Robert Dickson’s provocative, confronting images – often of, as he likes to call them “low lifers” - stems from his own tough background, including touring for four years with the famous Jimmy Sharman Boxing Troupe.
He paints the lonely and the destitute. A love of horse-racing resulted in fantastic images of characters of the track, including “the emus” – down-on-their-luck punters bending down to pick up discarded betting tickets in the hope one may be a winner.
With a definitive angular style, Dickerson’s view on life is represented in paintings with titles such as The Tired Man, The Lost Child and The Gossips.
Born in 1924 in Hurstville, Dickerson grew up in inner-city Sydney during the Great Depression, left school at 14, and worked in factories, professional boxing, the RAAF and green keeping. He painted in his spare time, using any available material. The hardships he went through are evident in his work - loneliness, vulnerability and isolation, often laced with humour.
In the early 50s he made friends with John and Sunday Reed who opened their home, Heide, now the Museum of Modern Art, to artists and writers. The breakthrough to becoming one of Australia's most recognised figurative artists came in 1954 when the National Gallery of Victoria purchased Man Asleep On The Step.
Along with Charles Blackman, Arthur Boyd and John Molvig, Dickerson became part of an artists group called the Antipodeans.
His passion for breeding and racing horses was recognised when he was appointed artist-in-residence at Moonee Valley Race Club for the 2001-2002 season.
The hallmark of Dickerson is his unceasing search for subjects amid everyday life. “We should try to paint the life we see around us,” he says.
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