These broadly conceived reed and wash compositions are not, as may at first be thought, the undisciplined scribblings of a careless student; nor are they the expositions of a master, for all their Rembrantesque flavour. They are much more than the first and much less than the second. Briefly, they are the groupings of a rare creative spirit impatient to express itself. (Meanjin no 45 vol X no 2 Winter 1951)
Since the late 1940s these Boyd studies, drawings and sketches have been in the collection of Dr Clem and Mrs Nina Christensen, founders of the literary and art journal, Meanjin. Free of form and composition theses vigorous and abundant drawings typify the lively and expansive nature of Boyd's early works.
Of all Boyd's artistic periods, it is the 1940s which show the greatest number of stylistic and thematic developments. Here are lush garden scenes of the family's Murumbeena pottery and home; drawings of the Williamstown docks area which Boyd and his brother-in-law John Perceval would visit; sketches of the artist's babies, other family members and close friends.
Reflecting simultaneously a bucolic peace, the angst of a society forever changed by war and the restless spirit of an enquiring mind and artistic talent, they are a rare find, offering a fascinating insight into the artistic development of one of Australia's most famous twentieth century artists.