Skip to main content

The painter transmogrified and Mrs Smith, 1973

Eric Smith

oil on canvas laid down on masonite (frame: 151.5 cm x 178.5 cm depth 5.0 cm, support: 148.5 cm x 175.5 cm)

Eric Smith (1919-2017), painter, and Dorothea Joy Darcy were married in Melbourne in 1946 and moved to Sydney in 1952. By that time, they had two children; they would have three more. In 1954 a review of a group exhibition singled Smith’s work out for praise: ‘Eric Smith’s Industrial Landscape compels our attention by the controlled violence of its colour, and by a mysticism that sees cathedrals in factories and crosses in telegraph poles . . Mr Smith conveys the impression that he sees these forms as a modern Golgotha – harrowing, portentous yet part of our everyday world.’ The painter transmogrified and Mrs Smith hints at what it’s like for a commonsensical person to live with a co-parent who sees things this way, and is compelled to realise his vision even if it means setting up paints and easel in the bedroom. By the time he painted this work the artist had won the Blake Prize for religious art six times, and the Sulman Prize for a ‘subject painting’ or a ‘genre painting’ once. At once a painter’s exercise in different ways of portraying personality, a wry reflection on relationships, and Eric Smith’s tribute to his wife’s stability, The painter transmogrified and Mrs Smith won him his second Sulman Prize.

Collection: National Portrait Gallery
Gift of the Estate of Eric Smith 2019

Accession number: 2019.27

Currently on display: Gallery Six (Tim Fairfax Gallery)

Copyright image request form
Request a digital copy of an image for publication

Artist and subject

Eric Smith (age 54 in 1973)

Subject professions

Visual arts and crafts

Donated by

The Estate of Eric Smith (3 portraits)

© National Portrait Gallery 2020
King Edward Terrace, Parkes
Canberra, ACT 2600, Australia

Phone +61 2 6102 7000
Fax +61 2 6102 7001
ABN: 54 74 277 1196
The National Portrait Gallery acknowledges the Ngunnawal people, the traditional custodians of the land upon which the NPG stands.