Maxwell Spencer Dupain (1911-1992) is regarded as one of Australia's greatest photographers. He stressed simplicity and directness in his work, creating images of sharp focus, boldness and graphic composition. He was one of the earliest and most outstanding champions of modernism in Australia. Dupain's working life spans periods of commercial and artistic success, and photographic genres.
His repertoire includes landscapes, beaches, still life and architecture. His particular love of the latter, coupled with his carefully set up symmetries made him the pre-eminent photographer of Australian architecture for more than 50 years. However, Dupain is best known for his photographs of Australians, particularly their beach culture.
A dedicated patriot, he believed in clearly and simply showing Australia's way of life. His 1937 photograph ‘Sunbaker’ is arguably his most famous work. For many, it is an iconic image of what it means to be Australian. Dupain tirelessly photographed his beloved homeland, and in particular, Sydney, leaving a legacy of more than one million photographs. Most major Australian galleries, and private collectors worldwide have collected his work. Dupain was born in Ashfield, Sydney, to Ena and George Dupain. He was educated at Sydney Grammar School, where he was a keen rower and lover of English literature and poetry.
At 13 years of age, Dupain was given his first camera, and quickly developed an interest in photography. He won the Carter Memorial Prize for Productive Use of Spare Time in 1928, and joined the NSW Photographic Society a year later. Here, he met Australian pictorial photography legend, Harold Cazneaux. In 1930, Dupain commenced a three-year education with Sydney photographer Cecil Bostock.
He learned the techniques of early studio photography, discipline and a rigorous attention to detail. Max Dupain attended Julian Ashton's Art School and enjoyed weekends away with friends (and his Rolleiflex camera). While he half-heartedly produced soft-focus pictorial photographs, such as ‘Weather of Taratus’ (1932), he was inspired by photography that was squarely in the spirit of the time - modern photography.
In 1934, Dupain set up his own studio in Bond Street, Sydney when he was 23 years old. His commercial output was varied, including fashion photography, portraiture and illustrative photography for clients such as David Jones, the Australian Broadcasting Commission and Sydney Ure Smith's prestigious magazine, The Home. At this time, Dupain continued to absorb the 'modern' ideas from Europe and America.
New photographers such as Man Ray, Laszlo Moholy Nagy and Walker Evans were among those who inspired his experimental works. in 1971, Dupain moved to a new studio in Artarmon, Sydney, where he worked for his remaining 20 years. Dupain continued photographing architecture, including properties for The Historic Houses Trust; the Australian Embassy in Paris (one of the few times he left Australia); and buildings by architect, Francis Greenway. Many of these images were used in exhibitions and publications. He had a lot of practice which lead him to become a great Photographer.
His repertoire includes landscapes, beaches, still life and architecture. His particular love of the latter, coupled with his carefully set up symmetries made him the pre-eminent photographer of Australian architecture for more than 50 years. However, Dupain is best known for his photographs of Australians, particularly their beach culture.
A dedicated patriot, he believed in clearly and simply showing Australia's way of life. His 1937 photograph ‘Sunbaker’ is arguably his most famous work. For many, it is an iconic image of what it means to be Australian. Dupain tirelessly photographed his beloved homeland, and in particular, Sydney, leaving a legacy of more than one million photographs. Most major Australian galleries, and private collectors worldwide have collected his work. Dupain was born in Ashfield, Sydney, to Ena and George Dupain. He was educated at Sydney Grammar School, where he was a keen rower and lover of English literature and poetry.
At 13 years of age, Dupain was given his first camera, and quickly developed an interest in photography. He won the Carter Memorial Prize for Productive Use of Spare Time in 1928, and joined the NSW Photographic Society a year later. Here, he met Australian pictorial photography legend, Harold Cazneaux. In 1930, Dupain commenced a three-year education with Sydney photographer Cecil Bostock.
He learned the techniques of early studio photography, discipline and a rigorous attention to detail. Max Dupain attended Julian Ashton's Art School and enjoyed weekends away with friends (and his Rolleiflex camera). While he half-heartedly produced soft-focus pictorial photographs, such as ‘Weather of Taratus’ (1932), he was inspired by photography that was squarely in the spirit of the time - modern photography. In 1934, Dupain set up his own studio in Bond Street, Sydney when he was 23 years old. His commercial output was varied, including fashion photography, portraiture and illustrative photography for clients such as David Jones, the Australian Broadcasting Commission and Sydney Ure Smith's prestigious magazine, The Home. At this time, Dupain continued to absorb the 'modern' ideas from Europe and America.
New photographers such as Man Ray, Laszlo Moholy Nagy and Walker Evans were among those who inspired his experimental works. in 1971, Dupain moved to a new studio in Artarmon, Sydney, where he worked for his remaining 20 years. Dupain continued photographing architecture, including properties for The Historic Houses Trust; the Australian Embassy in Paris (one of the few times he left Australia); and buildings by architect, Francis Greenway. Many of these images were used in exhibitions and publications. He had a lot of practice which lead him to become a great Photographer.
Max Dupain's Photos
 |
Sydney Cove, 1939 |
 |
| Morning Rush Hour, Sydney harbour Bridge, 1938 |
No comments:
Post a Comment