Slika, ki je prinesla slavo umetniku Ivan Durrant, je Fallen Anzac (2008); razpostaja v muzeju Ian Potter Museum of Art, Carlton. Od 2 del umetnika Ivan Durrant v našem katalogu so teh 2 najbolj občudovalnih, od katerih je vsak predstavljen z letnico nastanka, muzejem in tistim, kar ga loči od drugih.
Uvrščeno glede na naš skoraj priljubljenosti, ki združuje število iskanj, obiskov in naročil za vsako delo. Posodobljeno november 2026.
Ivan Durrant developed an affinity with animals at a very early age, one that has been sustained throughout his life. Animals, predominantly horses and cattle, have played the lead roles in his artwork for nearly 45 years. Durrant is motivated by the beauty of animals as well as a desire to increase awareness of how people interact with animals, whether by using them as a food source, or, in the…
1 muzejev, ki vsebujo največ slik na tej strani.
| Muzej | Mesto | Sloga Ivan Durrant | Slike iz tega seznama |
|---|---|---|---|
 Ian Potter Museum of Art |
Carlton | 2 | Fallen Anzac, By five lengths |
Med prvim in zadnjim datiranim majstroverskim delom umetnika Ivan Durrant, 2008 in 2014, je bilo le 7 let: tukaj je kratek pregled njegove kariere, leto za letom.
Ivan Durrant developed an affinity with animals at a very early age, one that has been sustained throughout his life. Animals, predominantly horses and cattle, have played the…
Fallen Anzac (2008)
61 let: delo Fallen Anzac iz leta 2008, pri čemer je Ivan Durrant rodil/a v 1947.
V našem katalogu je navedenih 2 del avtorja Ivan Durrant, datiranih od 2008 do 2014.
Večina njih se nahaja v Ian Potter Museum of Art (Carlton). Zgornja tabela navaja muzeje posamezno.
Najstarejšo delo na tej strani je iz Fallen Anzac (2008), najnovejše pa iz By five lengths (2014).
Fallen Anzac in By five lengths so med 2 dela na tej strani, ki jih hrani Ian Potter Museum of Art, Carlton.
Born in Melbourne, Australia, in 1947, Ivan Durrant’s early life was marked by instability and hardship, experiences that would profoundly shape his artistic vision. As one of seven children born to a young mother and a war veteran father struggling with the aftermath of trauma, Durrant's childhood unfolded against a backdrop of poverty and familial disruption. The family initially resided in Camp Pell, a post-war slum within Melbourne’s Royal Park, before relocating to Gippsland. However, the challenges proved insurmountable, leading his mother to place Ivan and several siblings into the care system at the age of seven.
The nine years Durrant spent within the evolving iterations of Melbourne Orphanage were pivotal. While institutional life presented its difficulties – emotional abuse and even unsettling medical experimentation are recounted in his personal history – it also provided a space for nascent artistic talent to emerge. Drawing became a means of social connection, offering protection from bullying as older boys commissioned sketches in their books. This early recognition fostered a burgeoning passion that would eventually define his career. Summers were spent working on farms in Katunga and Euroa, where Durrant developed a deep affinity for animals, particularly cattle, an affection that would resurface repeatedly in his later work.
Following his time in the orphanage, Durrant began to explore painting seriously, holding his first exhibition in St Kilda in 1970. However, it was a decade later that he truly burst onto the Australian art scene, earning him the moniker “the *enfant terrible* of Australian art.” The event that cemented this reputation was the infamous “Slaughtered Cow Happening” of 1975. Durrant purchased a cow destined for the knacker’s yard and publicly slaughtered it outside the National Gallery of Victoria. This act, intended as a provocative commentary on the hypocrisy surrounding meat consumption and the disconnect between consumers and the realities of food production, ignited public outrage and garnered widespread media attention.
While shocking, the “Slaughtered Cow Happening” was not merely an exercise in sensationalism. It was a calculated attempt to force a confrontation with societal norms and challenge prevailing attitudes towards animal welfare and the ethics of eating meat. Durrant skillfully manipulated the press, using the media as a platform to amplify his message and establish himself as a controversial figure willing to push boundaries.
Despite being widely recognized for this performance art piece, the core of Durrant’s oeuvre lies in painting. His technique evolved from an initial childlike, folksy style into what he terms “Super-Realism”—a hyperrealistic approach that goes ‘above and beyond the photo’. This meticulous attention to detail was honed during a period working in a prosthetics laboratory at Royal Melbourne Hospital, where he developed a remarkable ability to create lifelike body parts. This skill translated seamlessly into his paintings of butchered meats, pig heads, and other visceral subjects.
Durrant’s work isn't simply about replicating reality; it is about intensifying it, forcing the viewer to confront uncomfortable truths with unnerving clarity. His exploration of Australian Rules football in more recent works demonstrates a continued fascination with color, action, and the cultural significance of everyday life. His artistic range encompasses paintings, photography, public performance, installation art, short films, and sculpture.
Durrant’s work consistently grapples with socio-political themes, often challenging conventional morality and prompting critical reflection on issues such as animal rights, consumerism, and the human condition. His artistic periods reflect a journey of exploration: from early depictions of farm life and landscapes to his groundbreaking photorealistic paintings of jockeys and meat, each phase represents a deepening engagement with these complex ideas.
His residency at the Art Council of Australia in New York City in 1976 broadened his exposure to international art trends but did not diminish his uniquely Australian perspective. Durrant’s legacy extends beyond individual artworks; he is recognized as a pivotal figure in challenging artistic conventions and sparking dialogue about difficult subjects. His works are held in numerous public collections, including the National Gallery of Australia, Canberra, solidifying his place as an important voice in contemporary Australian art.