Early Life and Artistic Training

George Duncan entered the art world with a foundation rooted in Auckland, New Zealand, where he was born on 7 January 1904. His early development was not a matter of chance but a result of disciplined technical instruction. By around 1925, he had moved into the structured environment of the Royal Art Society. It was here that he studied under Antonio Dattilo Rubbo, a period that provided the essential technical grounding for his subsequent career as a painter.

This period of study at the Royal Art Society was also the site of a significant professional intersection. It was during these formative years that George Duncan met Alison Rehfisch. The two artists did not merely share a classroom; they began sharing studio space, a practical arrangement that integrated their professional lives. This proximity established a collaborative atmosphere that would persist through their later travels and shared exhibitions.

Travels and Life in Europe

The mid-1930s saw Duncan shifting his focus toward the European continent. In 1934, he met Alison Rehfisch in London, where the two artists shared a period of intense study and professional development. This period was not merely about academic practice; it was a time of active engagement with the metropolitan art scene. Their presence in the London art world was solidified when they were represented in the 'Six Colonial Artists' exhibition at the Cooling galleries in 1934.

Travel was a central component of this European period. A three-month stay in Spain provided a significant departure from the structured environments of London. This movement through different landscapes and urban centers informed his visual language during a decade defined by rapid change. The continental influence was a tangible part of his development before the outbreak of global conflict.

The onset of the war years forced a shift from traditional painting to more functional, technical applications. Duncan spent this time working as a camouflage artist. This role required a different kind of visual precision, moving away from the landscapes and studies of his earlier years toward the practical demands of wartime necessity. He eventually returned to Sydney in 1942.

Marriage and Professional Roles

Duncan’s return to Sydney in 1942 marked a definitive shift from his wartime service as a camouflage artist toward a settled domestic and professional life. He married Alison Rehfisch on 4 December 1942 at the registrar-general's office in Sydney. This partnership was characterized by an egalitarian structure that allowed both artists to maintain active practices while navigating the complexities of the local art scene. Their lives were deeply intertwined, moving from the shared studio spaces of their youth to a shared home in Pymble, known as "Hillgrove," which was extensively decorated by Rehfisch.

His influence extended beyond the canvas and into the institutional management of Australian art. From 1953 to 1964, Duncan held the position of director of the David Jones Art Gallery, a role that placed him at the center of Sydney's commercial and cultural art landscape. His leadership was not limited to gallery management; he also took on significant administrative responsibilities within professional organizations. In 1958, he was elected president of the Australian Watercolour Institute, demonstrating a high level of respect among his peers in the medium.

Later Years and Death

The later years of George Duncan's life were defined by a shift toward the Australian landscape. Following a period of urban professional engagement, he and his wife, Alison, moved to the countryside. This relocation allowed him to focus his practice on the scenery surrounding Berrima, Moss Vale, and Goulburn. This period of landscape painting marked a departure from his earlier wartime work as a camouflage artist, grounding his output in the specific topography of the New South Wales interior.

The couple eventually settled in Pymble, where they lived in a house named "Hillgrove." This residence served as their domestic base until his health declined. Duncan died of cancer on 8 May 1974. His passing had a profound impact on his wife; unable to cope with the loss, Alison took her own life shortly after his death.

Where to See the Works Today

The physical legacy of George Duncan remains concentrated within institutional collections, specifically in Australia. The Art Gallery of New South Wales in Sydney holds the most significant presence of his output, maintaining three approved works from his active period. These pieces provide the most direct evidence of his technical development and his ability to translate specific landscapes into formal compositions.

Visitors to the Art Gallery of New South Wales can find his depictions of European and local subjects. This includes Arab Bridge, Ronda, a work that reflects his time spent in Spain, and Church in the Tyrol. His engagement with the Australian landscape is also represented by Deserted barns at the oaks. These paintings offer a concrete way to assess his handling of form and light without the distraction of historical myth-making.