(Australia 26 Jun 1906 – 31 Dec 1992)
recto: (Female figure) verso: Margel
- Not on display
- Further information
This double-sided drawing is a portrait of the artist's wife, Margel Hinder, and a figure study of a seated woman, most likely also Margel. Both drawings reveal Hinder’s adoption of salon cubist principles, in which his subjects were rendered using compositional principles derived from dynamic symmetry – that is, a method of composition in which mathematical principles were applied to natural form. Unlike some of his contemporaries who moved wholly into non-objective art (such as Grace Crowley), Hinder made both figurative and non-figurative works in tandem in the 1930s and 40s. Geometry, however, was a constant, in this case giving an observed form (that is, the figure) a unifying cohesiveness and order.
- pencil, pastel on ivory wove paper
- 36.8 x 27.2 cm sheet
- Signature & date
Signed and dated l.r.corner, pencil "FCH. 46"
Signed and dated l.r. corner verso, pencil "Margel. Oct.46".
- Purchased with funds provided by the Gil & Shay Docking Drawing Fund 2015
- Accession number
- © Estate of Frank Hinder