Artist
Born in Redfern, Australia
The Life and Artistic Journey of John Passmore
Born in Redfern, Australia, John Richard Passmore began his professional life as a signwriter's assistant after leaving school at thirteen. He pursued formal training at the Julian Ashton Art School, where he studied alongside Jean Bellette and Paul Haefliger. Seeking further education, he traveled to England to study at the Westminster School of Art under Bernard Meninsky and Mark Gertler. During his time in England, which included service as a conscript in the Royal Air Force, he worked as a layout artist with Lintas. While staying in a cottage in Suffolk, he produced landscape compositions that were strongly influenced by Paul Cézanne.
Upon returning to Australia in 1951, Passmore became a significant educator, teaching at the Julian Ashton School, the Newcastle Technical College, and the East Sydney Technical College. His teaching philosophy encouraged students to view subjects through a lens of mathematical shapes, facets, and a connection of rods, emphasizing tone and structure. His own body of work occupied a space between expressionism and abstraction.
Legacy and Final Years
Passmore's later years were marked by a period of reclusive painting following a heart attack in the early 1960s. His final weeks were spent in a home for the destitute near his birthplace. In a notable turn regarding his estate, Passmore left his collection of 270 paintings to an acquaintance, Elinor Wrobel, while his son was left £70,000. This bequest was subject to an out-of-court settlement, after which Wrobel retained control of the estate, eventually leading to the opening of a museum displaying over forty of his works.
His artistic legacy is preserved in several major institutions, including:
Museum
On show in Sydney, Australia
Origins and History of the Gallery
The Art Gallery of New South Wales was founded in 1872 as the New South Wales Academy of Art. This establishment focused on organizing annual exhibitions and providing a platform for emerging artists. The institution held its first public exhibition in 1874. These early years were dedicated to promoting the fine arts through lectures and art classes.
Between 1883 and 1958, the institution operated under the name National Art Gallery of New South Wales. This period saw the development of the collection and the formalization of its role within the colony. On 1 July 1958, the name reverted to the Art Gallery of New South Wales.
The gallery's foundation is deeply connected to the ancestral lands of the Gadigal people. This recognition is woven into the institution's ethos as it continues to document the history of Australia's formation. The early collection included significant works such as:
Apsley Falls, 1875
The Building and its Architecture
The primary structure was originally constructed in 1856 to serve as the Royal North Shore Hospital. Designed by John Habens, the building features an imposing Victorian façade. This architectural style reflects a period when hospitals functioned as symbols of civic pride and progress. The stone and masonry work remains a significant part of the site's history.
In 1973, the building underwent a repurposing to function as an art gallery. This transition preserved the original architectural fabric while adapting the space for public art. The interior retains many of its historical elements, including soaring arches and intricate stonework. These features provide a sense of the building's previous life and its evolution into a space for cultural engagement.
Diverse Collections and Artistic Heritage
The collection encompasses a wide range of artistic traditions, including Australian art, European art, and Asian art. A dedicated Asian Gallery, opened in 2003, provides a specific space for these works. Indigenous Australian art is also a fundamental component of the holdings, integrated into the broader narrative of the institution.
A significant portion of the 19th-century Australian paintings is held within the Lewers Bequest. This collection was amassed by Sir John Edward Lewers and includes works by artists such as Frederick McCubbin, Tom Roberts, and Russell Drysdale. These paintings offer a record of the evolving styles and techniques used within the colony during that period.
On the wallaby track, 1896 - Frederick McCubbin
Bailed up, 1927 - Tom Roberts
The prospector, 1889 - Julian Ashton
Exhibitions and Research Activities
The Gallery maintains a rigorous program of exhibitions that examine diverse themes and artistic movements. The Archibald Prize is regularly featured, providing a recurring look at the nation's portraiture. These displays often focus on specific movements, such as the development of Australian landscape painting or the expression of Indigenous Australian art through traditional storytelling and cultural symbolism. The curatorial team actively investigates the provenance and significance of the artworks within the collection to ensure historical accuracy and depth.
Beyond the exhibition halls, the institution functions as a center for scholarship and community engagement. The curatorial staff conducts ongoing research into the history and origins of the holdings. For those seeking deeper information, the gallery's website provides extensive resources for researchers, students, and art lovers. This digital presence supports the academic study of the collection and provides a foundation for broader cultural understanding.
Public engagement is facilitated through a variety of structured programs. The Gallery offers educational programs, workshops, and tours designed for visitors of all ages and backgrounds. These initiatives aim to foster artistic literacy and provide direct access to the works on display. Through these efforts, the institution remains a site for both formal study and public observation.
The Sydney Modern Project Expansion
The major construction work for the gallery's expansion reached completion in 2022. This development establishes a new art museum campus consisting of two buildings. These structures are connected by a public art garden situated on Gadigal Country, overlooking Sydney Harbour. The new building was designed by architects Kazuyo Sejima and Ryue Nishizawa of SANAA.
The expansion provides a significant increase in exhibition space. The project includes a column-free gallery and a dedicated space for time-based art. One unique feature of the site is the repurposing of a decommissioned Second World War naval fuel bunker. This 2,200-square-metre space, known as the Tank, has been transformed into a gallery with seven-metre-high ceilings and concrete columns.
The new building was scheduled to open to the public on 3 December 2022. This addition creates a dedicated space for Aboriginal and Torres Strait Islander art, alongside performance art and other commissions. The design by SANAA utilizes a series of interlocking pavilions that follow the natural topography of the site. The architecture responds to the surrounding environment through an abundance of glazed facades and windows.
