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Student Artwork Guide

Interior 168 (Tom)

Name Class Date

jude rae, Interior 168 (Tom), Canberra Museum and Gallery. Reproduced for reference; rights reserved by the rights holder.

The facts

Artist
jude rae artsdot.com/en/artists/jude-rae/
Artist’s dates
1956 – ?
Original size
40 x 38 cm
Held at
Canberra Museum and Gallery artsdot.com/en/museums/canberra-museum-and-gallery-canberra/

In context

Interior 168 (Tom) — jude rae

How big is it?

The original measures 40 × 38 cm (height × width), drawn here beside an adult of average height.

When might this have been painted?

  1. 1950

Shaded: the lifetime of jude rae (1956–?)

This record has no exact year on file — using the artist's lifetime and the work's style, what decade would you guess?

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: artsdot.com/en/art/similar/jude-rae-interior-168-tom-D9ACVM-en/

Colours

Measured from the image

    Main colour

    Black #1f100a

    Catalogued palette

    • #1F100A
    • #A8A09B
    • #956F4B
    • #54301B
    Palette
    Earthy The dominant colour family in the image.
    Main colour name
    Black
    Intensity
    Monochromatic How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Statement How much the colours differ in lightness and saturation across the picture.
    Harmony
    Strong Color Unity How well the colours work together, from clashing to fully unified.
    Brightness
    Bright How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Muted How pure and strong the colours are, from near-grey to fully vivid.

    About this artwork

    Interior 168 (Tom) — jude rae

    Jude Rae (b.1956) is an established and celebrated painter of portraits and still lifes. Currently living and working between Sydney and Canberra, Rae has established herself as an important still life and portrait painter in Australia and New Zealand, using the rich history of these genres as the basis of her works. Her works are highly sought after and she has won the Portia Geach Memorial Award for portraiture twice, in 2005 and 2008, once for a self-portrait and once for a portrait of fellow artist Micky Allan, who is also represented in this series. In 1975 Rae gained a Diploma in Drawing and Painting from the Julian Ashton Art School Sydney, followed by a Bachelor of Arts degree (majoring in Art History) in 1980 from the University of Sydney, and a Master’s degree in 1993 in painting from the University of Canterbury, New Zealand. Rae’s series of Interiors (which originally included several other paintings) are of Canberra residents and artists, mainly fellow tenants at the Australian National Capital Artists studios: Micky Allan, Anna Eggert, David Hodges, Jason Kidd, Jennifer Lawrence, Martin Paull, Caitlin Perriman, Tom Masterson, Derek O’Connor, Meg Roberts, Steenus von Steensen (Lal), and Clare Thackway. Rae chose to paint this series portraying the subjects with their eyes closed as a response to the commonly expressed aphorism of one’s eyes being the ‘windows of the soul.’ In closing their eyes the subjects render themselves vulnerable, the objects of our gaze, but they are also themselves, complete in their own interior worlds.

    Artist and museum

    Artist

    jude rae

    Born in Not Specified, Australia

    Paul Jackson Pollock: A Revolutionary of American Abstraction

    Jackson Pollock, born January 28, 1912, in Cody, Wyoming, and tragically dying August 11, 1956, near Springs, Long Island, remains one of the most iconic and influential figures in 20th-century art. His life was a complex tapestry woven with threads of personal struggle, artistic innovation, and a profound rejection of traditional painting conventions. More than just an artist, Pollock embodied a shift in how art was conceived and created – moving away from representation towards pure expression, process, and the very act of making.

    Pollock’s early life instilled within him a deep connection to the American West, shaped by his family's nomadic existence across California, Arizona, and eventually settling in Los Angeles. He enrolled at Manual Arts High School but was expelled for disruptive behavior, an experience that arguably fueled his rebellious spirit. His formal artistic training began at the Art Students League of New York, where he studied under Thomas Hart Benton, a regionalist painter known for his dynamic compositions and engagement with American themes. However, Pollock quickly moved beyond Benton’s style, absorbing influences from Surrealism, particularly its emphasis on the subconscious, and the radical experimentation of Mexican muralists like David Alfaro Siqueiros and José Clemente Orozco. His exposure to these diverse artistic currents laid the groundwork for his own groundbreaking approach.

    The Emergence of “Drip” Painting

    Pollock’s most significant contribution to art history lies in the development of what is now universally recognized as “drip painting.” Beginning around 1947, he began working on canvases laid flat on the floor of his studio – a deliberate rejection of the easel and traditional painting methods. He employed a unique technique involving pouring, dripping, and splattering thinned enamel paints onto the surface, often using sticks, brushes, and even syringes to manipulate the paint’s flow. This process wasn't about meticulously applying color; it was about allowing the paint itself to dictate the composition, embracing chance and spontaneity.

    This method, initially met with skepticism by critics who questioned its artistic merit, quickly gained momentum. Pollock described his approach as a “natural growth out of a need,” emphasizing that he wasn’t consciously directing the painting but rather responding to the inherent properties of the paint and the movement within the studio. The resulting works – pieces like Number 1, 1948 (often referred to as "Lavender Mist") and One: Number 31, 1950 – are characterized by their expansive fields of color, layered textures, and a sense of dynamic energy. The technique is often described as “all-over painting,” meaning that the entire canvas becomes a single, unified field without a discernible focal point.

    Key Influences and Artistic Context

    Pollock’s work emerged during a period of profound artistic upheaval in America – the rise of Abstract Expressionism. This movement, which dominated the art world throughout the late 1940s and early 1950s, sought to break free from representational art and explore new modes of expression. Pollock’s work resonated deeply with this ethos, aligning with the broader themes of individualism, spontaneity, and emotional intensity that characterized Abstract Expressionism.

    However, Pollock's approach differed significantly from other prominent Abstract Expressionists like Mark Rothko and Willem de Kooning. While Rothko focused on conveying profound emotions through large blocks of color, and de Kooning employed gestural brushstrokes to create dynamic figures, Pollock’s work was fundamentally about the process of painting itself – the act of applying paint in a direct and unmediated way. His connection to Surrealism also informed his work, particularly his exploration of the subconscious mind and the use of automatic techniques.

    Legacy and Historical Significance

    Despite his tragically short life, Jackson Pollock left an indelible mark on the history of art. His innovative technique revolutionized painting, challenging traditional notions of composition, subject matter, and artistic skill. His work paved the way for subsequent generations of artists to explore new forms of expression and push the boundaries of what is considered “art.”

    Pollock’s influence extends beyond the realm of painting. His embrace of chance, spontaneity, and process has resonated with artists in a wide range of disciplines, including performance art, installation art, and conceptual art. Today, his paintings are among the most valuable and sought-after works of art in the world, and his legacy continues to inspire artists and viewers alike. The Museum of Modern Art (MoMA) holds one of the largest and most comprehensive collections of Pollock’s work, ensuring that this revolutionary artist's vision will continue to be celebrated for generations to come.

    Museum

    Canberra Museum and Gallery

    On show in Canberra, Australia

    A Sanctuary of Storytelling in the Heart of the Capital

    Nestled within the vibrant pulse of Australia's capital, the

    Canberra Museum and Gallery

    serves much more than a mere repository for artifacts; it is a living, breathing chronicle of place, people, and the profound evolution of a nation. To step through its doors is to enter a curated dialogue between the ancient past and the unfolding future. The museum operates with a unique dual identity, acting simultaneously as a guardian of historical memory and a dynamic stage for contemporary artistic expression. For the art lover, it offers a sanctuary where the tangible remnants of history meet the ephemeral beauty of modern installation, creating an immersive experience that resonates long after one has departed its halls.

    The architecture of the museum reflects this very duality, offering a sophisticated space where the structural permanence of a gallery meets the fluid energy of a community hub. It is a place designed for contemplation and discovery, where light and shadow play across curated displays to evoke the rugged landscapes and urban complexities of the Australian Capital Territory. For interior designers and collectors seeking inspiration, the museum provides a masterclass in how narrative can be woven into physical space, demonstrating how objects—whether they be delicate indigenous carvings or bold contemporary paintings—can transform an environment into a vessel for storytelling.

    A Tapestry of Local Significance and Cultural Depth

    The collection itself is a breathtaking tapestry of local significance, highlighting the intricate relationship between the land and its inhabitants. Visitors are often moved by the profound depth of the museum's holdings, which range from significant

    Aboriginal and Torres Strait Islander

    cultural items to the poignant records of Canberra’s rapid urban development. The highlights of the permanent collection are not merely objects to be viewed, but voices to be heard; each piece carries the weight of its origin, inviting a deep emotional connection. This seamless blend of ethnographic importance and aesthetic brilliance ensures that every exhibition feels like an intimate encounter with the soul of the region.

    Beyond the historical artifacts, the museum serves as a vital platform for the visual arts, where the textures of the earth meet the sharp lines of modernism. The curation invites a sensory journey through the following elements:

    Cultural Heritage:

    A profound exploration of Indigenous legacies and their enduring presence in the Australian landscape.

    Urban Evolution:

    A captivating look at the transformation of Canberra from a planned capital to a bustling metropolitan center.

    Contemporary Dialogue:

    An ever-changing landscape of modern installations that challenge the viewer's perception of space and medium.

    The Pulse of the Contemporary Moment

    What truly distinguishes the Canberra Museum and Gallery is its commitment to the

    "now."

    The museum is renowned for hosting rotating exhibitions that challenge perceptions, often featuring avant-garde works that push the boundaries of medium and meaning. These temporary showcases bring a sense of urgency and freshness to the institution, ensuring that the museum remains a vital participant in the global art conversation. It is this constant state of renewal—this rhythmic pulse of historical reverence and contemporary provocation—that makes the museum an essential pilgrimage for anyone captivated by the transformative power of art and history.

    Where to read more

    Find this online

    QR code linking to the download page for Interior 168 (Tom)

    artsdot.com/en/art/download/jude-rae-interior-168-tom-D9ACVM-en/

    Cite this artwork

    MLA
    rae, jude. Interior 168 (Tom). n.d., Canberra Museum and Gallery. https://artsdot.com/en/art/jude-rae-interior-168-tom-D9ACVM-en/
    APA
    rae, jude (n.d.). Interior 168 (Tom) [Painting]. Canberra Museum and Gallery. https://artsdot.com/en/art/jude-rae-interior-168-tom-D9ACVM-en/
    Chicago
    jude rae. Interior 168 (Tom). n.d. Canberra Museum and Gallery. https://artsdot.com/en/art/jude-rae-interior-168-tom-D9ACVM-en/
    Harvard
    rae, jude (n.d.) Interior 168 (Tom). Canberra Museum and Gallery. Available at: https://artsdot.com/en/art/jude-rae-interior-168-tom-D9ACVM-en/

    Look closely

    Interior 168 (Tom) — jude rae

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Look back at Interior 164 (Lal), earlier in this guide. Name two things it shares with this work, and one that is different.
    4. What might the artist have wanted you to feel?
    5. If you could ask the artist one question about this work, what would it be?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.