Newspaper article The Chronicle (Toowoomba, Australia)

Exhibitions Offer Insight into Artist's Visions of 'Landscape'

Newspaper article The Chronicle (Toowoomba, Australia)

Exhibitions Offer Insight into Artist's Visions of 'Landscape'

Article excerpt

THE Renaissance concept of treating a painting as a window on to the natural world created a way of seeing that gave dimension and order to the relationship of objects in space.

This application of perspective introduced an illusion of depth through diminishing size and softly diffused detail that has enhanced our appreciation of landscape painting ever since.

The Toowoomba Regional Art Gallery is currently presenting the exhibition, Outlook, a take on the genre of landscape that places the viewer firmly at the window looking out to the world as envisaged by the artist.

The works are drawn from the city's rich permanent collections and while affording an opportunity to 'air' some favourites, the thoughtful curatorial premise also offers us the means to look with intent.

Peter Laverty's vertical landscape is a minimalist mirage that seems to hover off the wall.

Andrew Sibley's stacked houses swarm up the hill in his warmly hued City of Brisbane.

This work is an almost traditional cityscape when seen against Urbanology, a hand coloured etching by Dean Bowen with its predatory crocodile-jawed cars.

In the Lawrence Daws painting, De Pasquali Farm, technique dictates and embraces a philosophical sense of place.

Brian Malt's picture of Gowrie Mountain is an amber velvet evensong punctuated by flashes of turquoise.

Davida Allen's strident seascape, John Weeronga Bartoo's patterns of distance, the haunting abandonment in Arthur Boyd's Half-caste Bride, and Herb Carsten's scenes of Toowoomba all suggest a perspective that is as much metaphorical as it is a practical expression of location. …

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