Tweed Regional Gallery Acquires Ben Quilty's Prize-Winning Portrait

In a significant cultural acquisition, the Tweed Regional Gallery in New South Wales has secured Ben Quilty's acclaimed portrait of Margaret Olley, which won the prestigious Archibald Prize in 2011. The purchase price of $600,000 was bolstered by a community fundraising effort, contributing to a sense of homecoming for the artwork as it returns to Olley’s birthplace. This pivotal moment not only highlights the importance of regional galleries in preserving Australian art but also underscores the enduring legacy of Olley, a beloved figure in the Australian arts community.

Margaret Olley, born in Lismore in 1923, is renowned for her vibrant still-life compositions and her influence on Australian art. Her connection to the Tweed region was profound; her ashes are interred in a garden outside the gallery, and the Margaret Olley Art Centre within the gallery is dedicated to her work and life. Philip Bacon, a close friend and art gallery owner, emphasized the importance of the acquisition, noting, “Sometimes when a museum or art gallery acquires something you think, ‘Oh, that’s where it belongs,’ and that’s absolutely the fact with this picture.” Bacon, who also contributed significantly to the fundraising efforts, believes that Quilty’s portrait is one of the finest representations of Olley.

The painting had previously been on long-term loan to the Art Gallery of New South Wales, but Quilty expressed a desire for it to be displayed in a location where it could be appreciated by the public. Ingrid Hedgcock, Director of the Tweed Regional Gallery, remarked on the collaborative effort behind the acquisition, stating, “It has been a really great process and feels like a homecoming.” The portrait will now serve as the centerpiece of the exhibition titled “Painting Life: Margaret Olley and Works from the Collection,” which is set to run from June 15 to August 31, showcasing 11 previously unseen still-life works by Quilty.

The significance of this acquisition extends beyond mere ownership; it represents a commitment to preserving and celebrating Australian art history. The portrait is expected to attract visitors and art enthusiasts to the Tweed Regional Gallery, further enhancing the region's cultural landscape. This event also raises questions about the future of regional art galleries and their role in nurturing local artists and preserving cultural heritage.

As the opening night approaches, excitement builds among the community, with the event already sold out. The integration of Quilty’s portrait with Olley’s recreated studio offers a unique narrative that links the past with the present, ensuring that Olley’s legacy continues to inspire future generations. Such acquisitions not only highlight the importance of regional galleries but also serve to enrich the cultural fabric of Australia, fostering a deeper appreciation for the arts.