Paper

Student Artwork Guide

Dancer I

Name Class Date

Arthur McIntyre, Dancer I (1995), Penrith Regional Gallery - Home of the Lewers Bequest. Reproduced for reference; rights reserved by the rights holder. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
Arthur McIntyre wahooart.com/en/artists/arthur-mcintyre/
Artist’s dates
1945 – 2003
Painted
1995
Original size
25 x 17 cm
Held at
Penrith Regional Gallery - Home of the Lewers Bequest wahooart.com/en/museums/penrith-regional-gallery-home-of-the-lewers-bequest-emu-plains/

In context

Dancer I — Arthur McIntyre

How big is it?

The original measures 25 × 17 cm (height × width), drawn here beside an adult of average height.

When was this painted?

  1. 1940
  2. 1950
  3. 1960
  4. 1970
  5. 1980
  6. 1990
  7. 2000

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 58 at death.

Painted when the artist was 50. The artist lived to 58. 7 of the 10 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of Arthur McIntyre (1945–2003) ▲ this work, 1995 every dated painting, decade by decade

First works: up to 1980 Main working years: 1980–1995 Late works: from 1995

Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: wahooart.com/en/art/similar/arthur-mcintyre-dancer-i-D76SJB-en/

Colours

Measured from the image

    Main colour

    Gray #76736c

    Catalogued palette

    • #76736C
    • #E2E1E2
    • #ADABA4
    • #3A3833

    These colours inside the artist’s whole palette Find other paintings by colour

    Palette
    Neutrals The dominant colour family in the image.
    Main colour name
    Gray
    Intensity
    Monochromatic How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Statement How much the colours differ in lightness and saturation across the picture.
    Harmony
    Strong Color Unity How well the colours work together, from clashing to fully unified.
    Brightness
    Bright How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Muted How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by Arthur McIntyre over the last twelve months — 1 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 100.0%

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 3 most looked-at works by Arthur McIntyre

    1. 1 Cloudy Day Feeling, 1972 50.0%
    2. 2 Untitled (Wages of Sin III), 1984 50.0%
    3. — Dancer I, 1995 this painting 0.0%

    Together these works take 100.0% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 10 works by this artist, of which 2 were looked at at least once. This painting has not been looked at yet in that time — it closes the list without a rank. The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    Artist and museum

    Artist

    Arthur McIntyre

    Born in Katoomba, Australia

    Early Life and Education

    Born: October 31, 1945, in Katoomba, New South Wales, Australia.

    Early Inspiration: Arthur McIntyre’s initial artistic drive stemmed from the Australian Broadcasting Corporation (ABC) radio program, the Argonauts Club. As “Atropos 30,” he submitted drawings to the show and received encouragement from its art critic, Jeffrey Smart.

    Award & Scholarship: In 1962, while at Katoomba High School, McIntyre was awarded the ABC’s Commonwealth Art Award by Jeffrey Smart. He excelled academically, becoming Dux of his high school and earning two university scholarships.

    Formal Training: He chose to study at Alexander Mackie Teachers College (now Sydney's National Art School) from 1963-1966.

    Artistic Career and Style

    Teaching & Full-Time Artist: After college, McIntyre taught art in Sydney and Canberra high schools before dedicating himself to a full-time artistic career.

    Mediums & Themes: He primarily worked with collage, drawing, and painting. His work often explored controversial themes of sexuality, utilizing collage elements sourced from pornographic magazines.

    Influences: McIntyre’s style was significantly influenced by modernist art movements such as Abstract Expressionism and Pop Art.

    Notable Works: Key pieces include “Life drawing II,” showcasing his unique artistic vision, and “Flesh and Blood,” a painting/collage that won the Gold Coast City Art Gallery Prize in 1987.

    Critical Writing and Publications

    Art Critic: From 1977 to 1978, McIntyre served as an art critic for The Australian newspaper.

    Journalism & Contributions: He was a regular contributor to the journal Art & Australia from 1975 to 1990.

    Published Books: McIntyre authored two significant books: “Resurgence and Redefinition: Australian Contemporary Drawing” (1988) and “Contemporary Australian Collage and its Origins” (1990). These publications established him as a leading voice in Australian art criticism.

    Legacy and Public Collections

    Public Recognition: Arthur McIntyre’s work is held in numerous prominent public collections across Australia, including the Art Gallery of New South Wales, National Gallery of Victoria, Art Gallery of Western Australia, and National Gallery of Australia.

    Posthumous Appreciation: In 2010, a major publication and two-part exhibition, *Arthur McIntyre: Bad blood 1960–2000*, were held at Hazelhurst and Macquarie University, celebrating his life and work.

    Historical Significance: McIntyre’s contributions to Australian art are still celebrated today. His willingness to tackle controversial subjects and his innovative use of collage have left a lasting impact on the Australian art scene.

    Death: Arthur McIntyre passed away on October 26, 2003, leaving behind a significant body of work that continues to be studied and appreciated.

    Museum

    Penrith Regional Gallery - Home of the Lewers Bequest

    On show in Emu Plains, Australia

    A Sanctuary of Modernist Vision

    Nestled along the tranquil western banks of the Nepean River in Emu Plains,

    Penrith Regional Gallery - Home of the Lewers Bequest

    serves as a profound testament to the enduring spirit of Australian modernism. More than a mere repository for art, this institution is an immersive journey into the creative soul of two pioneers, Gerald and Margo Lewers. To walk through its doors is to step into a living legacy, where the echoes of mid-century intellectual fervor still resonate within beautifully preserved heritage gardens and thoughtfully adapted structures. The gallery occupies the very site that once functioned as a vibrant crucible for artistic experimentation, where the boundaries between life, landscape, and studio were perpetually blurred.

    The heart of the gallery beats through the extraordinary

    Lewers Bequest

    , a collection that offers an intimate window into the genesis of Australian abstraction. Visitors are invited to explore a vast assemblage of paintings, sculptures, and drawings that reveal Gerald Lewers’ mastery of geometric form and Margo Lewers’ evocative transitions from formal abstraction to fluid expressionism. The collection is not merely a display of objects but a study in how color palettes can be distilled from the rugged beauty of the Australian landscape, creating a dialogue between the canvas and the earth itself. For the discerning collector or art lover, these works represent a pivotal moment in art history, capturing the precise instant when local identity met international modernist movements.

    Architectural Harmony and Living History

    The architectural experience of the gallery is as much a part of the exhibition as the artworks themselves. The transformation of the Lewers' original homes into sophisticated exhibition spaces—including

    Ancher House

    and the

    Loungeroom Gallery

    —has been achieved with a masterful touch that respects the structural integrity of the past while embracing contemporary needs. Sunlight streams through expansive windows, casting shifting shadows across the galleries and drawing the eye toward the serene Nepean River gardens outside. This deliberate harmony between art and nature creates an atmosphere of contemplative stillness, making it an ideal destination for interior designers seeking inspiration in the seamless integration of built environments and organic beauty.

    Beyond its historical anchors, Penrith Regional Gallery remains a dynamic force in the contemporary art scene, consistently championing new voices and diverse narratives. The gallery’s program is a vibrant tapestry of seasonal exhibitions that bridge the gap between established legends and emerging talents such as

    Brook Andrew

    ,

    Leonora Howlett

    , and

    Craig Walsh

    . By hosting multidisciplinary installations ranging from video art to immersive sculpture, the institution ensures that its mission of provocation and conversation remains vital. It stands today as a beacon of cultural enrichment in Western Sydney, offering a holistic encounter where history, community, and innovation converge under the shade of ancient trees.

    Where to read more

    Find this online

    QR code linking to the download page for Dancer I

    wahooart.com/en/art/download/arthur-mcintyre-dancer-i-D76SJB-en/

    Cite this artwork

    MLA
    McIntyre, Arthur. Dancer I. 1995, Penrith Regional Gallery - Home of the Lewers Bequest. https://wahooart.com/en/art/arthur-mcintyre-dancer-i-D76SJB-en/
    APA
    McIntyre, Arthur (1995). Dancer I [Painting]. Penrith Regional Gallery - Home of the Lewers Bequest. https://wahooart.com/en/art/arthur-mcintyre-dancer-i-D76SJB-en/
    Chicago
    Arthur McIntyre. Dancer I. 1995. Penrith Regional Gallery - Home of the Lewers Bequest. https://wahooart.com/en/art/arthur-mcintyre-dancer-i-D76SJB-en/
    Harvard
    McIntyre, Arthur (1995) Dancer I. Penrith Regional Gallery - Home of the Lewers Bequest. Available at: https://wahooart.com/en/art/arthur-mcintyre-dancer-i-D76SJB-en/

    Look closely

    Dancer I — Arthur McIntyre

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. How many faces can you find? ____ (our catalogue counts 1 — do you agree?)
    4. Look back at untitled (1972), earlier in this guide. Name two things it shares with this work, and one that is different.
    5. Arthur McIntyre was about 50 when this was made. What in it looks like the work of an artist at that stage?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Questions & Answers

    What level of contrast does "Dancer I" by Arthur McIntyre show?

    The contrast level of "Dancer I" by Arthur McIntyre is statement.

    Is a download available for "Dancer I"?

    A download is available for "Dancer I": the artwork's Download page offers a high-resolution digital image download.

    What saturation and intensity does "Dancer I" by Arthur McIntyre show?

    The color of "Dancer I" is muted in saturation and monochromatic in intensity.