The Tarrawarra Museum of Art’s retrospective of Jeffrey Smart’s work from 1940-2011 shows Smart as an interpreter of solitude and the relationship between people and their built environment, and as an artist who successfully synthesised traditional perspective with the flat and abstract planes of early 20th century modernist painting that eventually destroyed it.
In almost seamlessly bringing these two bookends of western art history together, Smart subtly marries a range of contradictions or dualities on his canvasses: urban landscape and minuscule portraiture in the Portrait of Clive James, the silence of modern communications and invisible movement in the Control Tower and The Listeners, and crossed relations between the direction of perspective and light in Morning Practice, Baia and The Vacant Allotment.