Norman St. Clair Carters mest kjente maleri er Marauders (1940), i Art Gallery of New South Wales, Sydney. Sammen med The private view og Portrait study (man with cloak) (1923) utgjør de de tre verkene som alle kjenner igjen. Vår katalog inneholder 8 verk av Norman St. Clair Carter; de 7 nedenfor er de som verden ser mest på, hver med årstall, museet som huser verket og hvorfor det er betydningsfullt.
Rangert etter vår popularitetsscore, som kombinerer søk, besøk og bestillinger for hvert verk. Oppdatert October 2026.
Museet som innehar flest av maleriene på denne siden.
| Museum | By | Verker av Norman St. Clair Carter | Malerier fra denne listen |
|---|---|---|---|
 Art Gallery of New South Wales |
Sydney | 7 | Marauders, The private view, Portrait study (man with cloak) |
Marauders (1940), Art Gallery of New South Wales, Sydney. Deretter følger The private view og Portrait study (man with cloak) (1923).
65 år gammel: Marauders er fra 1940, og Norman St. Clair Carter ble født i 1875.
Vår katalog inneholder 8 verk av Norman St. Clair Carter, datert fra 1923 til 1940.
De fleste av dem befinner seg i Art Gallery of New South Wales (Sydney). Tabellen ovenfor lister opp museene ett etter ett.
Det eldste på denne siden er Portrait study (man with cloak) (1923), det nyeste Marauders (1940).
Marauders, The private view og Portrait study (man with cloak) er blant de 7 verkene på denne siden som er i Art Gallery of New South Wales, Sydney sin samling.
Norman St. Clair Carter was born on 30 June 1875 in Kew, Melbourne. He was the third son born to Harold Richard Carter, a grain merchant, and Janet, née Morrow. His brothers, Bryce and Frank, followed different paths as musicians. Life in Melbourne provided the early setting for a man who would eventually move toward the light and color of stained glass and the permanence of murals.
His presence in the Australian art scene was marked by a steady movement between the studios of Melbourne and Sydney. He spent much of his life navigating the practicalities of being a painter, a teacher, and a designer of glass. He lived in Wollstonecraft and kept studios in various parts of Sydney, including the corner of George and Market Streets and Hunter Street. His work occupied both the quiet spaces of private portraiture and the public walls of civic buildings.
Norman St. Clair Carter died on 18 September 1963. His life spanned a period of significant change in Australian visual culture, moving from the traditional training of the late nineteenth century into the modern era of the mid-twentieth century. He left behind a body of work that transitioned from the intimate scale of a portrait to the large-scale requirements of church windows and public murals.
Born in Kew, Melbourne, on 30 June 1875, Norman St. Clair Carter was the third son of Harold Richard Carter, a grain merchant, and Janet, née Morrow. His brothers, Bryce and Frank, followed different paths as musicians. The stability of his early years shifted when his father's business was impacted by the depression, leading Norman to leave the Melbourne Church of England Grammar School in 1890, where he had studied from 1888 to 1890.
His formal training began at the National Gallery School, where he spent the years between 1892 and 1898. He studied under Albert Tucker and Phillips Fox, absorbing the technical foundations of their approach. During this period, he also served an apprenticeship with a stained-glass maker, a practical immersion that would later define much of his professional output. This combination of academic study and manual apprenticeship grounded his later work in both fine art and the physical requirements of glass and mural design.
After moving to Sydney in 1903, Carter established a presence within the city's growing artistic circles. He set up a studio at the corner of George and Market Streets, later moving his workspace to Hunter Street and eventually to Vickery's Chambers. His work during these years was not limited to the canvas; he also functioned as a freelance commercial artist, contributing his hand to publications like the Bulletin and the Sydney Mail.
Teaching became a steady part of his life in the city. He spent time as an instructor at the Royal Art Society of New South Wales until 1916. His influence extended into technical and academic spaces as well. He lectured at Sydney Technical College from 1915 to 1940, and later, between 1922 and 1947, he held a position at the University of Sydney, where he spoke on architecture and the history of art.
Carter’s hands were as familiar with the weight of glass as they were with the brush. He spent much of his career translating light into color through stained glass, often working within the quiet confines of churches. In Melbourne, he designed the windows for the chapel at Wesley College. His work moved through various sacred spaces, including two lancet windows for the Neutral Bay Presbyterian Church and a three-light window at St Michael's Church, Vaucluse, in 1953.
Some of his most heavy-handed work appeared in the form of large-scale murals. In 1921, he contributed to the philosophy lecture room at the University of Sydney. Later, his designs moved into the public sphere, such as the mural for the Rural Bank of New South Wales in 1938 and the Maritime Services Board in 1952. These works occupied significant walls, capturing scenes like the commercial section of the port.
His glasswork often carried a weight of memory. He designed the four-light stained glass window for the Warriors' Chapel at St Andrew's Presbyterian Church in Forrest, ACT. This specific space was created to honor the sons of Rev. John Walker who died during the Great War. The glass there holds a particular stillness.
In 1913, Carter traveled to Paris, where his portrait of Florence Rodway earned a bronze medal at the Salon des Artistes Française. This work, known as 'Portrait of Mlle X' or 'A Low Toned Harmony', remains a significant piece from his early career. He also exhibited in London at Burlington House in 1923.
His work extended to large-scale murals that occupied significant public spaces. In 1938, he painted a mural for the Rural Bank of New South Wales, which was based on various farm sketches. Later, in 1952, he contributed murals to the Maritime Services Board building, specifically depicting the commercial section of the port.