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Lot Essay
Nativity I was painted in 1947, the year that the Perceval family took over the pottery at 'Open Country' as their residence. This work, painted when the artist was only 24, is central to a series of paintings which are widely considered to be "Perceval's most important work: the religious paintings of 1947 and 1948." (M. Plant, op.cit. , p. 24). It is the first in the suite of nativity paintings that also includes; Nativity II 1948, in the Rockhampton Art Gallery collection; Nativity III 1948, and the unfinished Nativity Scene 1948. Of particular significance is the fact that this painting presents one of the earliest appearances of the angel as part of Perceval's iconography.
Nativity 1 is a testament to the rich intellectual dimensions and range of interests and influences that informed Perceval's work of the late 1940s. "Perceval's interests straddle the centuries. They are not confined to considerations of the date of their making, not any specific time or place." (T. Allen, op.cit.,, 1991, Melbourne, p.55)
Living with the overtly religious Boyd family at Murrumbeena, Perceval discovered the Bible and, apart from being audience to Merric Boyd's frequent recitations from the text, he would also read large tracts in private. At the same time he and Boyd had taken to studying the techniques of European old master painters particularly Rembrandt, Tintoretto and Brueghel. The National Gallery of Victoria had purchased a number of Rembrandt paintings in the 1930s and together Boyd and Perceval studied these and the reproductions of works by the old masters at the State Library of Victoria. Perceval recalled that "a number of the reproductions discovered and enjoyed at the library were removed for later study." (T. Allen, Ibidi, 1991, Melbourne, p.79) Perceval was also interested in film and would attend art and political films with his friend and tutor at Melbourne University's department of philosophy, Peter Herbst. The Jean Cocteau film Blood of a Poet is recognised as an influence on a number of Perceval's 1940s works. Most of this film was shot in a space dissected by a ladder, a device employed twice in the composition for Nativity 1. All of Perceval's diverse interests, along with his domestic situation at 'Open Country', and the birth of his second child, Tessa, contribute to the accomplishment and Joie de vivre apparent in this major work.
Perceval's interest in the old masters, and the confidence with which he was approaching his paintings at this time, are unmistakably evident in Nativity 1. In taking on one of the greatest scripture narratives, Perceval was comfortable being viewed alongside history's great painters of this genre. His study of technique lends this painting an "old-fashioned finish" and the dappled light falling through the roof of a two levelled barn strongly references Tintoretto's Nativity 9. As in Tintoretto's nativity scene, the light appears to emanate directly from Perceval's Christ child.
Nativity 1 also demonstrates something of the rich descriptive, spontaneous and imaginative activity apparent in the construction of the Flemish artist Brueghel's paintings. Moving beyond the story of the nativity, Perceval presents a joyous scene of curious cattle and donkies, comforting angels and playful asides such as the naked figure scaling the ladder to get a closer look at the angel and a visitor toying with the barn cat. These light and humorous activities can be attributed also to the influence of the British William artist Hogarth and are very much a part of Perceval's whimsical nature. In her book on Religion in Australian Art, Rosemary Crumlin notes of Perceval's religious works that "Their inspiration may have come from della Robbia and Donatello in Renaissance Italy, but their mischievous and impish stances are Perceval's own genius." (R. Crumlin, Images of Religion in Australian Art, 1988, Melbourne, p.34)
Like Hogarth, Perceval often included his friends and family as models in his work. He also enjoyed the allegorical aspect of Hogarth's work. It is likely that this work is, in part, a celebration of the birth of his second child Tessa, born the year it was painted. The two blond figures that traditionally represent Mary and the Christ child, can be viewed as the two year old Matthew Perceval holding his baby sister amid the daily activities at Murrumbeena.
In his investigation of 'The Revolutionary years of Australian Art', Richard Haese recognises that with his religious paintings "Perceval, unlike Boyd, chooses to celebrate positive, life-enhancing aspects: spontaneous play, the pleasures of day-to-day living, a sense of community." (R. Haese, Rebels and Precursors, Melbourne, 1981, p.250)
With its wealth of influences and references, complex and active composition and powerful personal dimension, Nativity 1 is undoubtedly one of Perceval's most significant paintings and was very likely among those shown at his first solo exhibition at Book Club, Melbourne in 1948.
Nativity 1 is a testament to the rich intellectual dimensions and range of interests and influences that informed Perceval's work of the late 1940s. "Perceval's interests straddle the centuries. They are not confined to considerations of the date of their making, not any specific time or place." (T. Allen, op.cit.,, 1991, Melbourne, p.55)
Living with the overtly religious Boyd family at Murrumbeena, Perceval discovered the Bible and, apart from being audience to Merric Boyd's frequent recitations from the text, he would also read large tracts in private. At the same time he and Boyd had taken to studying the techniques of European old master painters particularly Rembrandt, Tintoretto and Brueghel. The National Gallery of Victoria had purchased a number of Rembrandt paintings in the 1930s and together Boyd and Perceval studied these and the reproductions of works by the old masters at the State Library of Victoria. Perceval recalled that "a number of the reproductions discovered and enjoyed at the library were removed for later study." (T. Allen, Ibidi, 1991, Melbourne, p.79) Perceval was also interested in film and would attend art and political films with his friend and tutor at Melbourne University's department of philosophy, Peter Herbst. The Jean Cocteau film Blood of a Poet is recognised as an influence on a number of Perceval's 1940s works. Most of this film was shot in a space dissected by a ladder, a device employed twice in the composition for Nativity 1. All of Perceval's diverse interests, along with his domestic situation at 'Open Country', and the birth of his second child, Tessa, contribute to the accomplishment and Joie de vivre apparent in this major work.
Perceval's interest in the old masters, and the confidence with which he was approaching his paintings at this time, are unmistakably evident in Nativity 1. In taking on one of the greatest scripture narratives, Perceval was comfortable being viewed alongside history's great painters of this genre. His study of technique lends this painting an "old-fashioned finish" and the dappled light falling through the roof of a two levelled barn strongly references Tintoretto's Nativity 9. As in Tintoretto's nativity scene, the light appears to emanate directly from Perceval's Christ child.
Nativity 1 also demonstrates something of the rich descriptive, spontaneous and imaginative activity apparent in the construction of the Flemish artist Brueghel's paintings. Moving beyond the story of the nativity, Perceval presents a joyous scene of curious cattle and donkies, comforting angels and playful asides such as the naked figure scaling the ladder to get a closer look at the angel and a visitor toying with the barn cat. These light and humorous activities can be attributed also to the influence of the British William artist Hogarth and are very much a part of Perceval's whimsical nature. In her book on Religion in Australian Art, Rosemary Crumlin notes of Perceval's religious works that "Their inspiration may have come from della Robbia and Donatello in Renaissance Italy, but their mischievous and impish stances are Perceval's own genius." (R. Crumlin, Images of Religion in Australian Art, 1988, Melbourne, p.34)
Like Hogarth, Perceval often included his friends and family as models in his work. He also enjoyed the allegorical aspect of Hogarth's work. It is likely that this work is, in part, a celebration of the birth of his second child Tessa, born the year it was painted. The two blond figures that traditionally represent Mary and the Christ child, can be viewed as the two year old Matthew Perceval holding his baby sister amid the daily activities at Murrumbeena.
In his investigation of 'The Revolutionary years of Australian Art', Richard Haese recognises that with his religious paintings "Perceval, unlike Boyd, chooses to celebrate positive, life-enhancing aspects: spontaneous play, the pleasures of day-to-day living, a sense of community." (R. Haese, Rebels and Precursors, Melbourne, 1981, p.250)
With its wealth of influences and references, complex and active composition and powerful personal dimension, Nativity 1 is undoubtedly one of Perceval's most significant paintings and was very likely among those shown at his first solo exhibition at Book Club, Melbourne in 1948.