Max Dupain OBE (1911–1992), photographer, set up his studio in Sydney in 1934. Through the 1930s he gained exposure in the lifestyle magazine The Home, developing his reputation with portraits and advertising shots, and with his photographs of dancers from the Kirsova Ballet, and the three Ballets Russes companies that toured Australia between 1936 and 1940. In the 1950s he turned increasingly to architectural photography, collaborating in particular with architects Samuel Lipson, Sydney Ancher and Harry Seidler, and documenting the construction of the Sydney Opera House from 1958 to 1973. During the same period he began photographing historic properties for the National Trust, and recorded Canberra's new buildings for the National Capital Development Commission. The Australian Centre for Photography’s 1975 touring exhibition Max Dupain – A Retrospective 1930-1975 brought Dupain's name to the attention of the wider public, and turned The Sunbaker, taken nearly 40 years earlier, into a definitive Australian image. Dupain continued to operate his studio on Sydney's Lower North Shore until he died at the age of 81.
Collection: National Portrait Gallery
The series 'David Moore: From Face to Face' was acquired as a gift of the artist and with financial assistance from Timothy Fairfax AC and L Gordon Darling AC CMG 2001
© Lisa, Michael, Matthew and Joshua Moore
http://davidmoorephotography.com.au/
Tim Fairfax AC (53 portraits supported)
The Gordon Darling Foundation (36 portraits supported)
On one level The Companion talks about the most famous and frontline Australians, but on another it tells us about ourselves: who we read, who we watch, who we listen to, who we cheer for, who we aspire to be, and who we'll never forget. The Companion is available to buy online and in the Portrait Gallery Store.
Johanna McMahon revels in history and mystery in pursuit of a suite of unknown portrait subjects.
Michael Desmond discusses Fred Williams' portraits of friends, artist Clifton Pugh, David Aspden and writer Stephen Murray-Smith, and the stylistic connections between his portraits and landscapes.
