Max Ragless, 1901 – 1981
Max Raglessn 3 tunnetuinta maalausta
Back of the mill (1941) on teos, josta Max Ragless tunnetaan parhaiten; se kuuluu museoon Art Gallery of New South Wales, kaupungissa Sydney. Hobart waterfront (1950) ja Second valley (1954) täydentävät suosituimpien taideteosten kolmikon. Katalogissamme on 3 teosta taiteilijalta Max Ragless. Tässä ovat 3 tunnetuinta teosta vuosiluvun, museon ja jokaisen maalauksen tarinan kera.
Sijoitus perustuu suosiotulokseemme, joka yhdistää kunkin teoksen hakuja, vierailuja ja tilauksia. Päivitetty marraskuu 2026.
- Syntynyt · kuollut
- 1901 – 1981, Edwardstown
- Teokset valikoimassamme
- 3
- Tunnetuimmat
- Back of the mill (1941)
- Eniten teoksia kohteessa
- Art Gallery of New South Wales
Max Ragless -taiteilijan kymmenen rakastetuinta maalausta
Missä Max Raglessn kankaat riippuvat
Museo, jossa on eniten tämän sivun maalauksista.
| Museo | Kaupunki | Max Ragless teokset | Tämän listan maalaukset |
|---|---|---|---|
 Art Gallery of New South Wales |
Sydney | 3 | Back of the mill, Hobart waterfront, Second valley |
Max Raglessn kuuluisimmat teokset, vuosi toisensa jälkeen
Vuosien 1941 ja 1954 välillä, 14 vuotta Max Ragless'n maalausta, esitetty vuosi vuodelta sen kuuluisimpien kankaiden kautta.
-
1941
Kangas 1 / 3
Back of the mill
-
1950
Sijoitus 2 / 3Hobart waterfront
-
1954
Sijoitus 3 / 3Second valley
Max Raglessn kankaat, kysymys kerrallaan
Mistä maalauksesta Max Ragless tunnetaan parhaiten?Lue vastaus
Back of the mill (1941), Art Gallery of New South Wales, Sydney. Seuraavina ovat Hobart waterfront (1950) ja Second valley (1954).
Back of the mill: kuinka vanha Max Ragless oli teoksen maalauksen aikaan?Lue vastaus
Max Ragless, syntynyt vuonna 1901, oli 40 vuotta vanha: Back of the mill on peräisin vuodelta 1941.
Kuinka monta maalausta Max Ragless loi?Lue vastaus
Luettelossamme on 3 teosta taiteilijalta Max Ragless, aikaväliltä 1941–1954.
Missä Max Ragless'n kuuluisimmat kankaat riippuvat nykyään?Lue vastaus
Pääasiassa kohteissa Art Gallery of New South Wales (Sydney); yllä oleva lista nimeää jokaisen museon ja sen teokset.
Mikä kuuluisa Max Ragless -maalaus on tehty ensin ja mikä viimeisenä?Lue vastaus
Varhaisin tässä kokoelmassa oleva kangas on Back of the mill (1941); uusin on Second valley (1954).
Mitkä Max Ragless -taiteilijan teokset kuuluvat Art Gallery of New South Wales -museon kokoelmiin?Lue vastaus
Art Gallery of New South Wales, Sydney -museossa on 3 tämän sivun teoksista, mukaan lukien Back of the mill, Hobart waterfront ja Second valley.
Tapaa taiteilija: Max Ragless
The Maker of Many Forms
Born in Edwardstown, Australia, in 1901, Maxwell Christopher Richard Ragless lived a life defined by a restless, practical intelligence. He was a man of many hands, moving between the roles of woolclasser, vineyard manager, and engineer. His early years were spent navigating the demands of the land, managing the Abercrombie vineyard at South Road Estate and assisting on his parents' property. There was a mechanical precision to his existence; he possessed the skill to design and construct workshop tools, farm machinery, and even automobiles. He was a builder of things, whether they were made of steel or woven on a handloom of his own design.
Art emerged not from a vacuum, but from the quiet moments between these labors. While he trained in the tactile world of wool and the technical world of engineering, he spent his spare time teaching himself the nuances of painting. His marriage to Estelle Mary Alexander in 1932 provided a steadying influence, as she encouraged him to turn his focus toward the canvas and the print. This transition from the physical construction of machines to the visual construction of images marked the true beginning of his creative life.
A Record of the Land and War
Ragless’s work often captured the intersection of human activity and the Australian landscape. During the mid-1940s, his role as an official war artist led him to document the home front, providing a visual history of the efforts required to sustain a nation during conflict. His observations were grounded in the reality of labor and the specificities of the terrain.
His technical repertoire was as varied as his professional history, spanning several distinct methods of image-making:
- Oil painting on canvas
- Etching and aquatint
- Drypoint
- Pencil and crayon
In 1945, his time in Loveday saw him depicting the harvesting of pyrethrum daisies, a crop vital to the production of insecticides for the Australian Military Forces. His ability to translate these agricultural scenes into art allowed him to document the intersection of civilian life and military necessity. His work from this period, such as his 1947 oil painting of Kiewa Valley, reflects a deep familiarity with the Murray-Darling Basin.
The Precision of the Print
The technical rigor of an engineer is visible in his approach to printmaking. He worked with intaglio techniques, utilizing aquatint and drypoint to achieve depth and texture. His 1934 work, The fallen branch, demonstrates this mastery, utilizing brown ink and plate-tone to create a controlled, deliberate composition. This precision extended to his landscapes, such as his depictions of Melrose and Mt. Remarkable, where the structure of the land was rendered with a clear, observational eye.
His legacy is held in significant collections, including the National Gallery of Australia and the Art Gallery of South Australia. He died in Adelaide in 1981, leaving behind a body of work that bridges the gap between the manual labor of the Australian landscape and the refined discipline of the printmaker.