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Press 1920-1933

Press Reports on Norman Lloyd Exhibitions from 1920 until 1933

On Norman Lloyd’s first solo exhibition in September 1920 at the Society of Women Painters, Sydney:

The Bulletin, September 1920

Norman Lloyd Bulletin ArticleNorman Lloyd is fair Sydney’s lover, and not 24 he has not only fought for his lady in far-off France, but has extolled her charms on 50 canvases which are to be seen at the Women Painter’s Rooms, Queen Victoria Markets. At 16 Norman ran away to follow the sungleam and the wind’s call that wooed him through an office-window. It was up with Matilda then and follow the track. Whatever job came to his hand he did – now a bit of fencing, now a bit of clearing; and in the intervals he painted with the sincerity and simplicity of a great lover of the changing moods of the open sky. Jackson was his first master; then Julian Ashton instilled his own fine precepts into him. On his 21st birthday Lloyd enlisted and fought in France till a bursting shell got him in Polygon Wood, wounding him in both thighs. After the witchmen of the knife had done with him, Norman, to his relief, found himself quite whole: and coming home to Sydney, he drifted back to the tube. The results of the past nine months’ work are color-poems on the 50 ways of approach to his mistress, for all his theme is the Harbor – in the glow of morning, in the afternoon haze, or under the light of the moon.

The opening day of the show called together artistic Sydney, when kindly Sir Walter and his blue-tailored lady sprinkled it with the holy water of vice-regal approval and had their read seal pasted to a fairy-dream glimpse ‘From Cremorne Point’ – ‘not with an eye to its certain increase in value, but to keep always a memento of Sydney.’

Commander Allison chose a hit of glowing color called ‘Sunlight on Middle Harbor’, Dr. Donald Fraser, just missing the universal favorite, ‘Bradleys Head’, chose what to him was the next best thing – ‘The Harbor from Athol’.

The Women Painters turned up in their best spring millinery to the exhibition, which they are housing. Gruner, Julian Ashton and old-teacher Jackson were among the enthusiasts, Judith Fletcher took the picture of the painter.

 

Daily Telegraph, 2 September 1920
A Coming Painter – Norman Lloyd's Exhibition

To say that Mr Norman Lloyd’s exhibition of paintings, which will be opened this afternoon in the rooms of the Society of Women Painters, Queen Victoria Buildings, by Sir Walter and Dame Margaret Davidson, is the most interesting one-man show for a year or more is not to do it more than justice. For, although the last year or two have been rich in exhibitions of paintings, the best have been by men who have already realised their powers: men from whom good work was expected and who gave it; men who, though they may paint many more fine pictures, are hardly likely to strike a new note in our Australian artistic world. But it is different with Mr. Norman Lloyd, the young returned soldier, who is only 25. Fellow-painters have known about him, of course, but this is the first collection of his work for exhibition, and to the general art-loving public, at any rate, he will come as a surprise – a delightful surprise.

There are 50 pictures here, all of the Harbor. The statement may suggest monotony; nothing could be farther from the fact. There are a million pictures in the Harbor, all quite different, and Mr. Lloyd has given us some of them. Monotony has been avoided, not as the result of any effort to do so, because nothing could be more simple, sincere and unaffected than Mr Lloyd’s work; but as a result of the sympathetic insight which has enabled him to identify himself for the time with every scene that he has painted, of his exquisite feeling for color and light, and of the simple and earnest thoroughness with which he has set himself to realise on canvas what he has seen.

 

More press articles referred to Norman Lloyd's first solo exhibition in September 1920:

  • 'Rising Young Painter: Norman Lloyd's Work', Evening News [Sydney], 1 September 1920
  • 'The Harbor in Oils: Sydney Soldier's Paintings', Sun [Sydney], 1 September 1920
  • 'Norman Lloyd's Art', Sunday Times [Sydney], 5 September 1920
  • T.A.W., 'Mr. Norman Lloyd's Exhibition', Bystander [Sydney], 9 September 1920
  • 'Australian Artists', Daily Mail [Brisbane], 11 September 1920 (a passing mention)

 

On the 1921 exhibition at Decoration Galleries, Melbourne:

Argus, May 1921

Sydney Harbor has inspired many painters by its elusive charm of colour, and among them is Mr. Norman Lloyd, a former student of the Sydney Art School, who is holding an exhibition of his work at the galleries of the Decoration Company in Collins street. The collection is characterised by vigorous brushwork, and also by colour which, in its inclination towards purple and yellow, is reminiscent of the palette used by the majority of Sydney artists. … In the best examples, however, the artist has succeeded in capturing some of the colour and sparkle of “The Harbour”, and reveals an instinctive sense of beauty with regard to selection of subject, and this has led to some interesting compositions.

The influence of Arthur Streeton has been a very strong one in the formation of Mr. Lloyd’s style, and this is particularly noticeable in ‘The Blue Bay’, ‘Looking across Cremorne Point’, and in ‘In Mosman Bay’, but in ‘Evening Light’, ‘Morning After Rain’, two effects of delicate light, and in ‘Hazy Morning’, ‘Grey Day’, and the ‘Crescent Moon’, the artist has presented his subjects in a more personal manner.

 

The Age, Art Notes, May 1921
Paintings by Norman Lloyd

A remarkably interesting collection of pictures by Norman Lloyd is on view at the Decoration gallery. Norman Lloyd is a young Sydney artist whose work has intrigued his brothers of the brush, if it has not yet commanded the attention of the public. Julian Ashton says of him: ‘His vigorous attack, delicate appreciation of color values, and, above all, his simple sincerity, foreshadow greater achievement in the future, for he is not yet twenty-five years of age.’ Allowing for the pardonable bias of master towards the work of a pupil, Mr. Ashton’s estimate is fairly sound. Lloyd’s work does show the qualities of vigor, appreciation of colour and sincerity of purpose: but where there is enormous room for improvement is in the proper control and harmonising of these qualities. With very few exceptions, the pictures in this exhibition are not satisfying to the eye that looks more for harmonious beauty in a picture than for cleverness. … The Boat House is wholly satisfactory, as beautiful as it is cleverly painted. ….The large views of Sydney Harbor are often more striking
than artistic, a fault which is probably due to the artist’s almost blatant confidence in his own color sense. But a color sense, like everything else, must be educated, and Mr. Lloyd’s will probably undergo some considerable modification when he has been a longer and diligent student of nature. There is no doubt that he has a wonderful gift for handling paint in an unorthodox manner. His first exhibition in Melbourne at least convinces us that he is a
young artist of very great promise.

Herald, 3 May 1921, A. Colquhoun
Norman Lloyd’s Paintings

An exhibition of paintings in oils of Sydney Harbor, by Mr Norman Lloyd, a young New South Wales artist, was opened at the Decoration Galleries
today. Mr Lloyd is an exponent of light and color, and he has painted the harbor, for the most part, in its summer aspect of gold and azure. Technically, his work is free and assured, with just a hint of the handling of Streeton, but his inspiration as an observer of nature is clearly direct and unbiassed. The pictures vary in point of merit, and in one or two instances fall below the standard at which the artist aims, but in the more carefully studied canvases, such as Middle Harbor, Late Afternoon, and Mosman By, there is evidence of a keen sense of beauty and the ability to express it convincingly. There is little finesse or ‘treatment’ indulged in the production of these pictures. The medium is used thickly in nearly every instance, and with a direct finality which admits of no traversing or touching up, yet in the best examples the tones have been carefully seen and recorded. One of the most successful of the smaller works is The Boathouse, an excellent little study, in which the broken reflections in the water have received special attention.

 

Unnamed Publication, Art Notes: 3 May 1921
Oil Paintings by Norman Lloyd

That well-worn subject Sydney Harbor has been exploited with varying success by Mr. Norman Lloyd in his exhibition at the Décoration Galleries, which opens to-day. He has found Middle Harbor a happy hunting ground, and while in many of his essays he shows a tendency to lose touch with his atmosphere, some of the panels are very fine indeed. … The best of the series is No. 9, Mosman Bay. This view taken from a height is full of air, the limpid water fades away into the grey mist, and the drawing and treatment of the houses on the slopes are excellently done. …. Mr. Lloyd shows distinct improvement on his previous work, it is handled in a more decided way, and we are confident that his future offerings will be of a high standard.

 

Unnamed Publication, 4 October 1922
Inspirations in Paint - Mr. N. Lloyd’s Exhibition. By A. Colquhoun

An exhibition of paintings in oils of Sydney Harbor by Mr Norman Lloyd will be opened with a private view at the Fine Art Galleries, Exhibition street, tomorrow afternoon. A characteristic feature of Mr Lloyd’s work is its luminosity, which has a penetrating quality not altogether dependent on the effect of brilliant sunlight to be found in most of his pictures. It has come to be adopted almost as a tradition by painters of this harbor that the manner of painting must be rapid, as of one working under the influence of a passing inspiration.
This attitude lends itself to cleanness of handling, and in a sense, to purity of color, but in some instances Mr Lloyd has carried his dexterity of brush work to a point which is almost aggressive, as in “The Coming Storm.’ Other pictures bear evidence of the artist’s power to control this tendency, and the general impressions conveyed by the collection is one of a joyous appreciation of light, space and color, the dominant notes being the blue and gold, which appear to be unfailing attributes of this particular subject. ‘A Peaceful Bay’, ‘Looking Towards Mosman” and “An Autumn Day”, represent Mr Lloyd’s art at its best.

 

On the Norman Lloyd Solo Exhibition at Macquarie Galleries and Dunster Galleries, May and June 1926

The Register, Adelaide, 19 May 1926
Painter With a Personality

This afternoon at the Dunster Galleries, Gawler Place, Mr. S. Russell Booth will open an exhibition of 35 pictures by Norman Lloyd. The show will afford art lovers opportunity to renew acquaintance with the work, several examples of which were included in the Society of Artists' recent exhibition. Mr. Lloyd was a student of Julian R. Ashton, on his twenty-first birthday anniversary enlisted as trooper in the A.I.F. Severely incapacitated at Polygon Wood, he decided to devote his whole time to painting on return to Australia. His first 'one-man exhibition' in Sydney was sold out, and almost equal success attended his shows in Melbourne. Mr. Lloyd intends to leave in the near future for further extensive study abroad. The canvases suggest a man of strong individuality and fresh vigor. The artist has an unusual capacity for depicting the varying moods of Nature. "Atmosphere" is a subtle thing to imprison in paint, but the vibrating heat of long afternoons, the cold freshness of hazy mornings, a hillside in the quiet glow of evening, a far distanced city flecked with purple shadows, or subtle effects in the rendering of which Norman Lloyd revels. Many artists have pictures Sydney Harbour, and most of the works in the present show have been inspired by its beauties. Art lovers will admire "Summer Time, Middle Harbour", in which there is evident the influence of Streeton's colouring. It is an important picture, and doinates the whole exhibition. "A Blue Day, Cremorne", owes its charm to the depth of tone in the water, and the vividness of contrast with which the white angular buildings on the point cut into the composition. There is a tender feeling that gives interest to "Silvery Light", in which the waters of the harbour almost dazzle the eyes, and the distant city is suggested in a flat grey mass.

 

Unnamed Publication, 30 June 1926
Oil Paintings – Norman Lloyd’s Exhibition

There are four or five really excellent pictures in Mr Norman Lloyd’s exhibition at the Macquarie Galleries. But having seen these one has seen everything. The rest only dwell again and again on a few subjects, and achieve little originality.
This is noticeable particularly in the oil paintings of Bathurst. One picture – ‘Harvest Time at Bathurst” – stands out boldly, with a fine decorative breadth in the treatment of soaring poplars and wildly flying clouds behind them, and of the horizontal shadows in a field of wheat. Then one passes further along and encounters “Poplars and Stooks”, which shows portion of exactly the same row of trees. …. There is the same uniformity in the studies of Musgrave-street flats. Here the leader of the group is ‘Reflections’, No. 10, which shows a stimulating vivacity in the colour scheme and clear control of technique in the representation of the water. Then comes a long train of canvases dealing with exactly the same subject, … The oil that shares with ‘Harvest’ Time at Bathurst’ the distinction of being the most striking in the gallery, however, has no family resemblances. This is ‘From Iquique’. It shows a line of majestic sailing ships drawn up alongside a green bank near Newcastle, with the smoke of the city ascending faintly in the background. The arrangement of colour in it is particularly good…. ‘A Summer Sky’ exemplifies Mr. Lloyd’s capacity in dealing with cloud effects.

 

Unnamed Publication, 19 May 1926
An Australian Artist – Mr Norman Lloyd

There is a remarkable sense of atmosphere in the work of Mr. Norman Lloyd, the young Sydney artist, an exhibition of whose paintings will be opened by Mr. S. Russell Booth at the Dunster Galleries today. Mr. Lloyd, who is an Australian, did not think seriously of adopting an artistic career until 1918, when he was invalided home from the war, in which he served with distinction. He took up painting, of which he had always been very fond, at first as a hobby, but he was
encouraged by his almost immediate success to adopt it as his life work. There is a spaciousness about his work which distinguishes it from that of many of his contemporaries, for Mr. Lloyd is not content to depict the merely pretty in nature or to deliberately seek the well composed landscape. There is much that is reminiscent of the Barbizon school in some of this paintings, and in all of them there is the sense of the movement of the atmosphere so that of one picture it could be said that it was painted at noon on a clear day with a light
breeze, and of another that it was painted on a sharp, crisp day, with a tang in the air, despite the sunshine. It is in these things that Mr. Lloyd has succeeded where so many have failed, and the sense of something vital is apparent in the least study among the 34 pictures comprising the present exhibition.

Mingled delicacy and power distinguish a study of Middle Harbor from Bantry Bay, and the sense of distance is well realised. … All Mr. Lloyd’s effects are simple and clear cut, but he is capable of achieving amazing results by the simplest methods. A cluster  of white houses with red and green roofs has the appearance at first glance of a great mediaeval castle, and the ruddy coloring is in sharp contrast to the blue of the deep water. …. It is the intention of Mr. Lloyd to go abroad in the immediate future to study, and if he fulfils the promise he has shown in the present exhibition he should certainly make a name for himself in his chosen career.

Sydney Morning Herald, 29 April 1927
Royal Academy. Australians' Work

... Other Australians exhibiting include M. Altson,
A. Burgess, J.H. Lobley, Norman Lloyd, T.C.
Gotch, O. Birley, Ross Norris, Mrs. D Forester,
Jean Sutherland, and Sydney Long

 

On the Norman Lloyd Solo Exhibition at Macquarie Galleries, Sydney and Fine Art Galleries, Melbourne, 1929

The article in the Evening News is the only known written account containing verbal quotations of Norman Lloyd. He is very clear about his likes and dislikes in modern art.

Evening News, 6 February 1929
Misguided Art – Ultra-Modernism – Sydney Man Abroad

Norman Lloyd, a young Sydney artist who has no ultra modern nonsense about him, has returned after two and a half years’ study in England and Europe, where he has been plying a diligent brush. The results of his labor will shortly be exhibited at the Macquarie Galleries. Mr. Lloyd made his headquarters in Paris, but he also painted in England, Italy, Switzerland, and the Austrian Tyrol. He has come back filled with disgust for the affectation, ignorance, and wrong-headed ideas of the so-called ultra-modernists.‘I think’, said Mr Lloyd, ‘that the extreme ultra-modern painters of to-day are misguided, and the style of art they have endeavored to foist on the public as the expression of emotion is on the decline. A new form of classicism, based on the Old Masters, which will be the true renaissance, should arise, like the fabled phoenix, out of the ashes of the chaos into which all the modern ’isms’ and ‘isty’ have thrown the art of the present day.

Higher Standard
Mr. Lloyd said that in England the standard of painting was much higher than in Paris. Italy fell under the influence of the ultra-modernists for a while, but was returning slowly to the appreciation of her Old Masters. ‘I had an interesting conversation with an Italian painter”, added Mr. Lloyd. ‘I said to him ‘What a pity it is that Italy, with all her wonderful tradition in art, has not done something to-day to carry on that tradition.’ ‘Why should she?’ asked the painter. ‘We
have given the world thousands of works by the best masters, and the best in music and sculpture. It is up to you, a young country, to bring about another renaissance.’

Asked to what extent the ultra-modern movement had white-anted the art of England, Mr. Lloyd replied that here was comparatively little of it to be seen at the best exhibitions. Not much of it was allowed to enter the Royal Academy, and then only work that was built on very solid lines.

The Old Masters
‘After travelling with brush and pencil through England and Europe’, said Mr. Lloyd in conclusion, ‘I am satisfied that Australia is a very wonderful country for the artist. But it is a pity that we in Australia have not the opportunity of seeing more of the work of the Old Masters, and the best work of the moderns. Every young painter should travel in the countries of the Old World, so as to be able to realise the true value of the inheritance that has been left them. Centuries ago the Old masters accomplished in art things that we are striving after to-day. There is nothing new in the art of the present.

All that we know to-day was known to those old fellows long ago- and a great deal more.’ Among other Australian artists met by Mr. Lloyd in the course of his travels were Lionel Lindsay, who is living in a flat at Kensington; and James R. Jackson, who was in Paris, but has since returned to Sydney.

Mr. Lloyd exhibited his work at the Royal Academy, the Paris Salon, the Liverpool and Glasgow Galleries, and other places. He has now received an invitation to show at the International Society’s Gallery at Pittsburg, U.S.A.

Sydney Morning Herald, April 1929
Art Exhibition

A surprising change has taken place in the style of Mr. Norman Lloyd during the two years that he has lived abroad. The oil paintings which this young Australian artist exhibited at the Macquarie Galleries about three years ago were very conventional. They revealed no imagination, and were merely attractive colour arrangements, transcribed literally from nature. The exhibition he is opening to-day stands on a different plane altogether. It is the work of a man who has studied the methods of the various schools, not superficially, but earnestly and practically, so as to assimilate these methods into his own style,
and have them at his command when the occasion suits. The wide range of this technique, and of his outlook on art in general, may be realised by taking a series of his pictures almost at random. In ‘Boccaccio’s Country’ he adapts the massive, uncompromising, masculine method of Cezanne. In ‘Westminster’, one is confronted with a delicate nocturne-like effect reminiscent of Whistler. ‘The St. Gothard Massif’ shows a distinct veering towards the primitives. And in
‘The Dolomites from the Adriatic’ he shows that though the other styles and modes of expression have touched him profoundly, he still retains the power to paint a picture that attracts through the sheer liveliness of its realism. This canvas, also, with its gleaming, changing richness of blue and green, shows how acute is his feeling for colour. Where he has painted in a drab, sombre key,
as in ‘Fighting Towers, San Gimignano’, the effect has quite evidently been deliberate, owing its being to the influence of certain schools among the ‘moderns’ abroad. Even when he painted those modest views of the Musgrave-street wharf, which appeared in his earlier exhibition, his sense of colour was noticeable. One of the most striking of all his canvases is “The Annunciation”, because of the whole series it shows the greatest richness of imagination.

 

Unnamed Publication, 1929
Mr Norman Lloyd

Mr. Lloyd is a young man whose undoubted talents are unbound by academic tyranny. The myopic conventions of Post-Impressionism have not imperilled his freedom of outlook or expression. The natural conformation, colour, and spirit of each scene represented by him alone suggest mood and method. Whether Mr. Lloyd is transferring to canvas the sinuous form and bewitching peach bloom of the Middle Harbour, Sydney (9 and 24), the majestic significance of the towers of San Gimignano, or the wave-like rhythm of the Apennine hills, he, in the main, paints seemingly without a forethought or an afterthought. The beauty of what he sees and the joy of the moment nearly always serve as his sole inspiration. When he tries to compose, his skies become fussy, as in No 50, and the foregrounds lose pictorial coherence, as for instance, ‘In Tuscany’. But these are faults that experience will obviate, and by and by Mr. Lloyd ought to win a permanent place among the foremost painters of Australian origin.

 

Unnamed Publication April 1929
Oil Paintings by Norman Lloyd

Those who knew anything of Norman Lloyd before he left for Europe two and a half years ago should not miss the opportunity of seeing his one-man show at the Macquarie Galleries, now that he has just returned. They will be astonished at the advance he has made. This is an exhibition well worth a visit from anyone with artistic appreciation, apart from the interest of marking Mr. Lloyd’s development. … Now he has learnt to use his eyes, and he handles his brush freely with resolute, decisive strokes. The drawing in this present collection of pictures is bold without crudity; the colour is full and mellow, rising at will to pints of brilliance or keyed down with something in reserve.

 

Brisbane Courier, 8 May 1929
Australian Artists in Paris

Among the Australians at the French Salon are Isaac Cohen, with two remarkably fine portraits; Douglas Dundas (this year's Society of Artists'
scholarship winner), Bessie Gibson, Marion Jones, Norman Lloyd, Dora Meeson, James Quinn, Daisy Walider, Joseph Connor, R. A. Fizelle, Pearl
Sheldon, J. C. Goodhart, and Eric Scott. Lucretia Johnson is the only New Zealander at the Salon Naitonal des Beaux Arts. Australians exhibiting
include Arthur Baker Glack, Rupert Bunny, Ethel Carrick Fox, George Coates, Agnes Noyes, Hilda Rix and Nicholas. Max Meldrum is also exhibiting
at this salon.

 

Unnamed Publication, June 1929. By Geoffrey Bell
Unusual Grip of Composition - New Features in Norman Lloyd Exhibitions

Mr. Norman Lloyd’s exhibition at the Fine Arts Galleries, which opens today, is one of extreme interest. Mr. Lloyd can be called a modern. But there is none of the extravagant distortions one is used to associating with that term in these works. Mr. Lloyd is eminently sane in his point of view, but his is a vision which is new to us in Australia, and very satisfying as well as new. There is a grip of the art of composition which is unusual, and his use of color to aid his design is well studied. There is remarkable variety in these landscapes, and a welcome variety in his approach. Each has Charm. Consequently there is no repetition, and each exhibit has its special charm. The level of the show is remarkably high and well sustained. Formal design is the keynote of this exhibition, and Nos. 5, 7 and 14 are entirely successful. There is a very fine appreciation of the volume and weight of mass, and an excellent and sane use of the principles of cubism. There are many examples of Italian landscapes of great interest, and a Paris river scene of fine design. There are some Australian landscapes, in which the character of the country is well imbued, but there is also noticeable a concession, though a slight one, to a less distinguished attitude. One would like to see our landscape treated in the fine formal manner of the Italian exhibits. This splendid exhibition will remain open until July 2.

 

The Age, 18 June 1929
Life in Paris To-Day – Revealing Australia – By our Special Correspondent, Paris 15th May

One Australian artist had an excellent idea when he sent to the Paris Salon a couple of Australian landscape studies. He had the subject all to himself, of course, and his interpretation of the lovely light that bathes Australian scenery is looked at with great interest. We are all tourists at heart nowadays: a small
pretext suffices to send us rushing to buy a ticket for the back of beyond, to see for ourselves some charming scene in a far-off land. I should not be
surprised if Mr. Norman Lloyd’s picture of an Australian harvest, or that of a warm afternoon in the same setting, furnished the country with a few 
tourists in the near future. Why do not more of us paint our unique homeland?

 

On Norman Lloyd's Solo Exhibitions at Leger Gallery, London 1931 and 1933:

 

Unnamed Publication, May 1931
Norman Lloyd's Art

Field-Marshal Sir William Birdwood … is due at Leger’s Gallery, 13, Old Bondstreet, to introduce the paintings of Norman Lloyd, who was formerly in the 19th Battalion A.I.F. Mr. Lloyd’s display deals with Italy and Australia. In Tuscan landscape the artist is at home, for it offers him fields, mountains, olive-groves and square buildings from which he weaves delightful decorative patterns while still preserving a remarkable sense of pictorial depth. His tonal adjustments, too, are worked within a narrow but subtle range. To one who has not visited Australia, Mr. Lloyd’s aerial views of Sydney Harbour look convincing, with their surrounding masses of foliage, suffering in arid heat. Pictorially, however, the artist is better off in Tuscany – or even Paris.

 

The Times, London, 27 May 1931
Art Exhibitions – Mr. Norman Lloyd

The Australian and Italian landscapes by Mr. Norman Lloyd at Messrs. Leger’s Gallery, 13, Old Bond-street, gain in interest for English observers by being treated with more attention to orderly arrangement than picturesque effect. A romantic approach makes all places look more or less alike, but with careful planning and a simple style of execution local characteristics are allowed to declare themselves. ‘Middle Harbour, Sydney’, and ‘Tranquil Harbour, Sydney’ for instances, prepare the way for their appreciation as paintings by setting the mind at rest about the larger features of topography. You begin to understand all that the natives say about the glories of Sydney Harbour. ‘Landscape, Bathurst, Australia’ will give to many people the unexpected information that poplars do grow in Australia, and their disposition in the picture gives to it something of nobility. Actually the most attractive picture in the exhibition is an Italian one, ‘Rooftops’, in which towering clouds carry out very effectively the general tendency of the design. Mr. Lloyd is not always happy as a composer, but he always composes, and when he has luck in pattern, as in ‘Gateway
to the City’, ‘Quayside’, and ‘In Tuscany’, the results are very good indeed, truly
‘decorative’, and at the same time convincing portraits of places.

 

The Brisbane Courier, 24 March 1933
Norman Lloyd's Paintings

Norman Lloyd's exhibition in the legal galleries of paintings, chiefly the result of his tour in Spain, is being well patronised. His work is highly praised as an indication that he is hasteing slowly and wisely towards new pictorial ideals. The critics commend his Australian landscape works.

 

The Times, London, 30 March 1933
Mr. Norman Lloyd

The recent paintings by Mr. Norman Lloyd at the Leger Gallery, 13, Old Bond Street, show an interesting progress from a comparatively naturalistic to a more formally designed kind of picture. At present Mr. Lloyd is most successful when he does not have to worry overmuch about the third dimension, and when he keeps to what may be called ‘fresco’ schemes of colouring. …The big ‘Tuscan Landscape’, treated mainly as a decorative pattern, with lavender hills retiring
beyond buff and green, and white oxen and other incidents in the foreground, is a most engaging picture. There are signs in it, as elsewhere, that Mr. Lloyd has studied the early Italians to good effect. In schemes of tinted greys, with white for relief, he never fails to please. ‘Summer Landscape, Australia’, is quietly impressive, and ‘Paris from Mont Valerien’, with its sober foreground and
procession of white houses leading up to Sacré Coeur, is a delightful picture. … Altogether Mr. Lloyd gives the impression of hastening slowly and wisely
towards his new pictorial ideals.

 

Unnamed Publication, April 1933
Mr Norman Lloyd’s Paintings

Mr Norman Lloyd, who is showing 35 paintings at the Leger Gallery, Old Bond-street, is an Australian who has recently been travelling through France, Italy and Spain in search of pictorial motifs. If the ever-present memories of the sunlit landscape of his native land did not foil an adequately characteristic rendering of the radian subjects found in the South, they seem to have prevented the artist from grasping and giving a true representation of the atmosphere and nature of the scenery around Paris. … Perhaps Mr. Lloyd happened to strike upon an unfamiliar aspect of a familiar scene. At any rate, he managed to evolve a fascinating pattern from this semi-bird’s eye view of a boat-house and small river craft. In the pleasant ‘Paris from Mount Valerien’ the panorama of the town unfolds itself like a vision of some Oriental city with its
white cupolas and bowers rising into the serene expanse of the cloudless sky.
From an interpretative point of view, the Italian and Spanish landscapes are more convincing, perhaps, because the climatic conditions of the South of Europe correspond more closely with those of the artist’s native soil, partly
because his study of Italian quattrocento frescoes did not fail to leave its mark upon his style – witness his ‘Tuscan Landscape’, showing a farm on a flattened mound, with a harvest scene on the foreground, and in the distance, symmetrically disposed, the towers of S. Gimignano and Certaldo on their hill-tops. … A wealth of brilliant colours makes the animated ‘Malaga Beach’, very attractive.

 

Continental Daily Mail, 2 April 1933
Australian Artist’s Fine Landscapes

I called at Leger’s Galleries in Bond-street, London, to see the show of Spanish and Italian paintings by Mr. Norman Lloyd, the Australian artist, which was opened last week by the Spanish Ambassador. The beauties of those countries have led to them being more ‘canvased’ by artist than any others, but Mr. Lloyd
has found some new angles. He has adapted an evidently close study of Italian quattrocento frescoes to his own individualistic style, with admirable results,
especially in the case of the Tuscan studies. The big ‘Tuscan Landscape’, with its sweeping pattern and delightful colouring, is a most engaging work. The colouring in the Spanish pictures, too, is brilliant and true. Particularly noticeable were ‘Schooners, Malaga’, ‘Malaga Beach’ and ‘Harvest in
Spain’. ….


Cairns Post, 31 October 1934
The Last Dance

It is worth recalling, says the "Manchester Guardian", that what was probably the last dance given aboard a square-rigged ship was held on the Garthpool when she was in Australia before her final voyage. There is still extant a fine picture of her in Newcastle, New South Wales, painted by Norman Lloyd, the Australian artist now in London. The Garthppol was the last of the fine fleet of six vessels which Sir William Garthwaite bought and rechristened after the war.