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Max Ragless: 3 nejznámějších obrazů, dokumentace
Aktualizováno listopad 2026 · seřazeno podle našeho skóre popularity (vyhledávání, návštěvy a objednávky u každého díla) · 3 děl umělce Max Ragless v našem katalogu
Shrnutí
Podle tohoto žebříčku je Back of the mill (1941) nejznámějším dílem autora Max Ragless; nachází se v muzeu Art Gallery of New South Wales v místě Sydney. Následuje po něm Hobart waterfront (1950) a Second valley (1954). Tento seznam vychází z 3 děl umělce Max Ragless v katalogu a obsahuje 3 nejznámějších z nich, přičemž u každého záznamu uvádí datum, muzeum, ve kterém se nachází, a popis.
1901 – 1981, Edwardstown
Nejvíce děl: Art Gallery of New South Wales
Max Ragless: 10 nejlepších položek seznamu
Max Ragless: v muzeích
Muzeum s největším počtem obrazů na této stránce.
| Muzeum | Město | Díla autora Max Ragless | Obrazy z tohoto seznamu |
|---|---|---|---|
 Art Gallery of New South Wales |
Sydney | 3 | Back of the mill, Hobart waterfront, Second valley |
Díla Max Ragless podle roku: nejznámější obrazy
Dáteská díla umělce Max Ragless na této stránce pocházejí z období 14 let mezi lety 1941 a 1954, která jsou níže uvedena rok po roce.
Díla podle roku
Vyberte rok pro zobrazení jeho hlavních obrazů.
Max Ragless: otázky a dokumentované odpovědi
Který obraz autora Max Ragless dominuje seznamu nejslavnějších děl?Zobrazit odpověď
Back of the mill (1941), Art Gallery of New South Wales, Sydney. Následující položky jsou Hobart waterfront (1950) a Second valley (1954).
Kolem kolika let bylo Max Ragless, když byl namalován obraz Back of the mill?Zobrazit odpověď
40 let: Max Ragless se narodil/a v 1901 a dílo Back of the mill pochází z roku 1941.
Kolik děl autora Max Ragless je evidováno?Zobrazit odpověď
Katalog obsahuje 3 děl umělce Max Ragless datovaných v období od 1941 do 1954.
Ve kterých sbírkách se nachází nejznámější díla umělce Max Ragless?Zobrazit odpověď
Primárně v Art Gallery of New South Wales (Sydney). Tabulka muzeí výše uvádí úplné rozdělení.
Která díla s datem vzniku od Max Ragless jsou zde nejstarší a nejnovější?Zobrazit odpověď
Nejdulší dílo uvedené zde pochází z Back of the mill (1941); nejnovější z Second valley (1954).
Která díla umělce Max Ragless se nacházejí v kolekcích Art Gallery of New South Wales?Zobrazit odpověď
Back of the mill, Hobart waterfront a Second valley patří mezi 3 děl na této stránce v kolekci Art Gallery of New South Wales, Sydney.
Max Ragless: život a dílo
The Maker of Many Forms
Born in Edwardstown, Australia, in 1901, Maxwell Christopher Richard Ragless lived a life defined by a restless, practical intelligence. He was a man of many hands, moving between the roles of woolclasser, vineyard manager, and engineer. His early years were spent navigating the demands of the land, managing the Abercrombie vineyard at South Road Estate and assisting on his parents' property. There was a mechanical precision to his existence; he possessed the skill to design and construct workshop tools, farm machinery, and even automobiles. He was a builder of things, whether they were made of steel or woven on a handloom of his own design.
Art emerged not from a vacuum, but from the quiet moments between these labors. While he trained in the tactile world of wool and the technical world of engineering, he spent his spare time teaching himself the nuances of painting. His marriage to Estelle Mary Alexander in 1932 provided a steadying influence, as she encouraged him to turn his focus toward the canvas and the print. This transition from the physical construction of machines to the visual construction of images marked the true beginning of his creative life.
A Record of the Land and War
Ragless’s work often captured the intersection of human activity and the Australian landscape. During the mid-1940s, his role as an official war artist led him to document the home front, providing a visual history of the efforts required to sustain a nation during conflict. His observations were grounded in the reality of labor and the specificities of the terrain.
His technical repertoire was as varied as his professional history, spanning several distinct methods of image-making:
- Oil painting on canvas
- Etching and aquatint
- Drypoint
- Pencil and crayon
In 1945, his time in Loveday saw him depicting the harvesting of pyrethrum daisies, a crop vital to the production of insecticides for the Australian Military Forces. His ability to translate these agricultural scenes into art allowed him to document the intersection of civilian life and military necessity. His work from this period, such as his 1947 oil painting of Kiewa Valley, reflects a deep familiarity with the Murray-Darling Basin.
The Precision of the Print
The technical rigor of an engineer is visible in his approach to printmaking. He worked with intaglio techniques, utilizing aquatint and drypoint to achieve depth and texture. His 1934 work, The fallen branch, demonstrates this mastery, utilizing brown ink and plate-tone to create a controlled, deliberate composition. This precision extended to his landscapes, such as his depictions of Melrose and Mt. Remarkable, where the structure of the land was rendered with a clear, observational eye.
His legacy is held in significant collections, including the National Gallery of Australia and the Art Gallery of South Australia. He died in Adelaide in 1981, leaving behind a body of work that bridges the gap between the manual labor of the Australian landscape and the refined discipline of the printmaker.