Retrospective

Note

Title
The title originally given to the work by the artist when it was first exhibited has been used.

Date
Firm dates for works have been established from the artist's inscriptions, or by interview with the artist.

Place
The place where the work was made, which may differ from its subject, has been specified. If the work was commenced at the subject and completed in the studio the two places are specified in that sequence.

Measurements
Measurements are in centimetres. Height precedes width.

Inscriptions
The artist's inscriptions are recorded.

Provenance
Owners, locations and dates of ownership of works in private collections have been omitted to protect the anonymity of current owners.

Exhibited
If the work is known to have been exhibited, the title of the exhibition, the name of the exhibiting organisation, and the place, date and catalogue number have been specified.

Literature
Published references and reproductions of the work have been cited.

Symbols
* Group Exhibition
** Not previously exhibited

View of Toledo 1975/77 Toledo / Mernda, Melbourne watercolour and pencil on Kent paper 28 x 38 cm inscribed l.r.: Study of View of Toledo Spain John Borrack 1975/77	Provenance Private collection Exhibited John Borrack: Australian Galleries, Melbourne. November, 1977. John Borrack: A Survey Exhibition, Benalla Art Gallery, October, 1987, no. 56. John Borrack: A Retrospective Exhibition, City of Whittlesea Gallery, March, 1996. no 47. Illustrated. This drawing existed in a black and white state until wash was added some years later. The use of open colour and warm and cool tints give a breadth to the buildings which themselves are not individually coloured. An extended stay in Toledo gave him the opportunity to identify the quintessential qualities of hilltowns. The concentrated massing of buildings built into the landscape, was quite unlike anything he had previously experienced. Literature The buildings have themselves dictated the superimposition of a grid of fine pen lines that controls the construction. Or perhaps the ghosts of the Spanish masters were present to prompt Borrack to produce his best. Alan McCulloch, 1977, Herald, Melbourne, Nov.
View of Rome 1982/83 Rome/Mernda, Melbourne watercolour and pencil on Kent paper 28 x 38 cm inscribed l.r.: John Borrack 82/83 Study of Rome from near Medici Villa	Provenance Private collection Exhibited John Borrack: Australian Galleries, Melbourne, November, 1983. John Borrack: A Survey Exhibition, Benalla Art Gallery, October, 1987, no. 57. John Borrack:A Retrospective Exhibition, City Of Whittlesea Art Gallery, March, 1996, no. 61. In 1982 Borrack worked in Rome, Florence and Venice where the architecture provided endless inspiration for subject matter. Although Borrack adopted the traditional methods of transparent watercolour with its emphasis on drawing, the travel drawings impart something of the magic of these great cities. Further drawing and watercolour were added on Borrack's return to his studio at Mernda.
Study of Rome 1982/93 Rome/Mernda, Melbourne pencil on Kent paper 28 x 38 cm inscribed l.r.: Tiber Rome John Borrack	Provenance Private collection Exhibited John Borrack: A Survey Exhibition, Benalla Art Gallery, October, 1987, no. 58. Illustrated. John Borrack:A Retrospective Exhibition, City Of Whittlesea Art Gallery, March, 1996, no 62. Illustrated. ø One of the many travel sketches from his journey to Italy in 1982. In this drawing, commenced in Rome, the subject is viewed from the Tiber looking towards the Vatican with the distinctive profile of the Castello Angelo on the right hand side. Some further tonal adjustments added on his return to his studio at Mernda, consummated this inspiring, poetic vision of the city.
View of Florence 1982/94 Mernda, Melbourne watercolour over pencil 56 x 76 cm inscribed l.r.: John Borrack A Room with a View View of Firenze 82-94	Provenance Private collection Exhibited John Borrack:A Retrospective Exhibition, City Of Whittlesea Art Gallery, March, 1996, no 63. Illustrated. ** Borrack believes that a mysterious force often guides him in the resurrection of an incomplete drawing or painting which may have remained in a drawer for years. In this work, commenced in his studio soon after his return from Europe in 1982, but then abandoned, the dusty pinks, ochres and siennas of Italy forever ingrained in his memory resurface in this later reworking.
Trenerry, E., (Ed.) John Borrack A Retrospective 1956-1990, City of Whittlesea, Melbourne, 1996.	Note Title The title originally given to the work by the artist when it was first exhibited has been used. Date Firm dates for works have been established from the artist's inscriptions, or by interview with the artist. Place The place where the work was made, which may differ from its subject, has been specified. If the work was commenced at the subject and completed in the studio the two places are specified in that sequence. Measurements Measurements are in centimetres. Height precedes width. Inscriptions The artist's inscriptions are recorded. Provenance Owners, locations and dates of ownership of works in private collections have been omitted to protect the anonymity of current owners. Exhibited If the work is known to have been exhibited, the title of the exhibition, the name of the exhibiting organisation, and the place, date and catalogue number have been specified. Literature Published references and reproductions of the work have been cited. Symbols * Group Exhibition ** Not previously exhibited