Early Life, Family and Training

David Edgar Strachan was born on 25 June 1919 in Salisbury, Wiltshire, England. He was the eldest of four children born to Major James Charles Power Strachan and Eleanor Margery Isobel. His father served in the Australian Army Medical Corps, and the family’s move to Australia marked a significant shift in the young boy's life. They arrived in Adelaide in 1920, before settling in Creswick, Victoria, the following year.

Growing up in Victoria, Strachan attended Creswick State School and later Geelong Church of England Grammar School. By the age of sixteen, he already knew he wanted to pursue a life as an artist. This early certainty led him away from home and toward the artistic hubs of Europe. In 1936, he moved to London to begin formal training at the Slade School of Fine Art. He spent two years there studying under Randolph Schwabe, honing the technical skills that would define his later work.

His training continued to expand through his travels and studies abroad. In 1937, he attended the Académie de la Grande Chaumière in Paris. This period of study in France provided him with a foundation in the European traditions that would influence his development as both a painter and a printmaker.

Artistic Activity in Sydney and Europe

After spending time working with George Bell in Melbourne, Strachan returned to Australia in April 1938. By 1941, his life had shifted to Sydney, where he became part of the local art scene, exhibiting alongside members of the Contemporary Art Group. During this period, he lived on the top floor of a house in Double Bay, staying with the Haefligers. This living arrangement placed him in the center of a close-knit circle of artists who often drew models to help develop their work.

In 1948, Strachan moved to Paris, a change that brought new technical interests to his practice. While living in Europe, he began experimenting with etching, a pursuit that would define much of his later output. This period of experimentation led to various projects, including a series of twenty-two colour etchings created to illustrate a book of poems in 1951.

His time in Europe eventually gave way to a return to Sydney in May 1960. He continued to exhibit his work in Australia for the remainder of his life, maintaining his presence in the local art community until his death.

Technique, Style and Artistic Interests

Strachan’s early paintings possessed a peculiar, staged quality that felt somewhat eerie. As his career progressed, this sense of artifice evolved into a deep interest in classicism, which he blended with a fascination for the dream-state. He found a natural affinity with Symbolism, drawing inspiration from the works of Odilon Redon. This influence is visible in how he approached his subjects; his depictions of flowers, bowls of fruit, birds, and angelic figures often seemed to glimmer out of the darkness. These figures did not merely sit in a room but felt like mythological personages emerging from a gentle, whispered narrative.

While he was a painter, he was also a dedicated printmaker and a member of the Sydney Printmakers. He spent much of his time working with etching and aquatint, frequently using black ink on paper to achieve specific textures. His technical precision allowed him to explore the nuances of light and shadow, a skill that served him well when he moved into more complex printmaking projects in Paris. His ability to balance the physical weight of a subject with a sense of the otherworldly became a hallmark of his visual language.

Major Projects and Awards

During his time in Paris, Strachan turned his attention toward the precision of printmaking. He became involved in a business venture known as Stramur-Presse, which focused on publishing etchings and lithographs. This period of experimentation led to his most significant undertaking: a series of twenty-two colour etchings created in 1951. These works were designed to illustrate Alister Kershaw's book, Accent & Hazard, and they remain a central part of his professional legacy.

His skill in landscape and figurative work earned him significant recognition within the Australian art community. He was awarded the Wynne Prize twice, first in 1961 and again in 1964. These honors reflected his standing among his peers during a period of active exhibition in Sydney. Beyond his own studio work, he took on leadership roles within the professional circles he helped shape. In 1965, he served as the last president of the Society of Artists.

Later Years and Death

After returning to Sydney, Strachan dedicated much of his time to teaching. From 1960 to 1965, he shared his technical knowledge of etching at the East Sydney Technical College. This period allowed him to influence a new generation of printmakers through his practical expertise. His presence in the local art community remained steady, and he continued to exhibit his prints in numerous Australian galleries between 1961 and 1978.

His life came to an abrupt end on 23 November 1970. While traveling on the Hume Highway, he was involved in a motorcar accident near Yass, New South Wales. The injuries sustained in the crash proved fatal. He was 51 years old at the time of his death.