William Robinson: Inspirations: 30 July 2015 to 17 July 2016

It was an enormous compliment to be asked to curate this exhibition of William Robinson’s work, an invitation that I could not resist. In accepting it, I was acutely aware of my amateurism in taking on the challenge. My single claim for any degree of suitability to this task lies in my admiration and respect for this artist whose glorious paintings bring joy, reassurance, beauty and inspiration to my life. I was introduced to the art of William Robinson in the 1980s, but it wasn’t until his retrospective at the Queensland Art Gallery in 2001 that I became aware of the breadth of his innovative paintings, lithographs and other artworks in various media, and its depth and significance in contemporary Australian art. I wanted to see, to know, and to understand more. I noticed the way that Robinson’s exhibitions were attracting huge followings here in Brisbane and interstate. The great originality and the consistent quality of his gorgeous, mysterious rainforest landscapes were making deep impressions. I was exhilarated to have one lent by the National Gallery of Australia for my office at Yarralumla. I wanted the artist to see it there, and I will never forget standing with him—this quiet, self-contained, and spiritual man—in front of the work. Golden, early afternoon light fell across the room as we both looked intently into the divine blues; cockatoos squawking in grand tall gums behind window panes. His wife, Shirley, was there too, and I felt the beginning of a friendship that would be important for me. Soon after that visit, I borrowed Evening landscape with pandanus 2006 for the entrance to Government House, which provided the perfect introduction for visitors. In recent years, my husband Michael and I have shared memorable conversations with Bill and Shirley about drawing and painting, from which I have learnt so much. Oh, the delight of the studio in the heart of a charming Queensland timber home on the edge of Brisbane rainforest. I am intrigued by the paraphernalia of art—the tubes, the pastels, the brushes. I marvel at the discipline, routine and integrity that signify Bill’s days. At present, this is being devoted to vibrant still life pictures—purple tibouchina, orange gerberas that make my heart skip, and I must include the poinciana, with its perfect red. It has been a privilege to be part of this project, to look across an extraordinary body of work that is constantly evolving, and to explore more than six decades marked by several distinct periods, interspersed by discernible transitions. I wanted to include favourites from each one. What a job it has been. I am indebted by encouraging wise advisors, Vanessa Van Ooyen, Philip Bacon and, of course, Bill and Shirley, whose wit, warmth, hospitality and kindness come in spades. ‘Inspiring’ is the word used again and again to capture William Robinson’s contribution as artist and teacher. I chose the title Inspirations to celebrate Bill’s role in the halcyon years of a generation of Queensland artists. I also wanted to express my high regard for art teachers in our schools who inspire young artists to believe in themselves. It’s a daunting prospect having to write about all this in an art catalogue. What follows are not the words of an art scholar; rather, some observations and yarns, gathered with affectionate regard, about a great artist. Quent in Br yce AD CV