By Philip Jones
This autobiography offers a desirable inspect Australia's Heide glossy paintings flow from a guy who performed an essential component in it. A bright photograph of Australia's bohemian panorama of the Nineteen Fifties and Sixties emerges and mythical figures within the Australian paintings scene, corresponding to John and Sunday Reed, come to lifestyles.
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Extra resources for Art & Life
Never again for either of us. When I was about twelve a new parson preached a sermon on how early English Christians poured molten lead from Norman churches on marauding infidels. His tone of voice indicated full approval, and that was the end of Christianity and its earthly representatives for me—I hope for life. As an adult, visiting Hobart, I ran into the priest. He was now a bishop. In later life the writer Barry Hill told me—with some pride—that a good friend had become a bishop. I replied that I’d had a gutful of bishops by the time I was sixteen.
He was loving to us as babies and as small children but could not cope with us as we grew up. I suffered more than my sister because I was not growing up to be the kind of man he would like to have been. He was not matey, he was not practical, he could not play sport, but he resented the fact that I resembled him in most of these attributes. I overheard from my bedroom a row when I was about twelve. My father, apparently, had said I was not a normal boy. ’ My father was, quite literally, friendless.
It was much more frightening than a thunderstorm. Eventually the wind abated, the sky returned and the air was cold. I wrote an account of the black-out and sent it to the Argonauts’ Club on ABC radio. It was read on air and I received a blue certificate of merit. My ship number was Aspasia 32. Barry Humphries jokes his was Hernia 1. Soon after the war ended Australian National Airlines (ANA) started an air service between Kerang and Melbourne. We didn’t have a car and the train took all day, so we always flew.
Art & Life by Philip Jones