep of the pastel in Tree at Hermit Hill (1993). Sam conjures sheer magic.

Fullbrook's work is filled with "tenderness, sweetness, charm, clarity, succinctness, love, passion and religion."* It is easy to see why children do love them.

* Quotes by Sam Fullbrook

Research, Writing, Design, Photographs: JO ULRICK, B.A., B.Ed., M.Ut.St(A) Curator, Art Galleries Schubert (1995)