Peter Garrett (Kingsford Smith, Australian Labor Party, Minister for School Education, Early Childhood and Youth) Share this | Hansard source

On indulgence, I want to associate myself with the remarks of the member for Herbert. I know that there will be contributions in the parliament from those who did know Margaret Olley well and from others like me who had the good fortune of meeting her and spending a little bit of time with her in her home in Paddington. It is the case that we have lost one of our most distinctive painters, somebody who was absolutely true to her vision through a life of extraordinary output. Given that she won the inaugural Mosman Art Prize in 1947 and has passed away in 2011 after a career of painting—in particular, in the latter stages of her working life, the still lifes for which she is so widely appreciated and known—it is a testimony to the endurance, the vision and the feisty character that Margaret Olley had. It is appropriate for the House to both recognise her contribution and reflect on her life as a painter, which is what she considered herself to be. As the Sydney Morning Herald said, she died with paint on her fingers. We can make an appropriate assumption or guess that that is as she would have wished it. She was a distinguished Australian and has been recognised as such. She was awarded the Centenary Medal for services. She was made a Companion of the Order of the Australian in 2006, an extremely high award in our country. Then there was her generous benefaction to public galleries the donation of artworks—many from her personal collection—and the writing of cheques. I have seen some estimates that her donations exceeded the sum of $7 million. I do not know whether that is accurate, but that is what has been reported. But the point is clear: she was an extraordinarily generous person.

The thing that strikes one when reflecting on Margaret Olley's career is that she was no great follower of fad or fashion. It is true that she was influenced to some extent—or inspired at least—by some of the French painters, painters whose names we know well, such as Bonnard, Matisse and others. It is also true that in her early career she had a wide repertoire, painting landscapes and portraits as well. Over time, she increasingly came to paint what she saw in her own home: the still lifes, the proteas and the domestic scenes that strike a chord with people, whatever their appreciation, understanding of knowledge is. Margaret Olley's paintings touched everybody.

She is represented widely in galleries around Australia, including, I am pleased to see, in the Lismore Regional Gallery close to where she was born. We saw some very eloquent testimonies to her life when she passed away. I noticed that Barry Humphries wrote about her, saying that she was someone who did good without being found out, reflecting on the fact that she had a tremendous sense of understanding for others. And yet she was in no way bound by the fashions and trends of her time.

In this House we recognise, as we should, artistic endeavour. In giving tribute to someone who has made such a significant contribution as Margaret Olley has made it is entirely appropriate for us to reflect upon the contribution that artists as a whole and that individual artists make to Australian society and to our polity. Capon in his tribute said 'she was one of the most if not the most unforgettable people I have ever met.' I met with her on occasion. The member for Wentworth will be speaking as we mark this condolence motion and I am sure that he will have something to add to this. But it is true that anybody going to her house for the first time, as I did, and engaging with her in discussion was taken into another realm. There were certainly no niceties or any unnecessary observances of the rituals of meeting with politicians. She was an extremely forthright and outspoken and had a distinctive personality. She wholesale someone whose directness was completely refreshing.

At the same, she was someone who quite clearly had a vision to paint what she saw and what she loved. That is what comes through these paintings. The delight in colour, as Capon said. Her work is a continuing celebration of the great tradition of painting, painting as we know it and painting as we will always love it. There is a universality in Olley's oeuvre that touches a chord with so many.

It is appropriate to not only recognise Margaret Olley's contribution but to recognise the contribution of those who work with a singular vision over time, regardless of whether they achieve high levels of recognition or not, and who continue to persevere with that creative spirit and to express it for Australians. In Margaret Olley's case, she did it across a span of many decades and with work that was of a very high order. We appropriately recognise her contribution in this House.

I would like us to reflect on one of her distinctive bits of commentary, where she said

I’ve never liked housework. ... If the house looks dirty, buy another bunch of flowers, is my advice

The fact is that she not only gave her advice but also then went on to paint those bunches of flowers and gave Australians immeasurable joy as a consequence.

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