Peter Benjamin Graham

Peter Benjamin Graham (4 June 1925 – 15 April 1987) was an Australian visual artist, printer, and art theorist.

Peter Graham was born 4 June 1925 and raised in the Melbourne suburb of Hartwell.

He was awarded a scholarship to Melbourne Technical College Art School for one year in 1939.

He studied Hand Lithography with Ross McClintock Studios (Colour separation from artists' originals, drawn as lithographic plates – 24 sheet positives, etc.) between 1940 and 1941.

Graham transferred his indenture to PhotoGravures Pty Ltd. in 1941.

There, he was trained by master craftsmen in facsimile reproduction and pre-press Rotogravure techniques during the war years.

Between 1941 and 1946, Graham studied fine art with Victor Greenhalgh and John Rowell in night classes at Melbourne Technical College – figure and portraiture.

In 1945, Graham joined the Victorian Artists Society, and exhibited his first painting in the Australia at War Exhibition at the National Gallery of Victoria.

At the same time, he began his association with the Melbourne Social Realism group that included: Noel Counihan, Josl Berger, Victor O'Connor, Ma Mahood, Herbert McClintock, Rembrandt McClintock, Frank Andrew, and Nutta Buzzacott.

He received his Certificate of Completion of Apprenticeship in 1946.

In 1946, he was awarded the Ferntree Gully Art Prize for best watercolour, 'Back Streets of Hawthorn', a year later he was awarded The Herald prize for best drawing, 'The Smokers'.

He exhibited regularly at the Victorian Artists Society until 1947.

He left for England with Grahame King in August 1947.

Between 1947 and 1949, Graham lived and painted at The Abbey Arts Centre in New Barnet London, along with artists, Leonard French, James Gleeson, Douglas Allan Green, Stacha Halpern, Grahame King, Inge King and Robert Klippel.

During this time he also befriended the Irish 'folk' artist Gerald Dillon who lived nearby, and who introduced Graham to the visual languages of Picasso and Matisse.

He exhibited in group shows at William Ohly's Berkeley Galleries, and the Contemporary Artists' Society in London.

In 1948, Graham studied drawing under Bernard Meninsky at Central School of Art, London.

But with his money running short, he decided to go back to work at Odhams Press.

He specialized in the inverted half-tone Dultgen process and masked colour separation until 1950.

In 1950, Graham traveled through France and Italy before returning to Sydney under a three-year contract to Australian Consolidated Press working as a specialist in colour separation.

Between 1951 and 1953, Graham exhibited paintings in various group shows in Sydney, including the Inaugural Blake Prize for Religious Art.

In 1954, Graham began to explore native Australian wildlife (notably Kangaroos) and themes associated with Aboriginal culture, using the visual languages of European figurative modernism and, later, geometric abstraction.

In 1954, Graham rode a BSA 500 motorcycle non-stop from Sydney to Melbourne.

After rebuilding the bike, he headed across to Adelaide then rode solo up along the route of what is now the Stuart Highway to Alice Springs over five days.

There he worked as a builder's laborer for 18 months while painting on the side, until the end of 1955.

During this time he worked and painted alongside Aboriginal artists, Adolf Inkamala and the Pareroultja Brothers.

He helped build the John Flynn Memorial Church and government housing at Hermannsburg Mission.

At Hermannsburg, Graham met anthropologist Ted Strehlow, who transformed his way of seeing the Australian landscape and Aboriginal culture.

Graham spent six months in Fiji painting and drawing in 1956.

1956–1960: Graham returned to Melbourne, rejoined PhotoGravures Pty Ltd. Shared a studio with Leonard French and befriended the New Zealand born artist George Johnson, who introduced Graham to the work of Kandinsky, Klee and Mondrian.

Painted a series of abstract works based on his Central Australian experience.

He began developing a new form of visual geometry related to Chaos Theory from 1960, eventually called Thematic Orchestration.

The new visual language enabled the 2D deconstruction and synthesis of an observed subject, in a way fundamentally different from traditional abstraction.

Thematic Orchestration allows the artist to 'grow' an image, producing almost infinite conscious invention.

These were exhibited at Gallery A (Melbourne) in 1960, founded in the same year by Max Hutchinson and Clement Meadmore.

In 1964, Graham began developing what he called a high level visual notation system for pure visual imagery, which he first named "Notation Painting" and later "New Epoch Art".

From 1971 to 1978, Graham created a series of experimental works using photographic and lithographic techniques and materials.

Graham became a pioneer of the Australian artist-run initiative movement, running The Queensberry Street Gallery in association with Victorian Printmakers' Group from 1973 until 1978.

This painting is also featured in Riot or Revolution, a dramatized history documentary on the Eureka Stockade directed by Don Parham and produced by Parham Media Productions in association with the Australian Broadcasting Corporation in 2005.

In 2006, Graham's 1945 painting Peter Lalor Addressing the Miners Before Eureka featured in a major Australian travelling exhibition celebrating the 150th anniversary of the Eureka Stockade.