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On February 8, 1943 the group moved into Hangar 4 at MacDill. There the operations, intelligence, engineering, ordnance, and armament sections were quickly set up and. Jimmy Stewart looked back on his service as a WWII bomber pilot as one of the greatest. William Dobell’s entry in the 1943 Archibald Prize - an image of fellow painter Joshua Smith - led to a bitter court case and was a turning point in.
But the 1. 94. 3 Archibald Prize winning portrait rose from its blistered, blackened canvas to haunt him anew, when the wealthy owner ordered a major restoration and this was exhibited again as the Dobell masterpiece. It has torn at me every day of my life. I've tried to bury it inside me in the hope it would die, but it never does. Dobell sounds very arrogant; he implies he was the only artist painting real portraits and the rest of us were painting not much better than colour photographs! He calls me an art student at the time he painted the portrait, when I was an established artist of note!
I'm 8. 5 now and lucky to still be alive to answer him. It looks as if he thought I'd be dead by now! I've never given my side of the whole affair. I've always refused to talk to the media.
I'll do it this once, but never again. I can't bear the strain, the pain..
The elongated, finely brushed oil painting made Dobell an instant legend and ravaged both Dobell and Smith and their selfconfidence to paint for years afterwards. It became the cause c. When I was arranging this difficult interview with the reclusive Smith, who understandably mistrusts the media, everyone told me so - his friends, fellow artists, gallery officials. Smith's closest friend, artist Yve Close, said, . However, for me, the portrait failed to capture the essence of the man I know, especially his intelligence. The other obvious point to state is how much society's attitude has changed - for the better - in determining what type of face is deemed desirable.
The angular face in the portrait, which at the height of the sensationalised trial in 1. Smith had not yet met Dobell, six years his senior.
He'd admired his work when Dobell won a travelling scholarship, and decided to attend the same art school, Julian Ashton. The two artists met in 1. Civil Construction Corps as camouflage painters, disguising aircraft hangars as chook sheds and painting airstrips with rows of cabbages. Both men were from humble beginnings, loners, with intense artistic integrity. None of us went in for deep philosophical discussions, we weren't intellectuals, but we talked a lot, and Dobell and I often sketched each other to keep our hands in. A portrait of Dame Mary Gilmore. Dame Mary Gilmore, poet and writer, then aged 7.
Smith, also a shy man, kindly, dignified, self- conscious of his appearance but possessing a stubbornly determined streak, lived in an outer suburb with his elderly parents, to whom he was devoted. Smith relates, . I was painting Dame Mary's portrait at the time, and I'd go to her flat where she sat for me.
It is a total repaint that should have never happened. Dobell and Smith had entered several times; Smith's first entry, at age 1. Smith was also praised at art school and told by Julian Ashton, . Smith decided to enter his Gilmore portrait in the '4. Archibald. Dobell, who was experimenting with an elongated style of portraiture (The Strapper, The Student), asked Smith if he could paint him for the '4.
Archibald also. Smith recalls, emphatically, . You know the character of my work.' And to justify the use of distortion, Dobell added. He is still self- conscious about his appearance. He has replayed it in his mind countless times' the words gnawing at him for 4. Dobell, he claims, failed to admit this exchange in the court case, in the years afterwards, on his deathbed, or in the tape left behind - despite numerous verbal and written pleas from Smith to do so. Dobell always maintained the portrait was a good likeness - that is, not distorted. He did some sketches of me, then worked from the sketches - that was his usual method of portraiture.
It's hard to say exactly how I felt. I was definitely affected by it. I wouldn't say I disliked it. I thought it was exaggerated of course, violently so. I didn't go back on It.
Before the final vote was taken, the president of the board, B. Waterhouse, with some disquiet, reminded the trustees of the terms of the will of the benefactor, journalist and co- founder of The Bulletin John Feltham Archibald: . The work is distorted to the verge of caricature. Afterwards one trustee wrote to say he'd confused the voting procedure and intended to vote for Smith, which would have made the vote 6- 4.
So, Smith could have won the '4. Archibald. This, too, gnaws at Smith. He won the '4. 4 Archibald, but it was inevitably seen as a consolation prize.
He has entered and been hung in 5. Archibalds altogether, and still hopes to win again.)Dobell's win created pandemonium. The portrait of Joshua Smith, alternately pilloried or praised as a modern masterpiece, shifted the war off the front pages of the newspapers and filled many pages for the year to come.
Record crowds poured into the Art Gallery of NSW to stare at the portrait, hung higher to satisfy the clamouring. Art became a spectator sport. As painter Lloyd Rees ironically observed, . Comments published during the hysteria included: .
Smith became the unwitting victim in some awful Kafkaesque trial, persecuted for a crime he had not committed. The portrait dominated Smith's life. His obsession with it grew; so did his guilt, a feeling he was somehow to blame. Dobell, fearing they might feel compelled to destroy it, refused to sell. Dobell was basically a simple, quiet man, and his nerves were fraying under the instant celebrity status.
Although many critics and fellow artists, including Russell Drysdale, lauded the . Two who'd entered unsuccessfully in the '4. Archibald - Mary Edwards, a painter of highly romanticised South Sea Islands exotica, and Joseph Wolenski, a rigidly conventional portrait painter - moved the NSW Supreme Court to set aside the award on the ground that Dobell's painting was not a portrait but a caricature, and therefore contravened the terms of Archibald's will. Edwards had been so affronted by the painting, she'd issued a warning to children and pregnant women not to attend the exhibition. One day she discovered an artificial penis in the garden, which a sculptor resident had hurled out the window instead of a bone, to exercise his dog. Edwards called the police, saying there had been a murder and she had the evidence.)Dobell, in the ABC tape, says of Edwards: .
Wolenski painted very slick portraits, the quicker the better, of which he was very proud. He'd stand next to these portraits at an Archibald or any exhibition, pointing out he was open to commissions. Edwards, in a turban, kept herself cool with a Japanese fan. The Bar table was deep in art books.
Garfield Barwick, for the plaintiffs, confronted witnesses with paintings by Picasso, Kandinski and Dali, and sculptures by Brancusi, asking, were these portraits? Smith did not give evidence, but was required to stand in court while witnesses were asked if they considered he looked like Exhibit D,The critic James Mac. Donald excelled himself, saying the portrait was a caricature, . Benjafield, said the painting represented . I did not really know him.
I respected him and I still respect him, but I always regarded him as a rather diffident type of person, and one who naturally seems to call for people's sympathy, but when I worked with him as a camouflage labourer, I had to share the same camp with him for almost 1. I got to know his real character.
I found there was a determination which amounted to stubbornness. Dobell in exasperation hit back, . I might just as well criticise the conduct of your case by the angle of your wig!
Barwick was very good. I hated his guts at the time, he was insulting, but brilliant. Frank Kitto, representing the trustees, was brilliant. The judge found the picture had . It bears, nevertheless, a strong degree of likeness to the subject I find that it is a portrait. Why shouldn't a portrait involve elements of caricature, and a caricature involve elements of portraiture?
He worked in the classical tradition, heavily influenced by Rembrandt, but his work at the time seemed innovative, and was thus labelled modern. The people who called Dobell's work modern wouldn't know modern art from a hole in the ground! The sensitivities and heightened perceptions that make people creative artists also make them personally vulnerable. Deep damage had been done to both men. Dobell in the tape, recorded in 1. I lost the use of my left leg for six months..
I had a nervous breakdown which left me with my left eye damaged.. I was so mad and irate about it, I felt like taking them all to court again for damages to my health, but I'd had court. He didn't paint for a long time, and when he started again, the criticism made him selfconscious of his style. The sad effect on Dobell is wellknown, and documented in art books and biographies.
But the effect on Smith is never mentioned - it is as if he disappeared off the planet after the trial. Dobell, in the tape, says the publicity and controversy so shocked Smith and his family that Smith . It broke up a beautiful friendship.
I approached Dobell many times, invited him to my home to discuss it. I said, 'It's not so much the painting, Bill, it's what has grown out of it.' I asked him to admit I'd given him the right to paint in a distorted way, but he never responded. It was frustrating.
I never spoke to the press because I never wanted to speak against Dobell. I was so hurt that he did not tell the truth in court, tell of the distortion. He talks about his ruined health - what about mine? Smith became famous as the sitter in the Dobell portrait, overshadowing the fact he is an accomplished artist. This embitters him.
The misconception grew that it was a disappointed Smith who brought the case against Dobell. Smith is most concerned at this inaccuracy. I felt guilty because, before the trial, when Mary Edwards came to me and requested my opinion of the portrait, I gave my honest opinion in writing.
Yve Close, his warm, intelligent artist friend, sitting protectively at his side, responded, . Sir William asked me two questions: Did I instigate the case?