Max Ragless, 1901 – 1981
3 najbolj znanih slik umetnika Max Ragless
Back of the mill (1941) je slika, po kateri je najbolj znan Max Ragless; pripada muzeju Art Gallery of New South Wales, Sidnej. Hobart waterfront (1950) in Second valley (1954) dopolnjujeta trio najbolj priljubljenih platn. Naš katalog vsebuje 3 del avtorja Max Ragless. Tukaj je 3 najbolj znanih delov, vključno z letom nastanka, muzejom in zgodbojo vsakega platna.
Uvrščeno glede na naš skoraj priljubljenosti, ki združuje število iskanj, obiskov in naročil za vsako delo. Posodobljeno november 2026.
- Rodil se · umrl
- 1901 – 1981, Edwardstown
- Delo v našem katalogu
- 3
- Najbolj znana
- Back of the mill (1941)
- Največ del v
- Art Gallery of New South Wales
Deset najbolj priljubljenih slik umetnika Max Ragless
Kje so razpostavljena platna umetnika Max Ragless
1 muzejev, ki vsebujo največ slik na tej strani.
| Muzej | Mesto | Sloga Max Ragless | Slike iz tega seznama |
|---|---|---|---|
 Art Gallery of New South Wales |
Sidnej | 3 | Back of the mill, Hobart waterfront, Second valley |
Najbolj znana platna umetnika Max Ragless, leta za letom
Med 1941 in 1954 se prikazuje 14 leti umetnostjo Max Ragless, razkrito skozi njegove najbolj znane platna, razvrščena po letih.
-
1941
Platno 1 od 3
Back of the mill
-
1950
Rangirano 2 od 3Hobart waterfront
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1954
Rangirano 3 od 3Second valley
Plotna dela umetnika Max Ragless, odgovor po odgovoru
Za katero platno je Max Ragless najbolj znan?Preberite odgovor
Back of the mill (1941), Art Gallery of New South Wales, Sidnej. sledita Hobart waterfront (1950) in Second valley (1954).
Back of the mill: koliko je bil Max Ragless star, ko je bilo to naslikano?Preberite odgovor
Max Ragless, rojen leta 1901, je imel 40 let: Back of the mill datira iz leta 1941.
Koliko slik je ustvaril Max Ragless?Preberite odgovor
V našem katalogu je 3 del umetnika Max Ragless, datiranih od 1941 do 1954.
Kje se danes nahajajo najbolj znana platna umetnika Max Ragless?Preberite odgovor
Večinoma v Art Gallery of New South Wales (Sidnej); zgornji seznam navaja vsak muzej in njegova platna.
Kateri slikovodni platno znate izpostaviti izmed del Max Ragless – katero je prišlo prvič in katero zadnje?Preberite odgovor
Najstarejše platno tukaj je Back of the mill (1941); najstarejše je Second valley (1954).
Katera dela umetnika Max Ragless so v muzeju Art Gallery of New South Wales?Preberite odgovor
Muzej Art Gallery of New South Wales, Sidnej hrani 3 del z te strani, med katerimi so tudi Back of the mill, Hobart waterfront in Second valley.
Spoznajte slikarja: 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.