| Year | Artist | Title |
|---|---|---|
| 2009 | Fantauzzo, Vincent | Brandon |
| 2008 | Fantauzzo, Vincent | Heath |
| 2007 | Ploeg, Evert | George Ellis |
| 2006 | Jackson, Paul | Garry McDonald "All the world's a stage..." |
| 2005 | Harding, Nicholas | Bob's daily swim |
| 2004 | Ruddy, Craig | David Gulpilil, two worlds |
| 2003 | Zhao, Dalu | 'Lao Fei' Stephen Fitzgerald |
| 2002 | Williamson, Jan | Jenny Morris - singer/songwriter |
| 2001 | Newton, Paul | Roy and HG (John Doyle and Greig Pickhaver) |
| 2000 | Erlich, Esther | Never Been Better |
| 1999 | Ploeg, Evert | Deborah Mailman |
| 1998 | Hannaford, Robert | Rolf Prince |
| 1997 | Lynn, Mathew | Jeanne Ryckmans |
| 1996 | Hannaford, Robert | Self Portrait |
| 1995 | Palaitis, Josonia | Bill Leak |
| 1994 | Leak, Bill | Malcolm Turnbull |
| 1993 | Little, Jennifer | Victor Sellu |
| 1991/92 | Hannaford, Robert | Portrait of Hugh Stretton |
| 1990 | Campbell, Reg | Self Portrait |
| 1989 | Meskenas, Vladas | Donald Friend 1989 |
| 1988 | Cress, Fred | John Beard |
Sunday 17 April 2011
List of Past People's Choice Winners
List of Past Packing Room Prize Winners
| Year | Artist | Title |
|---|---|---|
| 2011 | Fantauzzo, Vincent | Matt Moran |
| 2009 | Jackson, Paul | Flacco’s chariot |
| 2008 | Ball, Martin | Neil Finn |
| 2007 | Bergstrom, Danelle | Take two - Jack Thompson |
| 2006 | Mucci, Michael | A working class man |
| 2005 | Benjamin, Jason | Staring down the past |
| 2004 | Ploeg, Evert | Jana Wendt |
| 2003 | Williamson, Jan | Rachel Ward |
| 2002 | Williamson, Jan | Jenny Morris - singer/songwriter |
| 2001 | Newton, Paul | Roy and HG (John Doyle and Greig Pickhaver) |
| 2000 | Leak, Bill | 'Are you with me' Portrait of Sir Les Patterson |
| 1999 | Christian, Deny | Garry McDonald |
| 1998 | Lester, Kerrie | Self Portrait as a bridesmaid |
| 1997 | Leak, Bill | Tex (Perkins) |
| 1996 | Newton, Paul | John Laws |
| 1995 | Bergstrom, Danelle | Jon English |
| 1994 | Robertson, Peter | Kate Ceberano |
| 1993 | Erbsland, Angelika | Colin Hayes OBE and friend |
| 1991/92 | Bridges, Greg | Gareth Evans |
List of Past Archibald Prize Winners
| Year | Artist | Title |
|---|---|---|
| 2011 | Quilty, Ben | Margaret Olley |
| 2010 | Leach, Sam | Tim Minchin |
| 2009 | Maestri, Guy | Geoffrey Gurrumul Yunupingu |
| 2008 | Barton, Del Kathryn | You are what is most beautiful about me, a self portrait with Kell and Arella |
| 2007 | Beard, John | Janet Laurence |
| 2006 | Wills, Marcus | The Paul Juraszek monolith (after Marcus Gheeraerts) |
| 2005 | Olsen, John | Self portrait Janus Faced |
| 2004 | Ruddy, Craig | David Gulpilil, two worlds |
| 2003 | Dyer, Geoffrey | Richard Flanagan |
| 2002 | Hood, Cherry | Simon Tedeschi unplugged |
| 2001 | Harding, Nicholas | John Bell as King Lear |
| 2000 | Cullen, Adam | Portrait of David Wenham |
| 1999 | MacLeod, Euan | Self Portrait/head like a hole |
| 1998 | Miller, Lewis | Portrait of Allan Mitelman no.3 |
| 1997 | Thomson, Nigel | Barbara Blackman |
| 1996 | Sharpe, Wendy | Self Portrait - as Diana of Erskineville |
| 1995 | Robinson, William | Self Portrait With Stunned Mullet |
| 1994 | Giacco, Francis | Homage to John Reichard |
| 1993 | Shead, Garry | Tom Thompson |
| 1991/92 | Westwood, Bryan | The Prime Minister |
| 1990 | Proud, Geoffrey | Dorothy Hewett |
| 1989 | Westwood, Bryan | Portrait of Elwyn Lynn |
| 1988 | Cress, Fred | John Beard |
| 1987 | Robinson, William | Equestrian Self Portrait |
| 1986 | Allen, Davida | Dr John Arthur McKelvie Shera |
| 1985 | Warren, Guy | Flugelman with Wingman |
| 1984 | Looby, Keith | Max Gillies |
| 1983 | Thomson, Nigel | Chandler Coventry |
| 1982 | Smith, Eric | Peter Sculthorpe |
| 1981 | Smith, Eric | Rudy Komon |
| 1979 | Walters, Wesley | Portrait of Phillip Adams |
| 1978 | Whiteley, Brett | Art, Life and the other thing |
| 1977 | Connor, Kevin | Robert Klippel |
| 1976 | Whiteley, Brett | Self Portrait in the Studio |
| 1975 | Connor, Kevin | The Hon Sir Frank Kitto, K.B.E. |
| 1974 | Fullbrook, Samuel | Jockey Norman Stephens |
| 1973 | Dawson, Janet | Michael Boddy |
| 1972 | Pugh, Clifton | The Hon E.G. Whitlam |
| 1971 | Pugh, Clifton | Sir John McEwan |
| 1970 | Smith, Eric | Gruzman - Architect |
| 1969 | Crooke, Ray | George Johnston |
| 1968 | Pidgeon, William | Lloyd Rees |
| 1967 | Cassab, Judy | Margo Lewers |
| 1966 | Molvig, Jon | Charles Blackman |
| 1965 | Pugh, Clifton | R. A. Henderson, Esq. |
| 1963 | Carington Smith, Jack | Professor James McAuley |
| 1962 | Kahan, Louis | Patrick White |
| 1961 | Pidgeon, William | Rabbi Dr I. Porush |
| 1960 | Cassab, Judy | Stanislaus Rapotec |
| 1959 | Dobell, William | Dr Edward MacMahon |
| 1958 | Pidgeon, William | Mr Ray Walker |
| 1957 | Hele, Ivor | Self Portrait |
| 1956 | Dargie, William | Mr. Albert Namatjira |
| 1955 | Hele, Ivor | Robert Campbell |
| 1954 | Hele, Ivor | Rt. Hon. R. G. Menzies, P.C., C.H., Q.C., M.P. |
| 1953 | Hele, Ivor | Sir Henry Simpson Newland, CBE, DSO, MS, FRCS |
| 1952 | Dargie, William | Mr Essington Lewis, CH |
| 1951 | Hele, Ivor | Laurie Thomas |
| 1950 | Dargie, William | Sir Leslie McConnan |
| 1949 | Murch, Arthur J | Bonar Dunlop |
| 1948 | Dobell, William | Margaret Olley |
| 1947 | Dargie, William | Sir Marcus Clarke, Kt., K.B.E. [sic] |
| 1946 | Dargie, William | L. C. Robson, M.C., M.A.. |
| 1945 | Dargie, William | Lt-General The Hon Edmund Herring, KBC, DSO, MC, ED |
| 1944 | Smith, Joshua | Speaker, House of Representatives, Hon. J. S. Rosevear, M.P. |
| 1943 | Dobell, William | Mr. Joshua Smith |
| 1942 | Dargie, William | Corporal Jim Gordon, VC |
| 1941 | Dargie, William | Sir James Elder, KBE |
| 1940 | Meldrum, Max | Dr J. Forbes McKenzie |
| 1939 | Meldrum, Max | Hon G. J. Bell, C.M.G., D.S.O., V.D., (Speaker, House of Representatives) |
| 1938 | Heysen, Nora | Mme Elink Schuurman |
| 1937 | Baker, Normand Henry | Self Portrait |
| 1936 | McInnes, William Beckwith | Dr Julian Smith |
| 1935 | Longstaff, John | A. B. ('Banjo') Paterson |
| 1934 | Hanke, Henry Aloysius | Self Portrait |
| 1933 | Wheeler, Charles | Ambrose Pratt |
| 1932 | Buckmaster, Ernest | Sir William Irvine |
| 1931 | Longstaff, John | Sir John Sulman |
| 1930 | McInnes, William Beckwith | Drum-Major Harry McClelland |
| 1929 | Longstaff, John | The Hon. W. A. Holman, KC |
| 1928 | Longstaff, John | Dr Alexander Leeper |
| 1927 | Lambert, George Washington | Mrs Murdoch |
| 1926 | McInnes, William Beckwith | Silk and Lace (Miss Esther Paterson) |
| 1925 | Longstaff, John | Maurice Moscovitch |
| 1924 | McInnes, William Beckwith | Miss Collins |
| 1923 | McInnes, William Beckwith | Portrait of a Lady |
| 1922 | McInnes, William Beckwith | Professor Harrison Moore |
| 1921 | McInnes, William Beckwith | Desbrowe Annear |
Controversy, Scandals and Debate
Ever since the Archibald Prize awarded its first prize it has been highly sought by artists, for the money it possessed, the exposure it gave and the chance to have your work exhibited in a major gallery. The first decade the Archibald saw a lot of academic and tonal realism. In response to this artists began to modify their styles to suit that of the Archibald Prize winning trend.
In 1946 for the first time the Trustees insisted on a pre-selection, where more than half the entries were eliminated.
The first sign of disapproval was when William Dargie won his seventh Archibald with Mr Essignton Lewis, CH in 1952. Art students feed up the predictability of his work decided to demonstrate their feelings.
In the first two decades a few people broke away from the crowd of the sitter. an example of this is Henry Hanks Self portrait in which he criticised as not being distinguished as he portrayed himself in representation of an unemployed painter, tattily dressed.
It was William Dobell's winning portrait of Joshia Smith that really rocked the boat, in 1943. This portrait was the one that finally broke the idea established with the Archibald. The reaction to him winning was so extreme that a fellow competitor took legal action against Dobell and the Trustees, with the case that Joshua Smith was 'a distorted and caricatured form' meaning it wasn't a portrait. Though not everyone agreed, Dobell's supporters described that the portrait was a 'work of art and a likeliness or resemblance of the sitter.' Dobell responded to the critics with a statement about how he was trying to create something, instead of copying something.
Along with the case came a lot of press coverage and public comment. In the end the case turned into a lively debate about Modernism. the verdict of Justice Roper upheld Dobell's award stating that 'although characterised by some startling exaggeration and distortion.........nevertheless bore a strong degree of likeness to the subject and undoubtedly was a pictorial representation of him.'
In the 1960's Archibald artists were dealing with the demands of modernism, particularly abstract art. The artists had no concern with naturalism or realism.
A debate was always brewing with the Archibald Prize. another controversy appeared when Brett Whiteley won with his painting Self portrait in the studio, in 1976. The portrait marked a turning point for the the award. The self portrait part of the painting is just the artists face reflected in a hand mirror, with the blue ocean that is his studio surrounding it.
If a portrait was proven to be drawn from a photograph the portrait is disqualified this happened to John Bloomfield with his portrait Tim Burstall, in 1975, though this wasn't the only time
The Archibald has had its fair share of controversies, scandals and debates, but there are still many more to come. The prize is intertwined with the these problems, its just the way it works.
In 1946 for the first time the Trustees insisted on a pre-selection, where more than half the entries were eliminated.
The first sign of disapproval was when William Dargie won his seventh Archibald with Mr Essignton Lewis, CH in 1952. Art students feed up the predictability of his work decided to demonstrate their feelings.
In the first two decades a few people broke away from the crowd of the sitter. an example of this is Henry Hanks Self portrait in which he criticised as not being distinguished as he portrayed himself in representation of an unemployed painter, tattily dressed.
It was William Dobell's winning portrait of Joshia Smith that really rocked the boat, in 1943. This portrait was the one that finally broke the idea established with the Archibald. The reaction to him winning was so extreme that a fellow competitor took legal action against Dobell and the Trustees, with the case that Joshua Smith was 'a distorted and caricatured form' meaning it wasn't a portrait. Though not everyone agreed, Dobell's supporters described that the portrait was a 'work of art and a likeliness or resemblance of the sitter.' Dobell responded to the critics with a statement about how he was trying to create something, instead of copying something.
Along with the case came a lot of press coverage and public comment. In the end the case turned into a lively debate about Modernism. the verdict of Justice Roper upheld Dobell's award stating that 'although characterised by some startling exaggeration and distortion.........nevertheless bore a strong degree of likeness to the subject and undoubtedly was a pictorial representation of him.'
In the 1960's Archibald artists were dealing with the demands of modernism, particularly abstract art. The artists had no concern with naturalism or realism.
A debate was always brewing with the Archibald Prize. another controversy appeared when Brett Whiteley won with his painting Self portrait in the studio, in 1976. The portrait marked a turning point for the the award. The self portrait part of the painting is just the artists face reflected in a hand mirror, with the blue ocean that is his studio surrounding it.
If a portrait was proven to be drawn from a photograph the portrait is disqualified this happened to John Bloomfield with his portrait Tim Burstall, in 1975, though this wasn't the only time
The Archibald has had its fair share of controversies, scandals and debates, but there are still many more to come. The prize is intertwined with the these problems, its just the way it works.
The Debate
The Archibald Prize should reward artists who paint in a realist way
 |
| Stanislaus Rapotec By Judy Cassab |
I don’t think there is a right or a wrong way for the style of the Archibald prize. Isn’t art about expressing yourself? And that can be done in many ways. Yes, the Archibald Prize traditionally was to be painted in a realistic style but that was then, and this is now. Modern art movements have been created and now realism isn’t the only portraiture style out there. I understand holding on to traditions but those traditions are slipping away. Sometimes you have to let go of the past. Artists each year have tried to push the judging panel out of their comfort zone, giving them something new and unique and sometimes the judges have fallen for it. I don’t think the Archibald Prize should be limited to just realism. In my eyes all entry styles should be taken and considered with no favouring of any sort.
In the past the audience was strictly formal and so the painting was to be of a formal standard. Nowaday’s people are interested in something different as they have already seen that side of portraiture and are bored with it, though they still don’t want to let it go. The times have changed in the way of art styles and techniques. Now it is common for portraits to be not a realistic picture of the person but more of their personality. There have been a number of scandals with the Archibald Prize. The younger generations see the formal sit down as boring and are holding out for something new and exciting, though the older generations are all for keeping the traditions alive. I think they should just keep peace and allow all styles and let the best painting win.
 |
| Self portrait with Kell and Arella By Del Kathryn Barton |
The Archibald prize is about showing off Australian artistic talent and some of that talent is intertwined with abstract. Though I don’t think the paintings should be so abstract that you can’t tell the subject's identity. I still think the painting should have a realistic quality, but I don’t think it has to be the classic formal sit down image either. Judy Cassab’s painting Stanislaus Rapotec (see image in top left corner) shows a nice blend between the two, as does Del Kathryn Barton’s self portrait...(see image to right). The Archibald Prize should be a mixture of realism and abstract. As if you stir together realism and abstract and place it in the oven, what will emerge from that oven will be a beautiful cake. The delicious cake could be the Archibald Prize. That should be the aim, the most amazing cake, and you can’t make a cake with only half the mixture.
Portraiture
 | |||||||||
| H. Desbrowe Annear By W.B. McInnes |
Portraiture has changed since the Archibald Prize was a fresh little seedling. Back then portraiture had a whole different definition, portraiture was realistic and formal. Using the first portrait to win the Archibald Prize (see image to the right) as an example, you can see it is very formal and has a strict realistic approach. Realism is still around though not as formal as it used to be and there are modern movements of art as well. The winner of this years Archibald (see image below) shows the significant difference in styles in the last 90 years. Though the portraiture from this year still looks like the sitter it is still abstract, as the artist has used a range of colours to represent her personality. Abstract has taken away some of realism's glory. The definition of portraiture has changed, but the fully traditional style of portraiture has not yet been be wiped.
 |
| Margaret Olley By Ben Quilty |
In painting a portrait the artist must create a likeness of the sitter as well as making the painting well composed or formal. A portrait can capture two things the essence of the person or a realistic image of them, these two ideas show the difference in the last century. The character of the person can be captured by line, colour, tone or fragmented forms. This day and age we are less sympathetic to the traditional aims of portraiture, which makes it astonishing that it has survived these times as well as it has.
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