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Max Ragless: De 3 mest berømte malerier, dokumenteret
Opdateret november 2026 · rangeret efter vores popularitetsscore (søgninger, besøg og ordrer for hvert værk) · 3 værker af Max Ragless i vores katalog
Oversigt
Ifølge denne rangliste er Back of the mill (1941) det mest berømte maleri af Max Ragless; det befinder sig på Art Gallery of New South Wales i Sydney. Det efterfølges af Hobart waterfront (1950) og Second valley (1954). Denne liste er baseret på de 3 værker af Max Ragless i kataloget og viser de 3 mest berømte, med dato, museum og beskrivelse for hvert værk.
1901 – 1981, Edwardstown
Flest værker: Art Gallery of New South Wales
Max Ragless: de øverste 10 på listen
Max Ragless: museer med værker
Det museum, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Max Ragless | Malerier fra denne liste |
|---|---|---|---|
 Art Gallery of New South Wales |
Sydney | 3 | Back of the mill, Hobart waterfront, Second valley |
Max Ragless efter år: de mest berømte malerier
Max Raglesss daterede værker på denne side tilhører de 14 år mellem 1941 og 1954, som er registreret nedenfor år for år.
Værker per år
Vælg et årstal for at se de vigtigste malerier fra det år.
Max Ragless: spørgsmål og dokumenterede svar
Hvilket maleri af Max Ragless topper listen over de mest berømte værker?Vis svaret
Back of the mill (1941), Art Gallery of New South Wales, Sydney. De følgende værker er Hobart waterfront (1950) og Second valley (1954).
Hvor gammel var Max Ragless, da Back of the mill blev malet?Vis svaret
40 år: Max Ragless blev født i 1901, og Back of the mill er dateret 1941.
Hvor mange værker af Max Ragless er registreret?Vis svaret
Kataloget indeholder 3 værker af Max Ragless, dateret mellem 1941 og 1954.
I hvilke samlinger findes Max Raglesss mest berømte værker?Vis svaret
Primært i Art Gallery of New South Wales (Sydney). Tabellen over museer ovenfor viser den fulde fordeling.
Hvilke daterede værker af Max Ragless er de tidligste og de seneste her?Vis svaret
Det tidligste værk på listen er fra Back of the mill (1941); det nyeste er fra Second valley (1954).
Hvilke værker af Max Ragless er i Art Gallery of New South Waless samling?Vis svaret
Back of the mill, Hobart waterfront og Second valley er blandt de 3 værker på denne side i Art Gallery of New South Wales, Sydneys samling.
Max Ragless: liv og værk
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.