‘He was a great bloke, a gentleman and a scholar,’ one of Scott Bevan’s interviewees says of his subject, the fêted and (at one stage) ill-fated painter, William Dobell. Like many others in the book, this interviewee got to know Dobell at Wangi Wangi, the little coastal township just south of Newcastle in New South Wales where the painter retreated for the last third of his life, following the unsuccessful but nonetheless wearing legal case mounted against him when he was awarded the Archibald Prize for portraiture in 1943. (The plaintiffs had sought to claim that the prize-winning work was a caricature.)
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