Introduction

Max Dupain (1911–92) is one of the leading figures of 20th-century Australian photography. He was a proponent of modernism from the early 1930s and played a key role in introducing graphic contours, formal abstraction and a play of scale into the Australian image vocabulary.

Dupain’s Paris ‘private’ series was taken in 1978 during his first and only trip to Europe. The portfolio was created as a gift to modernist architect Harry Seidler (1923–2006), who had invited Dupain to photograph his newly completed Australian Embassy. This group of 21 pristine handmade prints show the artist’s personal observations and interests as he explored Paris, from 18th- and 19th-century landmarks and architectural icons to street scenes and candid moments. The portfolio was donated to the Art Gallery of NSW by Penelope Seidler in 2012 and this is the first time the photographs have been publicly displayed together.

The other pictures in this exhibition were taken between 1933 and 1983, mainly in Sydney. They show the continuing significance of both architectural and botanical structures to Dupain’s photographic practice, and his profound interest in the interplay of light and form. Paired together, we can see the connections Dupain draws between seemingly contradictory forms and the influence of modernist architectural ideals on his work in general.

Issues for consideration

• The photographs in the Paris 'private’ series are impressions of a foreign city through the eyes of an outsider. Consider Dupain’s selection of famous monuments punctuated with candid shots of people. Why do you think he chose these particular views to present to Seidler? How do they reflect his interest in a modernist aesthetic, connections between the past and the present, and his desire for personal expression.

• The ‘other’ pictures in this exhibition give insight into Dupain’s profound interest in form, scale and use of black as a tool for abstraction. Explore the relationship between Dupain’s flower images and architectural studies in the exhibition. Select one image of each and outline the elements Dupain has used to make connections. Consider the use of high tonal contrasts, abstracted form, light and scale.

• Dupain felt that Harry Seidler was instrumental in enabling his success as an architectural photographer. Seidler, in turn, believed the way a building is photographed is a direct source of an architect’s reputation. Research Seidler’s architectural practice and find examples of his buildings. How does Dupain respond to Seidler’s pure geometrical forms, emphasis on materials and rejection of decorative motifs? Consider the photographer’s use of formal abstraction and play of scale.

• Dupain was well read in modern French culture and aware of photographers such as Eugène Atget and Henri Cartier-Bresson. Research the practice of Atget and Cartier-Bresson, perhaps starting with the Gallery’s Eugene Atget exhibition kit. Compare their approaches to Dupain’s. In your opinion, what may have compelled Dupain to these artists and images?

• Consider how both Atget and Dupain have examined the city of Paris. Describe the similarities between the two artists in relation to subject, technique and atmosphere. Create a visual list comparing examples from both artists, including street scenes, interiors and public artworks.

• ‘I like to involve myself in… a small area geographically and work it out, as simple as that.’ – Max Dupain, 1991. Find a particular geographical area that is important to you. Document it using a camera and sketches. Look for interesting features that make this space unique. Consider different angles and viewpoints and try to find details that people usually ignore or disregard. Create as many Dupain-inspired compositions as you can from your journey. Discuss how these compositions could make people look at an environment with a renewed vision.