Maxwell Spencer Dupain AC OBE (22 April 1911 – 27 July 1992) was an Australian modernist photographer.
Table of Contents
- 1 Early life
- 2 Personal life
- 3 Career
- 3.1 Early years
- 3.2 Later years
- 3.3 Dupain's beaches
- 3.4 Max Dupain Sunbaker Beach Man Black White Unframed Wall Art Print Poster Home Decor Premium
- 3.5 Max Dupains's Australia
- 3.6 Body Culture: Max Dupain, Photography and Australian Culture, 1919-1939
- 3.7 Max Dupain Sunbaker Beach Man Black White Large Art Print Poster Wall Decor Premium Mural
- 3.8 Max Dupain
- 3.9 Max Dupain Sunbaker Square Wooden Framed Wall Art Print Picture 16X16 Inch
- 3.10 GEORGIAN ARCHITECTURE IN AUSTRALIA With some examples of buildings of the post-Georgian period. Photography by Max Dupain Architectural commentary and notes by Morton Herman, Social histories of New South Wales and Tasmania by Marjorie Barnard and Daniel Thomas
- 3.11 Max Dupain Sunbaker Large Wall Art Poster Print Thick Paper 24X24 Inch
- 3.12 Dupain's Sydney
Early life
Dupain received his first camera as a gift in 1924, spurring his amalgamation in photography. He higher joined the Photographic Society of NSW, where he was taught by Justin Newlan; after completing his tertiary studies, he worked for Cecil Bostock in Sydney.
Personal life
In 1939, after the outbreak of World War II, Dupain married Olive Cotton (also a photographer) but they divorced soon after. A decade later, Dupain married Diana Illingworth and in imitation of they had a daughter Danina and a son Rex, who along with became a photographer.
Career
Early years
By 1934 Max Dupain had struck out upon his own and opened a studio in Bond Street, Sydney. In 1937, while upon the south coast of New South Wales, he photographed the head and shoulders of an English friend, Harold Salvage, lying on the sand at Culburra Beach. But it was not until the 1970s that the photograph began to get wide recognition. A print of the photograph was purchased in 1976 by the National Gallery of Australia in Canberra and by the 1990s it had cemented its place as an iconic image of Australia. An at the forefront vintage print of the original version of the Sunbaker is contained in an album of photographs donated to the State Library of New South Wales by Dupain’s friend, the architect Chris Vandyke.
Later years
During World War II Dupain served following the Royal Australian Air Force in both Darwin and Papua New Guinea helping to create camouflage.
The case affected Dupain and his photography, by creating in him a greater awareness of total in documentary. In 1947, these feelings were reinforced later he edit a book Grierson upon Documentary which defined the habit for photography without pretence. The catchcry was “the creative treatment of actuality”. Dupain was Eager to restart the studio in the same way as this extra perspective and relinquish what he called the “cosmetic lie of fashion photography or advertising illustration”. Refusing to reward to the “cosmetic lie” of advertising, Dupain said:
Dupain’s documentary discharge duty of this grow old is exemplified in his photograph “Meat Queue”. He used a more naturalistic style of photography, “capturing a moment of undistinguished interaction [rather than] attempting any social comment”.
Dupain moreover worked extensively for the University of New South Wales and CSR Limited and made many trips to the interior and coast of northern Australia. However, apart from his proceedings service he rarely left Australia, the first become old not until 1978, when he was 67, and even subsequently it was to photograph the other Australian Embassy in Paris, designed by his longtime buddy and associate Harry Seidler. He wrote, “I find that my summative life, if it is going to be of any consequence in photography, has to be devoted to that place where I have been born, reared and worked, thought, philosophised and made pictures to the best of my ability. And that’s all I need”.
In the 1950s the advent of the extra consumerism meant that there was great quantity of promotional photography for advertising and he attracted clients from magazines, advertising agencies and industrial firms. In amid this he devoted epoch to pursue his adore of architecture, and began architectural photography, which he continued most of his life.
The State Library of New South Wales holds the most significant archive of Max Dupain’s work. In June 2016 it was announced that the State Library now holds every one photographic deposit of Max Dupain (1911–1992). This now adds the Max Dupain Exhibition Archive of 28,000 negatives including the Sunbaker and Bondi, 1939, as capably as lesser-known photographs such as his astonishing record of Penrith in Sydney’s west in 1948. These images link existing collections of Dupain’s billboard and architectural photography, studio portraits, and his autograph album of the Ballet Russes.
Dupain continued enthusiastic until his death in 1992.
Last update 2021-08-06