Albert Tucker

Handsomely illustrated, beautifully produced and authoritatively written, Gavin Fry’s monograph on Albert Tucker aims to establish him as an important artist within the Australian twentieth-century canon. Fry begins his introduction with the statement that Tucker ‘was a man who inspired strong feelings and his work likewise required the viewer to make a stand. Many found his work difficult, some even repellent, but the artist and his art demanded attention. Equally gifted as a painter, and possibly more so as a draughtsman than his contemporaries Nolan, Boyd and Perceval, Tucker belongs with this élite who revolutionised Australian painting in Melbourne in the 1940s.’ But is this really so? Was Tucker really so much better than his contemporaries, or even as good as them?

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Albert Tucker by James Mollison and Nicholas Bonham

August 1982, no. 43

Macmillan’s Albert Tucker is a pioneering venture. It is not just another well-arranged, well-printed collection of paintings by a notable painter, it is an endeavour to present the whole conspectus of a painter’s work and mind.

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