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Despite the fact that this historical grounding accompanied the paintings when they were first exhibited, the series was not intended as a literal illustration of the story. Originally, too, some of the paintings were reflections of a world of violence although Nolan remarked that after a number of decades the paintings did not look particularly violent any more.

The series weaves biography and autobiography together, but we can only guess at the details of the autobiographical dimension. The narrative is strongly present, beginning with a scene—setting painting which shows an empty landscape lit by an eerie light from the horizon. The paintings take us through the main events of the story of Ned Kelly and his gang — the shooting of police constables at Stringybark Creek, the ensuing police chase, the activities of the police spy Aaron Sherrit, the siege of the hotel at Glenrowan and the trial which ended in a sentence of hanging for Ned Kelly.

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He was fortunate enough to have access to the works of these artists in the magazines and catalogues in the up—to—the—minute library of his friends John and Sunday Reed in their home at Heide. Yet Nolan was no slavish imitator. He developed his own style based on a principle of direct vision and intuitive execution. There were several ingredients in this approach.

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He produced his paintings quickly, often in a single session. The Ned Kelly paintings entered the collection in The second quotations, from Sidney Nolan himself, are from a conversation with Elwyn Lynn in The NGA is open All rights reserved.

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Admission Getting here General details Latest info Entry conditions. When I saw it, in many ways it was unexpected.

Ned Kelly: The outlaw who divides a nation

His hair colour was also distorted and you got exactly the same effect with the Aaron Sherritt photo — Aaron had very dark hair and yet, in the reproduced photo, it looked almost fair. It was in a wallet with pictures of Joe Byrne, Steve Hart and some others. This was the only photograph of Ned Kelly in the wallet. So there was pretty impressive evidence that it was the genuine article. This photo falls into the period where he still had a big beard, which he grew again over the next two years and into his outlawry, and then trimmed back quite considerably again before Glenrowan.

As a younger man, Ned parted his hair on the left — you can see it in the portrait taken at Kyneton when he was 15 and you can see it in the Boxing Ned photo when he was His hair tended to fall over the right side of his forehead, exactly how the hair falls on this photo taken at Beechworth. It was designed to be fastened tightly around a swag sling on a saddle. When we got a digitalised copy of the photo, you get a good look at the belt.

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He also wore lightweight boots, which Ned favoured. The boots he was wearing when he got captured had the lining taken out to make them more flexible, as this fellow has done. He was a man that Tom Lloyd apparently thought was Ned. If Tom owned the photo, he would know who it was. Tom would have had to have known who it was to have had the photo in the first place. Tom died in , three years before the photo was published and must have believed it was Ned.

Michael Ludgrove and I went along to see a computer analysis by Cliff Ogleby, the geomatics expert at Melbourne University.

The Story of Ned Kelly

When we compared it to the death mask and then again to the Gentleman Ned picture, I found it to be totally convincing. Andrew Rule from The Age pushed the barrow a little hard in the original newspaper report on May 18, with a couple of details.

Biography - Edward (Ned) Kelly - Australian Dictionary of Biography

Then there was the description of him being more like a schoolteacher than a bushranger. Maybe Andrew had a pre-conceived idea of what a bushranger should look like.

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Mrs Scott at Euroa said that he was much better looking and better dressed than she expected.