The Bathroom Series
"For the first time, Whitely allowed the human figure, or recognisable parts of the body, to sit on the picture plane without feeling the necessity to break them up, destroy them or disguise them" (McGrath, 1992, p. 38).
The series is a celebration of his marriages and reflects his total absorption in his wife and domestic happiness. “His intoxication for Wendy, who became his lover, marriage partner, friend, critic and combatant for the next thirty-two years, was immediate. He saw her in 1956 at a coffee shop in Rowe Street, a favourite haunt of art students. Her beauty was a miracle of nature, with pale skin, black hair, and electrifying blue eyes" (Source unknown, taken from a previous resource).
“Whiteley believed that he broke through his drawing struggles with his Bathroom series of 1963, celebrating the sensuous beauty of Wendy’s body, and the intensity of his feelings towards her. In a way she was the making of him as a figure draughtsman…” -Barry Pearce
The artworks in this series are intimate but not erotic. They capture a woman engaging in the simple routine of washing her hair, cleaning and beautifying herself.
Woman in Bath, 1963.
Oil, charcoal, tempera, material and collage on board.
146.8 x 120.2 cm.
The series is a celebration of his marriages and reflects his total absorption in his wife and domestic happiness. “His intoxication for Wendy, who became his lover, marriage partner, friend, critic and combatant for the next thirty-two years, was immediate. He saw her in 1956 at a coffee shop in Rowe Street, a favourite haunt of art students. Her beauty was a miracle of nature, with pale skin, black hair, and electrifying blue eyes" (Source unknown, taken from a previous resource).
“Whiteley believed that he broke through his drawing struggles with his Bathroom series of 1963, celebrating the sensuous beauty of Wendy’s body, and the intensity of his feelings towards her. In a way she was the making of him as a figure draughtsman…” -Barry Pearce
The artworks in this series are intimate but not erotic. They capture a woman engaging in the simple routine of washing her hair, cleaning and beautifying herself.
Woman in Bath, 1963.
Oil, charcoal, tempera, material and collage on board.
146.8 x 120.2 cm.
"The relationship between abstract and figurative elements in these pictures is often handled brilliantly: some paintings resolve themselves into almost pure abstraction, while others let familiar forms pull the painting into a tense focal point" (McGrath, 1992, p. 40). What is McGrath's opinion of these works? Find ONE example from the Bathroom Series that is almost pure abstraction. Explain why. Find ONE example from the Bathroom Series where familiar forms create a focal point. Explain why. |
Nude Beside Basin, 1963. Oil and tempera on board. 129.5 x 121.5cm.
“All the paintings I have made in the last four years have been concerned one way or another with sex and the desire to record sensual behaviour.” - Brett Whiteley
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This series revealed Whiteley's more sophisticated spatial sense. In Woman in the Bath or Bather and Heater, he places the figure and bath in one corner, and allows the rest of the space to carry the weight. (McGrath, 1992).
"Whiteley's current series of nudes in and out of the bath could not have been painted if Bacon had not shown us how to manipulate the human figure in enclosed space, but the emotional climate of Whiteley's work has a sensual relaxation nearer to Bonnard's bathrooms than to anything in Bacon" (The Sunday Times, 29 March 1964).
What is the writer saying about Whiteley's work?
Who is Bacon and Bonnard?
Does Whiteley's Bathroom Series look inspired by either of these people? Justify your response by referring to at least two artworks.
What is the writer saying about Whiteley's work?
Who is Bacon and Bonnard?
Does Whiteley's Bathroom Series look inspired by either of these people? Justify your response by referring to at least two artworks.
Bather and Mirror, 1964. Gouache, oil, charcoal on composition board. 152.5 x 155cm.
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"The Bathroom series in less talented hands would have appeared a series of transitional if not indecisive works. In Whiteley's hands they are poised, ultra-sophisticated completely realised paintings" (McGrath, 1992, p.40).
How is McGrath's opinion similar and/ or different to that of the Sunday Times? |
FOCUS QUESTIONS:
PRACTICE:
1. Examine Brett Whiteley's artmaking practice.
In your response consider: his inspiration and process, the materials and techniques he uses, and the size of his works.
Refer to at least two artworks in your answer.
CONCEPTUAL FRAMEWORK:
2. Explain the relationship between TWO of the following agencies:
- Artist
- Artwork
- World
- Audience
Refer to at least one artwork in your response.
FRAMES:
3. Explain how Whiteley's Bathroom Series could be viewed as a subjective response to his life.
Refer to at least two artworks in your answer.
1. Examine Brett Whiteley's artmaking practice.
In your response consider: his inspiration and process, the materials and techniques he uses, and the size of his works.
Refer to at least two artworks in your answer.
CONCEPTUAL FRAMEWORK:
2. Explain the relationship between TWO of the following agencies:
- Artist
- Artwork
- World
- Audience
Refer to at least one artwork in your response.
FRAMES:
3. Explain how Whiteley's Bathroom Series could be viewed as a subjective response to his life.
Refer to at least two artworks in your answer.
Created by N. Usher for Gilroy Catholic College, 2014.