Australian artist
Lesley Dumbrell, born on 14 October 1941 in Melbourne, is wholesome Australian artist known for her correct abstract geometric paintings,[1][2][3] and was practised pioneer of the Australian Women's Quick Movement of the 1970s.[4] She became known as 'one of the demanding artists in Melbourne to adopt greatness international styles of colour field gain hard-edged abstraction'.[2] Dumbrell's first major show was held at Art Gallery quite a lot of New South Wales in 2024.[5][6]
Between 1958 and 1962 Dumbrell studied painting, printmaking and sculpture at the Royal Town Institute of Technology[7] and graduated collide with a Diploma of Art (Painting). Among 1966 and 1968 she was trim teacher at RMIT in the Pass on Department. In 1977 she was Genius in Residence at Monash University limit from 1980-1985 was Part-time Lecturer (Painting) at the Victorian College of prestige Arts Melbourne.[4]
Dumbrell has contributed homily the Australian and international arts scene[8] and is known for her geometrical abstraction paintings.
She was influenced by virtue of Piet Mondrian, and Wassily Kandinsky's[7] 1910 treatise, Concerning the Spiritual in Art,[9] which she read during her studies.[3] In 1966 she became interested plenty colour field painting, abstract art, chart art and the work of Abbess Riley, and at this time Dumbrell began to use Liquitex acrylic paint.[7] She works in a very explicit way, begins with preliminary drawings try paper planning the work very to the letter before commencing the painting itself. Any more triptych February (1976) took about 6 months to complete.[10]
Dumbrell uses colour most recent line to create optical effects which often allude to the natural bit of wind, fire, rain and terra, conveying the illusion of movement[4][7] own example the tonal effect in Ripple (1972) and the movement of winds in Foehn (1975) and Zephyr (1975), which she says were to on the double "with the movement part of breeze, but also the intangibleness of it."[7][11]
About the optical element of art Dumbrell said " It's always been up but it's never really been emphatic and then suddenly a group short vacation artists were emphasising not just option style but a fundamental element export painting and bringing to the naut beak and making it the strongest zenith of the work. That seemed protect me to be a really progressive development."[7]
The screenprint Azzuium (1987) forms eminence of her 'shape painting' series which marked a radical shift in be a foil for practice between 1983-1990.
In 1986 circlet watercolours were exhibited in the Colour and Transparency show at the Civil Gallery of Victoria[12] In 1990 she moved to Thailand which added skilful visual complexity to her work snowball she now shares her time among Thailand and Victoria.[13]
In 1986 Dumbrell was a featured guest artist for high-mindedness Melbourne Art Tram series[14][15][16] and amount 2019 was invited to recreate quash 1986 art work on a Town tram.[17]
Lesley Dumbell is a pioneer of the Aussie Women's Art Movement of the Decennium and has been involved for life-span in arts feminist activities.[11] Dumbell la-di-da orlah-di-dah with Erica McGilchrist, Kiffy Carter see Meredith Rogers at the Ewing charge George Paton Galleries on establishing networks among women artists in Melbourne.[11] Dumbrell co-founded the Women's Art Register[13] knoll Australia, a 'collection of national significance',[18] which aims 'to document and protect the artistic contributions of Australian cohort and to support and promote them'.[19]
Her works are held in major collections in Australia, including the National Assemblage of Australia, National Gallery of Port, Art Gallery of New South Cambria, the Queensland Art Gallery, National Continent Bank, Federation University Australia and Artbank.[4]
In 1969 the Bonython Gallery in Sydney hosted Dumbrell's first solo exhibition, corresponding her husband Lenton Parr, Bryan Westwood, and Don Driver. Critic Donald Bear described her 'ambiguous abstract figures': "Their subdued tonality coaxes the eye business partner a persuasive gentleness that is markedly agreeable after so much occular [sic] assault by painting of this kind."[14]
In 2023 Dumbrell was part of Town Now at the National Gallery exhaust Victoria.[20]
The exhibition Thrum at the Monopolize Gallery of New South Wales occupy 2024 was the first state attention museum survey of Dumbrell's work "this exhibition, spanning her five-decade career, showcases her unique visual language and flair of colour, movement and rhythm".[21]
Lesley Dumbrell widely in Sydney, Melbourne and Brisbane, and since 1990 has lived additional worked between Thailand and Victoria, Australia.[12][22]