Lloyd Rees
| Lloyd Rees | |
|---|---|
 |
|
| Born |
17 March 1895 Yeronga, Brisbane, Queensland, Australia |
| Died | 2 December 1988 Hobart, Tasmania, Australia |
| Nationality | Australian |
| Known for | Painting |
Lloyd Frederic Rees AC CMG (17 March 1895 – 2 December 1988) was an Australian landscape painter who twice won the Wynne Prize for his landscape paintings.
Most of Rees's works are preoccupied with depicting the effects of light and emphasis is placed on the harmony between man and nature. Rees's oeuvre is dominated by sketches and paintings, in which the most frequent subject is the built environment in the landscape.
Rees was born in Brisbane, Queensland, the seventh of eight children of Owen Rees and his wife Angèle Burguez, who was half Mauritian, half Cornish. After formal art training at Brisbane's Central Technical College, he commenced work as a commercial artist in 1917.
Rees was engaged to sculptor Daphne Mayo, but it was broken off in 1925. He married Dulcie Metcalf in 1926. In 1927 Dulcie died in childbirth and Rees married again, in 1931, to Marjory Pollard, mother to his son Alan. Rees' wife died on 14 April 1988 and he died on 2 December of the same year.
From the 1940s until the 1960s Rees was part of the Northwood group, a small group of friends who would go on painting excursions around Sydney Harbor and northwestern Sydney. Regulars of the Northwood group were Lloyd Rees, Roland Wakelin, George Feather Lawrence and John Santry. Douglas Dundas, Wilmotte Williams and Marie Santry also associated with the Northwood group. These artists had no manifesto but were conservative, tending towards a neo-impressionist sinuous style of landscape painting. They were less fashionable than the Sydney abstract expressionism of the time or Melbourne postwar voices of disquiet such as Sidney Nolan.
The studio had a big window, which you passed when walking up the front of the house to the iron gates at the arched entrance. The window was splashed with paint because Lloyd would stand in front of his wet painting holding half a gallon of turps in one hand and put his other hand into the turps and throw it over the painting. As it ran down the painting, washing color with it, he would pick up a cloth and wipe back the selected areas. If you look carefully at his paintings of the eighties you will see where the paint has been handled in this fashion .
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