By the time Sidney Nolon left Australia permanently in 1953 at the age of forty-six he was already being celebrated us this country's most exciting contemporary pointer; one who could embrace the world in his stride. Within a fewyeors he was offered a retrospective at London's Whitechopel Gallery. There were numerous others to follow within his career, each charting on artist of extraordinary range and prodigious output.
The 117 paintings assembled here, from 1930s abstrocts in Melbourne to the climactic paintings of his fina decode at The Rodd in Herefordshire, include at their centre two versions of the nine-oanel Riverbend. These form a visionary circle that summons at once the memory of Nolon's childhood love of the bush and his desire to move relentlessly forward, leaving an indelible legacy of genus to the history of pointing of his time.
