Paper

Student Artwork Guide

Peter Upward, ‘Shared Time

Christine Lamson Dean, 1999

Name Class Date
Christine Lamson Dean, Peter Upward, ‘Shared Time (1999), Penrith Regional Gallery - Home of the Lewers Bequest. Reproduced for reference; rights reserved by the rights holder. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
Christine Lamson Dean topimpressionists.com/en/artists/christine-lamson-dean/
Artist’s dates
1963 –
Painted
1999
Medium
Oil On Canvas
Original size
74 x 52 cm
Movement
Late Modernism
Period
Contemporary
Held at
Penrith Regional Gallery - Home of the Lewers Bequest topimpressionists.com/en/museums/penrith-regional-gallery-home-of-the-lewers-bequest-emu-plains/
Artistic style
Late Modernism, Abstraction and Text
Influences
Margo Lewers, Lyndon Dadswell, Frank and Margel Hinder
Notable elements
Black lettering on yellow background
Subject or theme
Textual and poetic references

Copyright This work is treated as still under copyright. Christine Lamson Dean was born in 1963 and has no recorded death date; copyright lasts 70 years after the artist’s death. The image is shown here for classroom reference; rights remain with the rights holder.

Source: TopImpressionists.com — accessed Oct. 2, 2026

Peter Upward, ‘Shared Time — Christine Lamson Dean Part 1 · The artwork

In context

Peter Upward, ‘Shared Time — Christine Lamson Dean

How big is it?

The original measures 74 × 52 cm (height × width), drawn here beside an adult of average height.

When was this painted?

  1. 1960
  2. 1970
  3. 1980
  4. 1990
  5. 2000

Row above: the years. Row below: how old the artist was at the start and at the end of each span, counting 0 from birth.

Painted when the artist was 36. 4 of the 20 dated works by this artist in our catalogue came earlier.

▲ this work, 1999 every dated painting, decade by decade

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: topimpressionists.com/en/art/similar/christine-lamson-dean-peter-upward-shared-time-D76TNW-en/

Colours

Measured from the image

    Main colour

    Driftwood #ac7d5b

    Catalogued palette

    • #AC7D5B
    • #E9B502
    • #EFBC02
    • #DAA80B

    These colours inside the artist’s whole palette Find other paintings by colour

    Palette
    Earthy The dominant colour family in the image.
    Main colour name
    Driftwood
    Intensity
    Vivid How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Serene How much the colours differ in lightness and saturation across the picture.
    Harmony
    Unified Palette How well the colours work together, from clashing to fully unified.
    Brightness
    Brilliant How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Vivid Color How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by Christine Lamson Dean over the last twelve months — 1 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 100.0%

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 5 most looked-at works by Christine Lamson Dean

    1. 1 After Margo Lewers, 2004 33.3%
    2. 2 David Aspden Fallen Tree 1974, 1999 33.3%
    3. 3 See You at Central Street (Tim Johnson), 2002 16.7%
    4. 4 Underpants Monochrome, 1996 16.7%
    5. — Peter Upward, ‘Shared Time, 1999 this painting 0.0%

    Together these works take 100.0% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 20 works by this artist, of which 4 were looked at at least once. This painting has not been looked at yet in that time — it closes the list without a rank. The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    Source: TopImpressionists.com — accessed Oct. 2, 2026

    Peter Upward, ‘Shared Time — Christine Lamson Dean Part 2 · In context

    About this artwork

    Peter Upward, ‘Shared Time — Christine Lamson Dean

    A Dialogue with Modernism: The Poetic Minimalism of Christine Lamson Dean

    In the quiet intersection where text meets abstraction, Christine Lamson Dean’s 1999 work, ‘Peter Upward, Shared Time’, emerges as a profound meditation on legacy and the interconnectedness of artistic lineage. This oil on canvas piece is far more than a mere typographic exercise; it is a vibrant, conceptual bridge between the artist and the historical weight of Australian modernism. Set against a luminous, saturated yellow background that commands immediate attention, the painting utilizes a stark, minimalist aesthetic to invite the viewer into a space of contemplation. The bold, black lettering—naming both an artist and a concept—functions as both a label and a lyrical fragment, stripping away the superfluous to focus on the raw essence of identity and temporal connection.

    The technique employed by Dean is one of deliberate restraint and impactful clarity. By utilizing the medium of oil on canvas, she achieves a depth of color that allows the yellow field to vibrate with an almost solar energy, providing a high-contrast stage for the black typography. This interplay between the fluid, painterly background and the rigid, graphic precision of the text creates a rhythmic tension. The work echoes the formalist traditions of late modernism, where the physical properties of the paint and the structural arrangement of elements are paramount. For the collector or interior designer, this piece offers a sophisticated balance; its graphic strength makes it a striking focal point in contemporary settings, while its minimalist composition allows it to integrate seamlessly into spaces defined by clean lines and architectural elegance.

    Historically, this work is deeply rooted in the dialogue of the Penrith Regional Gallery collection. Dean’s practice often involves an academic and emotional interrogation of the masters who preceded her, such as Margo Lewers and Peter Upward. In ‘Shared Time’, the title itself becomes a symbolic vessel, suggesting that art is not a solitary endeavor but a continuous, overlapping experience across generations. The painting captures the spirit of a shared intellectual heritage, referencing the influential critiques of figures like Clement Greenberg while maintaining a deeply personal, poetic voice. It is an invitation to consider how we inhabit time alongside those who have shaped our visual language.

    To possess a reproduction of this work is to bring a piece of Australian art history into one's private sanctuary. The emotional impact of the painting lies in its ability to evoke both clarity and mystery. It provides a sense of intellectual stimulation through its textual references, yet offers a visceral, sensory pleasure through its bold use of color. Whether gracing a curated gallery wall or serving as a sophisticated accent in a modern living space, ‘Peter Upward, Shared Time’ serves as a timeless reminder of the enduring power of the abstract mark and the profound beauty found in the shared moments of our creative history.

    Source: TopImpressionists.com — accessed Oct. 2, 2026

    Peter Upward, ‘Shared Time — Christine Lamson Dean Part 3 · About this artwork

    Artist and museum

    Artist

    Christine Lamson Dean

    Born in Sydney, Australia

    early life and education

    christine lamson dean, an australian artist born in 1963, has been making waves in the art world with her thought-provoking works. born in sydney, australia, dean's artistic journey began with a bachelor of arts from the university of sydney, majoring in fine arts, followed by a diploma in secondary art education from sydney teachers college in 1989.

    artistic career and style

    dean's work is characterized by her unique blend of abstraction and text, often incorporating poetic and political elements. her style, influenced by late modernism, has been shaped by her studies of european and american art movements. as a result, her paintings frequently reference the works of renowned artists, such as margo lewers, lyndon dadswell, and frank and margel hinder.

    notable exhibitions and residency

    one of dean's most notable residencies was at the penrith regional gallery in 2003, where she developed a series of works inspired by the gallery's collection. this residency led to the creation of several significant pieces, including:

    see you at central street (tim johnson), a painting that showcases her unique style and technique.

    handbag monochrome, another example of her work, which explores the relationship between abstraction and text.

    after paul hopmeier and lyndon dadswell, a piece that demonstrates her ability to merge different artistic influences.

    teaching and curation

    in addition to her work as a painter, dean has also had a significant impact as an educator and curator. her teaching has focused on developing the relationship between abstraction and text, passing on her compositional skills to generations of students. key links from AllPaintingsStore.com:

    christine lamson dean: see you at central street (tim johnson)

    christine lamson dean | artist overview

    recommended reading:

    discover the mildura arts center (australia) and its exhibitions

    greatest most famous paintings of all time

    Museum

    Penrith Regional Gallery - Home of the Lewers Bequest

    On show in Emu Plains, Australia

    A Sanctuary of Modernist Vision

    Nestled along the tranquil western banks of the Nepean River in Emu Plains,

    Penrith Regional Gallery - Home of the Lewers Bequest

    serves as a profound testament to the enduring spirit of Australian modernism. More than a mere repository for art, this institution is an immersive journey into the creative soul of two pioneers, Gerald and Margo Lewers. To walk through its doors is to step into a living legacy, where the echoes of mid-century intellectual fervor still resonate within beautifully preserved heritage gardens and thoughtfully adapted structures. The gallery occupies the very site that once functioned as a vibrant crucible for artistic experimentation, where the boundaries between life, landscape, and studio were perpetually blurred.

    The heart of the gallery beats through the extraordinary

    Lewers Bequest

    , a collection that offers an intimate window into the genesis of Australian abstraction. Visitors are invited to explore a vast assemblage of paintings, sculptures, and drawings that reveal Gerald Lewers’ mastery of geometric form and Margo Lewers’ evocative transitions from formal abstraction to fluid expressionism. The collection is not merely a display of objects but a study in how color palettes can be distilled from the rugged beauty of the Australian landscape, creating a dialogue between the canvas and the earth itself. For the discerning collector or art lover, these works represent a pivotal moment in art history, capturing the precise instant when local identity met international modernist movements.

    Architectural Harmony and Living History

    The architectural experience of the gallery is as much a part of the exhibition as the artworks themselves. The transformation of the Lewers' original homes into sophisticated exhibition spaces—including

    Ancher House

    and the

    Loungeroom Gallery

    —has been achieved with a masterful touch that respects the structural integrity of the past while embracing contemporary needs. Sunlight streams through expansive windows, casting shifting shadows across the galleries and drawing the eye toward the serene Nepean River gardens outside. This deliberate harmony between art and nature creates an atmosphere of contemplative stillness, making it an ideal destination for interior designers seeking inspiration in the seamless integration of built environments and organic beauty.

    Beyond its historical anchors, Penrith Regional Gallery remains a dynamic force in the contemporary art scene, consistently championing new voices and diverse narratives. The gallery’s program is a vibrant tapestry of seasonal exhibitions that bridge the gap between established legends and emerging talents such as

    Brook Andrew

    ,

    Leonora Howlett

    , and

    Craig Walsh

    . By hosting multidisciplinary installations ranging from video art to immersive sculpture, the institution ensures that its mission of provocation and conversation remains vital. It stands today as a beacon of cultural enrichment in Western Sydney, offering a holistic encounter where history, community, and innovation converge under the shade of ancient trees.

    Where to read more

    Find this online

    QR code linking to the download page for Peter Upward, ‘Shared Time

    topimpressionists.com/en/art/download/christine-lamson-dean-peter-upward-shared-time-D76TNW-en/

    Cite this artwork

    MLA
    Dean, Christine Lamson. Peter Upward, ‘Shared Time. 1999, Penrith Regional Gallery - Home of the Lewers Bequest. https://topimpressionists.com/en/art/christine-lamson-dean-peter-upward-shared-time-D76TNW-en/
    APA
    Dean, Christine Lamson (1999). Peter Upward, ‘Shared Time [Painting]. Penrith Regional Gallery - Home of the Lewers Bequest. https://topimpressionists.com/en/art/christine-lamson-dean-peter-upward-shared-time-D76TNW-en/
    Chicago
    Christine Lamson Dean. Peter Upward, ‘Shared Time. 1999. Penrith Regional Gallery - Home of the Lewers Bequest. https://topimpressionists.com/en/art/christine-lamson-dean-peter-upward-shared-time-D76TNW-en/
    Harvard
    Dean, Christine Lamson (1999) Peter Upward, ‘Shared Time. Penrith Regional Gallery - Home of the Lewers Bequest. Available at: https://topimpressionists.com/en/art/christine-lamson-dean-peter-upward-shared-time-D76TNW-en/

    Source: TopImpressionists.com — accessed Oct. 2, 2026

    Peter Upward, ‘Shared Time — Christine Lamson Dean Part 4 · Artist and museum

    Look closely

    Peter Upward, ‘Shared Time — Christine Lamson Dean

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Our catalogue files this work under: abstract, textual art, typography. Do you agree? What would you add, or take away?
    4. Look back at Clement Greenberg in Australia (2003), earlier in this guide. Name two things it shares with this work, and one that is different.
    5. Christine Lamson Dean was about 36 when this was made. What in it looks like the work of an artist at that stage?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Source: TopImpressionists.com — accessed Oct. 2, 2026

    Peter Upward, ‘Shared Time — Christine Lamson Dean Part 5 · Look closely

    Questions & Answers

    What feeling do the colors of "Peter Upward, ‘Shared Time" by Christine Lamson Dean create?

    The earthy palette of "Peter Upward, ‘Shared Time" by Christine Lamson Dean goes together with its reflective emotional tone. Color is one of the ways a work conveys feeling.

    What are the medium and date of "Peter Upward, ‘Shared Time" by Christine Lamson Dean?

    "Peter Upward, ‘Shared Time" was made in 1999, in oil on canvas.

    What type of artwork is "Peter Upward, ‘Shared Time" by Christine Lamson Dean?

    In the catalog, "Peter Upward, ‘Shared Time" by Christine Lamson Dean is filed as wall art. The category helps find similar works.