Sidney Nolan

Changing the way people think

The ability of art to change the world is somewhat of a utopian dream that has rarely occurred. While the likes of Marcel Ducamp, Pablo Picasso and Andy Warhol changed the art world, it is unlikely they had much influence outside of it. Likewise, political artists like John Heartfield who bitterly opposed Hitler prior to World War 2 had little impact on changing views. According to John Willet (1978):

"In so far as any country can be said to choose its rulers, Germany choose Hitler, and bitterly as these artists had opposed him it is doubtful if they really persuaded anyone who did not already share the same views."

Although European and American artist have not really changed wider society, Australian artists have arguably had more success. Sidney Nolan was one such artist. His chief influence was a re-texualisation of the outlaw Ned Kelly in a way that changed the way Australians thought about the long dead bush ranger and their country in general. Prior to Nolan’s series, Ned Kelly's memory only had admirers amongst a small number of Australians. Additionally, most Australians identified closely with Britain and didn’t see any need for an Australian identity, or Australian vernacular. Nolan changed such views. He helped build a perception that the Australian story mattered. He also changed perceptions of Ned Kelly. Instead of being a fringe figure, Kelly went mainstream. Reflective of his rising popularity, the Kelly helmet became one of the most replicated symbols in Australia.

The Trial (1947)

Nolan’s style was heavily influenced by European art movements such as Expressionism and Surrealism. A key difference; however, was that the European art movements were in retreat from the cognitive. Admittedly, Surrealism partly retained cognition when they embraced Freud’s theories, but they were mostly ex-Dadaists that were chiefly concerned about introspection. Europe in general was anti-culture and moving towards art that was emotional and individualistic. In conflict with European trends, Nolan retained a strong interest in the cognitive. Specifically, he maintained strong friendships with writers, with whom he was able to communicate and learn. This insured that his paintings about social issues were very informed. (Later, Nolan moved to Europe and painted Greek myths and essentially became a renaissance artist painting in a modernist style.)

Nolan’s style was somewhat naïve and had the effect of giving the Ned Kelly story a comic feel. This was important in order to disarm the viewer who approached Kelly’s memory with a hostile attitude. Surrounding the Kelly armour, and sometimes on it, Nolan used the colours and imagery of the Australian landscape. This had a way of creating a sense that Ned Kelly was an Australian legend.

For the titling of the paintings, Nolan relied on newspaper accounts. This allowed Nolan to inform his viewers in ways that obscured Nolan’s own opinion on whether Ned Kelly was a good man or bad. This ambiguity is one of he characteristics that most differentiated Nolan from other political artists. Specifically, political artists generally just assert an opinion in visual form. Those who agree with the opinion applaud and think it is great. Those who disagree just move on. No persuasion occurs. The viewers think the same after seeing the artwork as what they did before seeing the artwork. Nolan was different because, by deliberately remaining ambiguous, the viewers had to think about what he might be saying. With the hostility towards Kelly disarmed and an assortment of material selected and compiled in a manner that encouraged certain interpretations, Nolan got the reception he was seeking.

Although Nolan did a great deal to encourage other Australians to appreciate the importance of the Australian vernacular, he didn’t persuade everyone. There still remained people who thought Kelly was just a dog who got what he deserved and others who maintained their stance the Australian vernacular had no value. Nevertheless, Nolan exerted an influence that had changed the way people thought and had changed it from the position of an outsider.

Death Constable Scanlon 1946

Ned Kelly shot a police officer named Constable Scanlon. For that action, he was found guilty of murder, executed and seen as a cop killer by subsequent generations. By showing the scene in a comic way, the brutality is lessened. Dark clouds in the distance give an ominous feel about what was to come.