{"id":165,"date":"2018-06-23T18:33:49","date_gmt":"2018-06-23T08:33:49","guid":{"rendered":"http:\/\/www.maxboyd.com.au\/?page_id=165"},"modified":"2018-06-24T21:36:48","modified_gmt":"2018-06-24T11:36:48","slug":"professional-artist","status":"publish","type":"page","link":"https:\/\/www.maxboyd.com.au\/index.php\/professional-artist\/","title":{"rendered":"Professional Artist"},"content":{"rendered":"

A Dream Realised<\/strong><\/p>\n

1970s<\/strong><\/p>\n

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Retiring from Caltex Oil at 55, Max became a professional artist in 1970.<\/p>\n

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After purchasing a house on the Isle of Capri, Surfers Paradise, he set up a studio on the ground floor which enjoyed the southern light ideal for painting.<\/p>\n

His inherent talent made painting flow naturally to Max.\u00a0 A special and lasting love of isolated outback landscapes was a result of his upbringing.<\/p>\n

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At first Max painted, framed, marketed and sometimes delivered his works to galleries around the country.<\/p>\n

Being born and bred in the country, the scenes he loved to paint were etched deep in his memory. He was fascinated by the influence of light on the Australian countryside.<\/p>\n

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His inland homesteads, their isolated surroundings and the intensity of the outback light created majestic landscapes which he portrayed in unique tones.\u00a0 His landscapes were awash with Australia\u2019s brilliant sunshine and his accuracy of visual description gave his paintings credibility.<\/p>\n

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Max believed two scenes, two objects or two people seen in different light intensities produced a totally different atmosphere.<\/p>\n

Sunrise, sunset and moonlight were the catalysts for his work \u2013 Australian homesteads, outback paddocks, the way light drains the colour, the domination of atmosphere.<\/p>\n

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(From interview by Sunday Mail June 1984)<\/p>\n

In Max\u2019s own words, \u201cI paint what I know and understand\u201d.<\/p>\n

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c 1975<\/strong><\/p>\n

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Over the next 15 years he exhibited at one man shows in Sydney and Brisbane as well as participating in many mixed exhibitions from Brisbane to Melbourne.<\/p>\n

Specific details can be seen on the Highlights page.<\/p>\n

He painted a wide range of subjects including still life, historic buildings and life by the sea.<\/p>\n

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c 1973<\/strong><\/p>\n

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Max collected material for paintings on travels to all Australian states, opal fields in South Australia, the Red Centre, Nullarbor Plain, country New South Wales, Tasmania, North Queensland and the Great Barrier Reef Islands.<\/p>\n

This is Redbank Gorge in the West MacDonnell Ranges, near Alice Springs.<\/p>\n

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1978<\/strong><\/p>\n

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\u201cStone and Old Lace\u201d is a study of Eyre\u2019s House in Adelaide.<\/p>\n

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c1980<\/strong><\/p>\n

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As a personal friend of Hamilton Island\u2019s founder, Keith Williams, Max and Moya spent several holidays there.<\/p>\n

Sometimes Max took a portable easel with him.\u00a0 This scene is from Hamilton Island looking towards the Whitsunday Islands.<\/p>\n

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1980s<\/strong><\/p>\n

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During five study trips around the world visiting galleries and artists, Max captured some of the iconic scenes from Europe.<\/p>\n

This is the Castle Marksburg at Braubach, high above the Rhine Valley, viewed from a river cruise taken in 1978.<\/p>\n

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Max loved the United States and found many subjects of interest.<\/p>\n

While visiting Washington DC Max was drawn across the river to paint the Memorial Amphitheatre at Arlington War Cemetery at Arlington, Virginia.<\/p>\n

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1970s & 1980s<\/strong><\/p>\n

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Max captured the \u201cRiver in the Clouds\u201d in 1981 from an aircraft during his travels.<\/p>\n

Max was a Paul Harris Fellow of Rotary and worked for 14 years as a member of the Founding Steering Committee which saw the Gold Coast Art Centre built in 1986.<\/p>\n

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1986<\/strong><\/p>\n

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Residing on the Gold Coast for 18 years, after visiting it regularly over his lifetime, Max painted historical paintings of the growth of the Coast.<\/p>\n

To eliminate the dangerous sand bar at the mouth of the Nerang River, the Gold Coast Seaway was constructed in 1986.<\/p>\n

This painting shows the Seaway under construction.<\/p>\n

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1980s<\/strong><\/p>\n

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Max loved the vibe and life of Surfers Paradise and especially the high-rise buildings.<\/p>\n

Due to the rapid development of the Gold Coast since the 1980s this painting is now of historical interest.<\/p>\n

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Max\u2019s representation of the Surfers Paradise Skyline from the beach in the early morning<\/p>\n

Prints of this painting are available to purchase.\u00a0 Please send an email to the contact details for more information.<\/p>\n

1970s & 1980s<\/strong><\/p>\n

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Max loved the light of sunrise, sunset and moonlight.<\/p>\n

This is one of his moonlight paintings of a familiar subject.<\/p>\n

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1987<\/strong><\/p>\n

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Max\u2019s last major exhibition was held in Sydney in March 1987 at Barry Stern Galleries.<\/p>\n

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1988<\/strong><\/p>\n

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Max painted in some delicate tones \u2013 this was in one of his \u201cno-colour green\u201d works.<\/p>\n

His last painting, the trees remain unfinished 30 years later.<\/p>\n

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Max Boyd died in July 1988 survived by his devoted, ever-supportive wife, Moya, his two daughters, Sandra and Penny and two granddaughters Susan and Michelle.<\/p>\n

300 people attended Max\u2019s funeral including three past Mayors of the Gold Coast which showed the respect with which he was held by the community.<\/p>\n

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\"\"A retrospective exhibition was held by the Shubert Galleries in Surfers Paradise.<\/p>\n

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Max\u2019s Final Show<\/p>\n

Max was the President of The Friends of the Gold Coast Arts Centre at the time of his death.<\/p>\n

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A Dream Realised 1970s Retiring from Caltex Oil at 55, Max became a professional artist in 1970.       After purchasing a house on the Isle of Capri, Surfers Paradise, he set up a studio on the ground floor which enjoyed the southern light ideal for painting. His inherent talent made painting flow naturally … <\/p>\n

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