377:. Larter wrote of Clifford's marbled paintings: "These works ranged from abstracts (like the ones in this exhibition) to paintings where waves, sandy beaches, cliffs, hills, swirling clouds in blue skies, expanses of seas and harbours with waves breaking and great sunsets were suggested. The paint used was mainly household enamel paint, the colours which ran into each other were usually cream, silver, white, ultramarine blue, pale blue, yellow, red and green. What was truly remarkable was that if you truly looked at the paintwork there was no sign of any brushwork. It was as if the paint had been magically placed on the canvas. Yet how spendidly had that paint been placed; one could discern white top waves breaking, sanded beaches, cliff faces, whole headlands with rolling hills beyond and turbulent water, not just breakers".
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355:. Catalano wrote of Clifford as a casualty of the "provincial" Australian hard edged painting scene of the late 1960s, on which he commented: "Only a guilty provincial culture can so neglect its own, more native sources of renewal, and apply itself so assidiously to borrowed artistic fashions. And that
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represented a fashion and not a convention is shown by the work of some artists who emerged at the same time as the exhibition ... to Lynn the artist who seemed 'most defiantly bored with the canons of flatness' was the Sydney painter, James
Clifford." ... "His Cinematic Landscapes are a rapid series
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Hewitt quotes Elwyn Lynn musing on the painter's "fragile, diaphanous, lyric ephemerality"..."poised on uncertainty, their lyricism almost disguising their anxiety" (p. 87, Patrick White, Painter Manqué). Clifford received favourable mention from a small number of notable art critics:
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of takes: close-up shots mingle with distant vistas – there you see nothing but sky – and there was a forceful view of the ground. Despite their originality, they were not much admired by the critics, largely because they did not seem to be reflecting the going international concerns".
414:, Gowings menswear store heiress Mollie Gowing and the painter Max Watters, whose collection is housed at the Muswellbrook Regional Arts Centre. A retrospective of Clifford's work was held at the Muswellbrook Regional Arts Centre in 2008.
244:(1936–1987) was an Australian painter who borrowed styles from other artists, in the manner of psychedelic rock music artists who came after the major pop artists and were forerunners of the postmodern appropriation movement of the 1980s.
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Lindsay, Robert. (ed) The
Seventies. Australian Paintings and Tapestries from the collection of National Australia Bank. National Bank of Australasia Limited. 1982 Melbourne.
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and have been compared to Ralph Balson's matter paintings of the early 1960s.
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Paddy's
Pictures by Chris Wallace-Crabbe. Australian Book Review March 2003
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Westwood, Matthew. Legacy of a Gifted Man, The
Australian. 12 March 2009
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Verity Hewitt, Helen. Patrick White, Painter Manque
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458:Germaine, Max. Artists and Galleries of Australia.
472:Legge, Geoffrey. Ralph Balson and James Clifford
410:director Lucy Swanton, prominent art publisher
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500:Yang, William. Patrick White: The Late Years
50:Learn how and when to remove these messages
544:People from Muswellbrook, New South Wales
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