Sidney Nolan
The bridle
1978, Crayon pastel on heavy watercolour paper
103 x 71cms
81-B-23
The bridle is from Sidney Nolan’s series, For the term of his natural life, which comprises a total of 31 crayon-pastel drawings on paper. The series was inspired by Marcus Clarke’s epic novel that vividly relates the hardships of convict life in early Australia. This particular image recounts the story of a convict who, in Clarke’s book, spoke out of turn and who was subsequently punished by soldiers. The work derives its title from the cage-like contraption used for torture that was placed over the victim’s head and it included a spiked metal bridle-bit that was inserted into their mouth. It was used to inflict pain and publicly humiliate the victim who was effectively prevented from speaking.
In this drawing the convict is shown with the bridle over his head, gagged and strapped to a triangular structure used for floggings. His back bears the marks of a whip, and his legs, which are depicted in anatomical detail, appear to hover above the ground. The convict’s fate is clear, signified by the skeleton in the background, presumably another tortured or escaped convict.
On the reverse side of this drawing, Nolan writes:
…an article of harness, that at first sight creates surprise in the mind of the beholder, who considers what animal of the brute creation exists of so diminutive a size as to admit of its use, On inquiry, it will be found to be a bridle, perfect in headband, throat-lash etc., for a human being.
Reference:
Sidney Nolan, 28 Aug. 78, cited in John Buckley, Sidney Nolan: For the term of his natural life – 31 drawings, Department of Capital Territory, Canberra, March 1981 (back cover).
The bridle is from Sidney Nolan’s series, For the term of his natural life, which comprises a total of 31 crayon-pastel drawings on paper. The series was inspired by Marcus Clarke’s epic novel that vividly relates the hardships of convict life in early Australia. This particular image recounts the story of a convict who, in Clarke’s book, spoke out of turn and who was subsequently punished by soldiers. The work derives its title from the cage-like contraption used for torture that was placed over the victim’s head and it included a spiked metal bridle-bit that was inserted into their mouth. It was used to inflict pain and publicly humiliate the victim who was effectively prevented from speaking.
In this drawing the convict is shown with the bridle over his head, gagged and strapped to a triangular structure used for floggings. His back bears the marks of a whip, and his legs, which are depicted in anatomical detail, appear to hover above the ground. The convict’s fate is clear, signified by the skeleton in the background, presumably another tortured or escaped convict.
On the reverse side of this drawing, Nolan writes:
…an article of harness, that at first sight creates surprise in the mind of the beholder, who considers what animal of the brute creation exists of so diminutive a size as to admit of its use, On inquiry, it will be found to be a bridle, perfect in headband, throat-lash etc., for a human being.
Reference:
Sidney Nolan, 28 Aug. 78, cited in John Buckley, Sidney Nolan: For the term of his natural life – 31 drawings, Department of Capital Territory, Canberra, March 1981 (back cover).
For the term of his natural life comprises 31 drawings Sidney Nolan produced over a period of just one week in August 1978. They were inspired by a celebrated novel (originally titled His Natural Life) written by Marcus Clarke and published in 1874, which is one of the earliest semi-fictional accounts of convict life in Australia. The novel tells the story of a young man, Rufus Dawes, who came to Tasmania as a convict for a crime he did not commit, and it graphically describes the inhumane conditions convicts were subjected to in Australia. The story has since been interpreted in a number of ways and has been adapted for the stage as well as film.
Nolan had a keen and enduring interest in literature, Australian history, and in the idea of the tragic hero. He was intrigued by the story of Rufus Dawes, and in only one week the artist produced this collection of drawings which vividly recounts aspects of the story. Nolan focuses on key events and themes in the book which have universal significance relating to human suffering and survival. Several drawings convey the brutality with which convicts were treated, and they also depict the sadistic nature of the convicts themselves, some of whom were ultimately driven to cannibalism, signified here by the skeletons. In some works the artist refers to earlier paintings, including Mrs Fraser, a series which also reflects on issues of human survival.