Clarice Beckett paintings
Clarice Beckett
Australia 1887-1935
Not titled (Seascape with two pink roofs) c 1933
Naarm/Melbourne
oil on cardboard
Gift of Mrs Hilda Mangan 1972 1972.603
Clarice Beckett
Australia 1887-1935
Not titled (Red roofs with sea in distance) c 1919-1935 Naarm/Melbourne
oil on cardboard
Gift of Mrs Hilda Mangan 1972 1972.608
Clarice Beckett
Australia 1887-1935
Not titled (Landscape with sea in distance)
c 1919-1935
Naarm/Melbourne
oil on cardboard
Gift of Mrs Hilda Mangan 1972 1972.606
Beckett often returned to subjects and scenes - in this case the pink and red rooftops that punctuate the view over Beaumaris Bay. The signed work among the group is arguably the most resolved, its pitched roofs portrayed as a swathe of colour that corresponds with a calm stretch of the sea.
Writing for The Age in 1995, the critic Bruce James noted that Beckett's paintings are 'evocations that build like musical phrases towards a greater and more compelling whole'. With this in mind, one can witness in this trio of paintings the development and expression of a particular part of her artistic vocabulary.
Clarice Beckett paintings
Clarice Beckett
Australia 1887-1935
Not titled (Seascape with two pink roofs) c 1933
Naarm/Melbourne
oil on cardboard
Gift of Mrs Hilda Mangan 1972 1972.603
Clarice Beckett
Australia 1887-1935
Not titled (Red roofs with sea in distance) c 1919-1935 Naarm/Melbourne
oil on cardboard
Gift of Mrs Hilda Mangan 1972 1972.608
Clarice Beckett
Australia 1887-1935
Not titled (Landscape with sea in distance)
c 1919-1935
Naarm/Melbourne
oil on cardboard
Gift of Mrs Hilda Mangan 1972 1972.606
Beckett often returned to subjects and scenes - in this case the pink and red rooftops that punctuate the view over Beaumaris Bay. The signed work among the group is arguably the most resolved, its pitched roofs portrayed as a swathe of colour that corresponds with a calm stretch of the sea.
Writing for The Age in 1995, the critic Bruce James noted that Beckett's paintings are 'evocations that build like musical phrases towards a greater and more compelling whole'. With this in mind, one can witness in this trio of paintings the development and expression of a particular part of her artistic vocabulary.