The Boy George, c. 1928

William Dobell remains renowned as one of Australia’s foremost portrait painters, leaving an indelible mark in art history with his remarkable body of work. His works, including those of Dame Mary Gilmore and Margaret Olley, stand as unforgettable pieces that highlight his mastery in capturing the essence and character of his subjects.

While Dobell’s portraits of notable Australians like Dame Mary Gilmore and Margaret Olley are iconic, his artistry wasn’t confined solely to national figures. Pieces such as The Billy Boy, 1943 showcased his skill in portraying character types, not limited to Australians, as evidenced by the memorable and pointed portrayal in Mrs South Kensington, 1937.

Dobell’s artistic virtuosity shines through his portraits, where he skilfully used his medium and brushwork to reinforce the character and occupation of the sitter. For instance, in The Strapper, 1941 the meticulous application of paint parallels the care a strapper would give to grooming horses. Conversely, in Anthony Quayle as Falstaff, 1951, Dobell captures the fullness of the personality through vibrant strokes and colours, depicting the robust figure of Falstaff. His portraits often provided insightful psychological glimpses into the sitters’ personalities, exemplified by his controversial yet revealing portrait of Joshua Smith, the winner of the 1943 Archibald Prize titled Portrait of an Artist.

The Boy George, an early portrait by Dobell, offers a rare insight into the genesis of his portrait painting prowess. Painted during his time at Julian Ashton’s classes in the Sydney Art School in the late 1920s, it reflects Dobell’s academic training, heavily influenced by George Lambert. This period emphasized the importance of underlying structure over superficial appearances, showcasing Dobell’s mastery of creating three-dimensional features on a flat canvas. Painted while Dobell worked as a draughtsman at Wunderlich Ltd. in Redfern, the model for The Boy George likely belonged to his everyday working world. The direct gaze exchanged between model and artist in the portrait speaks volumes, showcasing Dobell’s remarkable draughtsmanship and the tactile quality of his paint, a trait evident throughout his career.

Despite their rarity in private collections, early paintings by Dobell are treasured, most being held in esteemed public collections, reflecting the recognition and acclaim he received during his lifetime.