Drysdale's experience of his own young family (daughter Lynne, born February 1938 and son Tim, born April 1940) and numerous photographs he took of them as babies and young children would also have assisted his formulations. There are affinities too between Purves Smith's expressive use of angular elongated figures and Drysdale's figures in Sunday evening.
And yet, a sense of strangeness is underlined by an ambiguous direction of light: the male standing figures and outhouse lit from the left; the mother, children and Painted in Sydney, shortly after Drysdale had moved there from Melbourne in late 1940, Sunday evening was perhaps directly inspired by a recent period spent working in the Riverina where, being medically unfit for army service, he had managed Boxwood Park on behalf of a friend who had joined up, following the outbreak of war.Alienation from society and from the land, as well as triumph over hardship were recurring humanist themes in the literature and art of western societies during the 1930s Depression years and through the upheaval of war. The painting is shown as an enlargeable image and in two videos. Sir George Russell Drysdale, AC, also known as "Tass Drysdale", was an Australian artist. These paintings, in particular Drought I, Drought II and Tourer of 1940, with their representations of emaciated animals in arid Australian landscapes and ramshackle farm clutter, have been recognised as immediate precursors to and possible models for, Drysdale's first inland subjects of 1941. George Russell Drysdale was his grandfather. ), established under Yet whilst a particular influence from Modigliani is clear in the figural elongation and primitivist Thus the figures of the baby and young girl in Sunday evening may also be based on similarly composed forms of a baby and girl in his drawings of around this time The family c.1940 and Study for 'Two children' 1941 for example. (4) Drysdale's interest in the dry, sparsely vegetated inland country was also foreshadowed by Hans Heysen's works of the 1920s and 30s. Russell Drysdale's paintings of Aboriginal people from Cape York Peninsula began as a small series in 1952–53. 240, 242; subsequently referred to by all authors of monographs on Drysdale; also Eagle and Minchin 1981, p. 102; Eagle 200l, pp. Drysdale wanted to capture the essence of what he had seen and felt of the harsh realities of life for many people at that time, an influence he later acknowledged fully. (2) Russell Drysdale, letter to Bernard Smith (6 July 1944), in Bernard Smith 'The basis of Drysdale's approach lay in modernist French and Notwithstanding these broader affinities which Drysdale has evoked, Sunday evening and his early inland subjects of 1941 heralded his future role in shaping an identity which was seen to be distinctively national. Long struggle with years of drought has dried the sap in them. (2) Whereas Melbourne-based contemporaries such as Noel Counihan, Albert Tucker and Arthur Boyd were increasingly focusing on urban themes, Drysdale's background drew him to the people and life of the interior.Drysdale adopted early this practice of extracting and repeating elements from previous sketches or paintings although characteristically, like his paintings, his drawings were entirely derived from memory and intellect, and executed in the studio, rather than sketched in the presence of his subjects.Russell Drysdale Sunday evening 1941: towards an Australian archetype(12) In particular the photographic project 1935-1943 initiated through The Resettlement Administration (later The Farm Security Administration or F.S.A. Russell Drysdale Two figures on a verandah circa 1942 119.1981. Russell Drysdale became widely recognised during the immediate post World War II period as the pre-eminent painter of the people and landscape of the Australian inland, but first came to public notice through his Riverina subjects of 1941.
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