Behind every great artist, there’s often a story of inspiration, influence, and hidden talent—especially when it comes to the women in Arthur Boyd’s family. But here’s where it gets fascinating: The Hidden Line: Art of the Boyd Women isn’t just about Arthur Boyd, Australia’s celebrated painter of landscapes, myths, and religious figures. It’s about the women who stood beside him, behind him, and even ahead of him, shaping not only his legacy but their own artistic journeys. And this is the part most people miss—their stories, their art, and their enduring impact on Australian creativity.
Arthur Boyd’s name is synonymous with Australian art. His works, fetching up to $1.95 million, are a testament to his genius. But his legacy extends far beyond the canvas. In 1993, he and his wife, Yvonne, gifted their rural property, Bundanon, to the Australian public. Nestled on the Shoalhaven River near Nowra, NSW, it’s now a cultural haven housing their historic homestead, studio, and an art gallery featuring over 1,200 works by Boyd, his family, and other luminaries like Sidney Nolan and Brett Whiteley. Yet, the real treasure lies in the stories of the women who inspired and created alongside him.
The Hidden Line exhibition, now open at Bundanon Art Museum, shines a spotlight on five generations of women artists in the Boyd family. These women weren’t just muses—they were creators, innovators, and mentors. Take Mary Nolan (née Boyd), Arthur’s younger sister, who married two renowned artists, John Perceval and Sidney Nolan. But Mary was an artist in her own right, transitioning from painting and ceramics to photography, capturing intimate moments of her family’s life in the 1960s. Her photographs, exhibited for the first time at Bundanon, reveal a painterly eye for composition and storytelling. Curator Sophie O’Brien notes, ‘She’s documenting, of course, but she makes it a total art form.’
Then there’s Doris Boyd (née Gough), Arthur’s mother, whose ceramic jug from 1915 showcases her delicate artistry. Working alongside her husband, Merric, Doris painted ceramics while he shaped them, yet her contributions have often been overshadowed. O’Brien challenges us to ask, ‘What don’t we know? What haven’t we seen?’ Doris wasn’t just a collaborator—she was Arthur’s mentor, offering financial and emotional support as he pursued his artistic career. Her influence is evident in his letters, where he sought her advice and encouragement.
Emma Minnie Boyd (née a’ Beckett), Arthur’s grandmother, defied conventions as a full-time artist in the late 19th century. Her watercolor landscapes, like Gum Trees (c. 1914), reveal a forward-thinking approach, experimenting with color and detail. Though barred from joining male artists like Tom Roberts and Arthur Streeton in their outdoor painting sessions, Emma Minnie’s work captures the essence of Australia’s landscape. O’Brien marvels, ‘It’s a study of working out how to look and see.’
Yvonne Boyd, Arthur’s wife, painted Melbourne Tram in 1944, a year before their marriage. Her work reflects the domestic struggles of wartime Australia, offering a unique perspective on the era. Though she stepped back from painting to manage Arthur’s career and raise their three artist children, her talent is undeniable. O’Brien observes, ‘She could have absolutely been an artist, but she stops, and she’s supporting an artist and supporting her children.’
Hermia Boyd (née Lloyd-Jones), Arthur’s sister-in-law, brings a playful elegance to her ceramics, like the Horse Figure (1966). Collaborating with her husband, David, she drew inspiration from ancient Greek and Roman art, infusing her work with dynamism and whimsy. O’Brien admires her ‘constant playfulness and energy,’ which shines through in every piece.
The Hidden Line isn’t just an exhibition—it’s a reevaluation of artistic legacy. It challenges us to reconsider who gets remembered and why. But here’s the controversial part: Why have these women’s contributions been overlooked for so long? Is it a reflection of their era, or a broader issue in art history? And what does it mean for the women artists of today? This exhibition invites us to celebrate their stories, but also to question the narratives we’ve been told. What other hidden lines are waiting to be uncovered?
As you explore The Hidden Line: Art of the Boyd Women at Bundanon Art Museum until February 15, ask yourself: Who are the unsung creators in your own story? And how can we ensure their legacies are no longer hidden? Let’s start the conversation—share your thoughts in the comments below.
