- enamel paint on composition board
- 121.9 × 91.4 cm
- Accession Number
- Australian Painting
- Credit Line
- National Gallery of Victoria, Melbourne
Purchased with the assistance of the Government of Victoria, Foster's Group Limited, and through the NGV Foundation, 2002
© Sidney Nolan Estate. All Rights Reserved 2011 / Bridgeman Art Library
This digital record has been made available on NGV Collection Online through the generous support of The Vizard Foundation
- Gallery location
- Gallery 7
Level 2, NGV Australia
‘I finished my painting of a footballer this morning and called Jim [the gardener at Heide] to have a look at it. He said it looked quite real, almost as if you were there, so it at least passed the critical eye of a specialist.’
Sidney Nolan, 26 August 1946
Sidney Nolan’s striking image of a footballer was painted at Heide, the home of John and Sunday Reed, on 24 August 1946. Its completion date falls squarely in the middle of the 27 ‘core’ paintings from Nolan’s first and foremost Ned Kelly series, produced from 1 March 1946 to 18 May 1947, and shares similar technical and iconographical concerns.
Using a fluid and fast-drying Ripolin enamel paint, Nolan’s faux naïve figurative paintings of the mid to late 1940s reveal his careful and deliberate search for distinctly Australian imagery. His evocative scenes of contemporary suburban life reflected his own experiences in St Kilda – the baths, Luna Park, Catani Gardens – and his circle of friends and the landscape at Heide. By 1946, however, Nolan became increasingly attracted to Australia’s rich history of convicts, explorers and bushrangers.
Footballer forms a remarkable link between Nolan’s paintings of St Kilda and his Ned Kelly and Eliza Fraser series. The central figure of the Australian rules fullback attains an iconic presence. His black shorts share a singularity and intensity akin to Ned Kelly’s helmet, while the socks and jumper act as a precursor to the convict stripes of Bracefell, the ultimately renounced saviour of Eliza Fraser.
Nolan originally exhibited Footballer at the Contemporary Art Society in 1946. The painting was subsequently shown in the 1960s and 1970s as Full back, St Kilda, which has led to speculation concerning the identification of the subject. Perhaps Nolan’s deliberate choice of a generic title and non-specific colours reinforces the universal appeal of the image, which celebrates the special significance that sport plays in shaping Australian identity.